Transcripts
1. Introduction: Hello and welcome to next to, my name is Raj and I'll be your instructor
in this tutorial. Do you want to learn how to
create modular environments? So I welcome you to next to a complete guide to modular
environment creation. The theme of this course is
Victorian era Street that has a residential building that has the simplicity to be
a starter for us. And then we go for
a more complex one. That is a museum building
that has a lot of complexity and we're going to learn a lot of
things creating it. We start with by
the planning and learn how important
the planning stage is. Then after making sure that
we have a good planning, we go for the blackout and after creating a
solid block out, we will move to iteration parts. In the first iteration, we will start to
create a bare-bones of the environments,
including tiling material, styling geometries, and
basically anything that is going to be a skeletal
for the environment. And then after
that, in phase two, we will start to create
more complex details, including nanotube measures
that have a lot of complexity and of course
tiling geometries, one of the most important
benefits of this course is learning how to save
time in the production. We will reuse as much as possible from the
kids that we have. And of course, we
will learn how to vertex blend to hide a bit of tightening because
modular environments in their nature are
a bit repetitive. And we'll learn some
techniques to hide them, including the vertex blending, how to paint different
materials aren't on the same mesh on the fly
inside Unreal Engine. And then using the second
uv channel to bring in more tiling details onto the mesh to make that
less repetitive. So if you're excited to enter the journey of modular
environment creation, come join me in this one. My name is o rash from
next stood looking forward to have a great
learning experience together. Okay, See you there.
2. Download Project Files: Hello everybody, and we're
ready to start the course. But actually before even
starting the course, in the project files we
have couple of files. One is links and credits. I have some blender
add-ons in there. When we use in the course, I will mention them. And then we have the
modular Victorian folder, which you can actually
right-click and unzip. This is the folder that you get. The thing that you need to
do is actually go in on this and clicking
on the EU project. So that Unreal Engine
opens that for you. And depending on your machine, it may take a bit
of time to render. Then what it comes up, you will need to go and this modular Victorian
and go in here. And there's a modular
Victorian finished map. When you click
that, you're going to see that final
scene that we create. And this is the final scene. And basically this
is what we are going to create step-by-step. And the only thing that
you're not getting is this curtain the curtain files. Because these were downloaded
free from that and I'm actually not able
to share them with you. So I'm going to delete them and take a new
backup from these. And what you're going to get is this one without
curtain folders. Of course, you can create your own and bring them
in and use them. Okay, no extra step needed. You can scroll
through the next 100, start the course,
actually. See you there.
3. What is Modularity: Hello everybody,
welcome to this course. And in this one we're
going to take a look at the modularity for environmental
zone for video games. Of course, you might think that modularity is a new
technique, but it's not. It tastes way, way back to previous generations and
even Sega and Nintendo days. Even there, it was a form
of modularity present. They had some sprites
and they tiled them over and over again
to create an environment, but it evolved through the time. And now we're going
to explore what modularity is and how to use it. Of course, modularity
is a technique. It has benefits and we
can assess as well. And it's anew the
environment designer to decide if you want the environment to
be modular or not. We're going to see how
it does, how it works, and then decide on what type of technique we are going
to use for creating modularity or even
leaving modularity to be off and going for a total
unique environment. And based on my experience as a teacher and found out that assigning projects and doing a project-based approach in
learning is a lot better. And for that, we're going to go to Victorian era and create some Victorian buildings because not only they have
some challenges, but they are
beautiful to look at. They are challenging but
beautiful to create. And in the end you're going to take a lot of lessons from them. So what is modularity? Well, first, we need to see
what modular design is. Modular design is basically dividing a system into
many smaller chunks. And we call those
chunks as modules. These modules can
be independently, independently created, modified, and even used on different modules, on
different systems. If we create them carefully, who can use them, swap them on another
system as well. Greatest example of this
system is the Lego. And we're all familiar with
the Lego and how they work. These lego bricks
are all created in a way that we can create
different things by connecting these Lego
pieces together and things that original creator of these levels have
never imagined of. The things that we do with using these Legos goes beyond
the imagination. Imagination of the
original creator. The Lego company has made these. We have total freedom to use
these to create new systems. And we can create things as far as our imagination
can go with. Of course, there are some rules to creating these Lego kit. To make them a snap
together and tile perfectly to create
a system that works. And we're going to
learn them later on. But it's good to know
that you can create basically anything you
want with these kids. Of course, there's a bit of difference for the game design,
for environment design. And it is the fact that for
every purpose that you want, you want to create a kit
to support that idea. And let's go to the reference and just take a look at this. And the first one is this one. In order to make
this one modular, we need to create a kit for it. And the kid for
this one depends on how far you want to
go for modularity. For example, if you
are going to create one piece until it
together in the game, or create different pieces and prefab them and use
them in the engine. And it depends on you on how far in modularity you want
to go for your game. For example, you
can go and create this one as a single piece and toilet all
over in your game. That's really no problem. We can take this one as a
single piece and take it as only a single piece entirely to create this railing system. But you can go further
and do something else. For example, creating, you can go and do something
like this, for example, instead of making this
one a single kit, you can go ahead and I start to divide it into
smaller chunks. For example, this top
piece as a single piece, this pillars as a single
piece that tiles. And you can place
it as you want, and this one as a
single piece as well. It really depends
on what type of environment and how much
customization you want. Because if you go for
something like this, you have the kit, you
have this single one. If you duplicate it, sometimes you're going to see
some repetition. Repetition is something
that you want to avoid when going to
create modularity. But this one is a lot faster to create because you create
one and it's done. You could bring it into engine and start to
level design with it. But in this one, you need to create
them the way that you create this one obviously. But the difference is
that you bring these as individual pieces into engine and I start to tie
them separately. For example, in order
to create this one, you need to bring this, then from Content Browser, bring this top piece, and then bring the
pillars in the middle. For example, you need to. Bring in ten pillars
and start to place them together to create
something that is unique. But this one is going to take
a lot of time, of course, that really depends on your
project and we're going to discover these
concepts as well. There are a lot of times when, for example, you're going to
create an, a strategy game. And for strategy games, you really do not need
to go so far away. For example, when
you are looking at the environment in
such a high distance, you really do not want to
have a lot of modularity. And the modular modularity
in such a place is just taking a whole block and duplicate it and bring it over to create
something like this. Because in a strategy game that you're looking at the
environment from so far away, you really do not
need to have a lot of customers ability
for your modularity. For example, going
in such a level and start to swap windows to
create a unique piece. You really do not want to
do something like this. If the game is something
like a strategy game. But for a game like a
first-person shooter, when you're going to
see the environment from so close up, from the person's
eye level of view, you need to have mortgage, customer's ability
for your modularity. That really depends on how far in modularity
you want to go. And that is based on the game that you're
wanting to create. And back to what we were talking about for creating
modularity for games, you need to first have
a lot of planning. And it's planning makes
sure that you really do not fail in the middle
of the project. For example, I'll see that I'm going to create a couple
of coins of buildings, one like this,
which has a lot of ornaments work and a lot of concrete work and
things like that. And one like this one. And to support both of them, I need to create couple of kids, one for this building and
one for this building. And when we made sure
that both of them work, correct, we can create a lot of variations
from the same kit. Of course, the kids are not only going to be building
kits, for example, we can create pipe kids as well, which I believe we might
create in this course. And the sky is the limit on
how far you can create kits. But the most important
factor is that the kids should be functional and
be beautiful to look at. And you should avoid
repetition as much as you can. For example, bringing
a lot of decals, bringing some foliage
to cover some themes. And the techniques that we're
going to learn in the way. And the planning stages, one of the most
important ones because without the proper planning,
you're going to fail. And you need to plan
a lot of things, for example, how to
hide the repetition. Because in modularity, there might be a
lot of repetition. For example, creating
such a building, you need to create some
kits and you see how repetitive these windows get
when they tied together. And it makes a boring
effect and you need to do something to avoid
such an effect. You might introduce
unique pieces, you might introduce
very end pieces. You might bring in decals, some foliage is and
things like that too, cover the repetition. Repetition is one of the
weaknesses of the modularity. But the good thing
is that when you are going to create a
building, for example, this one as a modular
kit here really, instead of going and modelling the building once and
bringing into engine, you can go and
model the windows. And instead of modelling
them all together, you can model just one building until it over to
create this piece. Without modularity,
you model this one and the texture resolution
isn't going to be too good. Because a building that is so great needs a lot of
texture resolution. And you might bring in
some for k textures to maintain the texture quality. But in modularity,
you can bring in a smaller textures because
they can be tiled together. You can bring in
some tiling textures and tell them across
without any problem. This one brings us to the
strengths and weaknesses. The first weakness
of this method is that it needs a lot
of pre-planning. You need to really sit down and calculate how the kids are
going to snap together, how they're going to get tired, and how to match them
with other kids. How to swap kids together, How to cover the repetitions
and things like that. It takes a lot of planning, a lot of pre-planning. And the good thing is that
when you do the preplanning, it's really a matter of
iteration because you have created the planning and you have a strong
ground to continue, and you continue
to iterate on top of each other to create the
environment that you want. And the next is strength, is that you can create a world using only limited resources. For example, you can go
and create a building kit. This building, Katie
can have some doors, some windows, some walls, some readings, some rooftops. And you can create a whole
world using this one. You can bring in a
lot of buildings and error rate on top
of each other to create so many building types. Of course, the building
types is limited to how many kids
you have created. But the good news is
that you can create literally a whole game using
some limited resources. And the bad news is that
it looks repetitive because we are only
using some limited kids. The amount of uniqueness and authenticity of the
world is going to be questioned
because you're using some limited kits to
create whole buildings. Of course, you can go ahead and create different
kits and mix and match them together to create authenticity
and uniqueness. But right out of the box, they might look repetitive. And you need to do some
things to cure that. And to cure this repetitiveness
of the modularity. You can bring in different kids. Of course it takes more time, but it's worth the time that you put in there because having more kids be able to
create more robust worlds. Again, let's go back to these. In here you see we have
three different kits, each of them belonging to
another type of the city. If you create only one kid, say for example this one, and create a whole
city using this Katie, you are going to have
a lot of repetition. But if you introduce
more kids, for example, a kid like this one, and
a kid like this one. And start to set dress acidic. You're going to have
less repetition and you can even mix and
match kids together. For example, when you
are going to create a building that uses the red
breaks, just like this one. Bring in some
elements from these. For example, Windows
bring in some doors, or bringing some
elements from these. You can mix and match
kits together to create authenticity
into the world. The next one is creating
kid variations. And of course we're going
to talk about kids. But it's good to know
that, for example, in this building, There's
a lot of repetition. You see this window being
repeated over and over again. But in here, we have a different piece that is totally different
to other pieces. And this is good to create a little bit of variation
in the building. Or even you can bring
in unique pieces. And by looking at this in here, you see that by bringing
in these statues, they really take the attention
of the player away from a lot of repetition that
is happening in here. Another benefit is that you have more optimization
available for you. Because let's say
that for example, in a game you're going
to have a lot of the buildings modeled and created uniquely
without modularity. For example, H building being its own separate piece
and using only ones, you need only a lot of
texture memory for this, and a lot of disk memory and
a lot of hardware space. Because all of these
have been created uniquely and you can
use them only once. Or your environment is going to look really unnatural
because of having, let say that for example, this building being repeated
over and over again, It's really going
to make it bad. But when you are going
to use modularity, you're going to divide the
buildings into smaller chunks. And these are smaller chunks can have better texture resolution. They can have better details
and things like that. And the only thing that
you need to do is tiling them across to get
the environmental. And this way, for example,
for this environment, if you make it modular, you need to create
only some textures. For example, here we have
a tiling brick texture, and we have some
concrete textures and door textures and
things like that. You can create three
different textures and create a whole building
out of these textures. And this makes it
really optimized. The next one is the ability
to test the environment early and even without
bringing in AAA textures. And perhaps you can block called this environment if you have a proper planning
and you can test your environment to see
how it works together. And this is really, really simple example, basic
example that I created. I have this tiling wall piece and this wall variation which has a window and this wall that we can put
a door frame in. So I have placed
the pivot in here. Don't worry if you do not
want to if you do not know what the pivot and the
pivot system works, we're going to talk about
that extensively later on. But this is just to clarifying
the blog called phase, which we can test the
progress earlier. And I've created these, these are patrolling perfectly. And since I have created
them using some rules, I can test the
progress early on, even without creating AAA
measures and things like that. And this way I can really
test the environment to see if that is going
to work or not. And let's say that you create
a really beautiful door. He sculpted in ZBrush
and bringing in engine and to see
that it doesn't work. And you get a lot of wasted
time if you do not do this, block out the stage. And this one is
to make sure that everything that you have planned is going to
work on together. Okay, We need something
for them to snap. Snap menu is in here you go. And I'm going to
snap to increments. So when I'm trying to move that, it's going to snap. Of course, I need
to center them so that the snapping is in
the center of the world. And now if I try to snap them, snapping system is one meter. Every time I try
to move this, it, it goes one meter
in every direction and this is very
good for a snapping. And later on we will talk about the grid size
and how to use that. So this is the simple wall and
this wall that has a door. I'm placing it and
you see that they feel each other very good. And I'm going to
place it in here and write up just in here. And you see it fills the gaps. And since all of the pieces are really working great together, I have no problem a
snapping these together. So now you see I've created
a simple one that has a door and a couple
of windows up step with only using
some blackout meshes. This is good to test
the progress early on to see if everything
is going to work. Alright? And I feel like this
is a necessary part to do because without the blackout, you're really do not have a
strong ground to start from. And chances that you fail
are going to rise too much. And you saw how, with just some simple kits were able to model a building
if we wanted to. And that is really
benefit of modularity. We can iterate a lot faster than having to model them
one-by-one unique pieces. So I think it's about talking about modularity and what it is. And it takes some steps to
create a modular environment. So the first step as like
anything, is just planning. You need to look at a lot
of references and to see what type of modularity you want and what type
of a game it is. You need to ask a lot of
questions from yourself to be able to guess what
you're going to create. For example, in this
particular example, let's go for this simple one. And in here you see
this primary kit, which is a building kid, has some subjects as well. For example, it has
the first floor kit, it has the second floor, third floor, and the roof. And there are a lot of
repetition in here. You need to go and plan to see what type of environment
you are going to create, what type of game
you want to create. For example, if
it's a game where the player is going to be
able to interact with it. So close up, for example, a third-person or first-person, you really need to go
deeper in modularity and take these and make them
their own single pieces. That way you need to
create a lot of kids. But this one, if you're going to create a game that
is a strategy game, you might need to
create a whole building as a kid and model
that only wants and use it throughout the level because the player
is going to look at the building from
such a distance. And that really doesn't
make sense if you go and customize every
single window. So you need to keep that
in mind in the planning. The next step is the blackout. The same thing that we did
in Blender just seconds ago. We go and create pieces, but we really do not
need to add a lot of details into your
testing our ideas to see if their work on that and made sure that the
modularity is working. Alright, we go to the second, we go to the third
steps, excuse me. And that is really working
on fruit lay props. We take those blackouts
and turn them into AAA. And quality measures and textures really push
the quality up. And there are some
parts that are ongoing throughout
the whole project. For example, lighting the scene, creating materials,
creating an erection, creating blueprints and
things like that are ongoing but remain steps are these ones. So I feel like this is
enough for this lesson. And in the next one, we'll
talk more about these as well. Okay, See you there.
4. The Planning Stage: In previous lesson,
we talked about a modular environment
design and found out that what modular
environment design is. And really talk briefly about the concepts that might be
important in the workflow. And at the end of the lesson, we found out that there are three steps involved in
creating environment. This is applicable
to all types of environments and even outside the context of
environment design. If you're going to do something, even doing some programs
and things like that, these steps are
still applicable. So the first step
is the planning. And the planning is just like
the foundation for a house. And if you just
stack some breaks up together and call it a house, they're not going to
last very long because the house doesn't
have any foundation. And the same goes for
environment design. You need to have proper
planning in order to be able to execute the rest
of the steps perfectly. This planning stage might be
overlooked by some artist. But this is one of the
most important steps in every production. No matter if it's a film, movie, animation game, or even
outside of the CG contexts. For example, in your life
you're going to do something. You need good proper planning. And now what is the planning? So basically the
planning stage is the fundamental step
in any project. No matter if it's a CG project or it's a real life project. And it involves pre-thinking
the final result. You need to have the final
result in your mind. Even before starting
the execution, you need to have the full
environment in your mind. Even without creating it. For this one, you need to
have a lot of imagination. And you need to present the required actions to get
that final result as well. Not only you need to find, finalize that final result in your mind before creating it. But also you need to have the required actions and steps to get to
that final result. The greatest point is that
it gives you foresight, vision, imagination, and
basically whatever you call it. And by doing a proper planning, you're able to
close your eyes and fly in the environment
even before creating it. This is the formula. You have the basic
idea in your mind. For example, when I
wanted to start this one, I knew that I'm going to create
some Victorian buildings. So I went ahead and did a
lot of planning on that. And that planning involves in a lot of steps, for example, gathering references and this scattering
references is one of the most important steps
that you need to take. You might think that
I'm going to create an environment without any
references, and that is wrong. The more references
that you have, the more the better
idea gets in your mind. When you're thinking
about something, you have a basic idea
and then you need to do a proper planning to
get to the final result. And as you know, this proper
planning involves division. First, you need to have
the vision in your mind, and then you assign some
steps to get to that vision. For example, we know that in
this steps we need to assign what type of modularity we need to use to create
these buildings? Do we need to create
it chunk by chunk, for example, creating
a window separately, which is the case
for something like a first person or
third person shooter, or creating a whole block uniquely for something
like a strategy game. Basically, you need to sit down, bringing a paper and write
down any idea that you have and think about
your final product. And you're always
interchangeably changing between the
steps and vision. For example, you have
a vision and start thinking about the steps
to get to that vision. And then after
completing the steps, you have a more
crystal clear vision. And you repeat this until
you get the final result. And I'm in the final result in your mind, in your imagination, even before starting
the process, and even before starting Unreal Engine or blender
to create something. For example, we need to create a Victorian type of building. We have the raw
idea in our mind. So then we go to the planning stage and
then we have some steps. We go through the references
and we see that we need to make it
modular because there are a lot of repetition
happening in here. And this makes it a perfect case for creating something
like modular. And this is division. And after that, we
decide, for example, we want this one to be a separate chunk
and this one to be a separate chunk and tile them over to get the
environment that we want. Can you repeat the process
again and again until you have the crystal clear
image in your mind. Well, after all,
this planning stage is all about imagination. And this imagination
means that you have a clear image from the
final product in your mind, even before starting
to create something, you need to think as much to create this vision for yourself. And how do we do that? Your primary weapon in this
part is the questions. And that goes in
something like this. Questions, questions
and more questions. And you need to sit
down bringing a paper. Start to bite a lot of
questions from the project. And it's generally a
good idea to start from broad questions, from
general questions. And the process should
be something like this. You start with bigger questions. General questions. For example, in each time period this environment is
going to happen. This is a very broad question. We answer that question by, well, we're going to create
a Victorian environment. So what type of
Victorian environment? What type of building? How many floors do we want
the building to have? Basically, the first question
was very broad question, what type of environment
you are going to create? Do we want it to be a
prehistoric environment? We want it to be a
sci-fi environment. We want it to be a
new environment, all the environment in terms of clean or abandoned environment
and things like that. You start with broad questions. And then after asking yourself
some general questions, you come down to the
specific questions. For example, in
the previous step, we answered some of
the general questions. For example, we know
that we are going to create a Victorian building. So what type of
Victorian building do we want it to be too? We want it to be
generalist store. Do we want it to be a
resident store, excuse me, a residential place
to we wanted to have a lot of ornament
works just like this one. Is it abandoned? Is it new? Is it something mixed with sci-fi flavor and a
lot of questions? And then after answering
specific questions, you really go down to very specific questions that
belong to the environment. For example, I need to create some decals to answer
this question. There are a lot of dirt in here. How do we want to tackle
them and things like that? So what type of questions
you need to ask yourself? The question is that, how do
we provoke these questions? But we need to categorize them in three different categories. What, why, and how. The what section is basically the most essential questions that you need to
ask from yourself. And as you know, you
need to start from very broad questions all the
way to a specific questions. For example, now, in
the word category. And these are some questions
that you can ask from yourself in the first place. Firstly, think of, well, what am I going to create? You come with the question
and the answer is, well, you're going to
create an environment. What type of environment
you're going to create a modular environment? What time period? This belongs to a Victorian Era. Seven introduces a
lot of sub-questions. For example, we
decide that we want to create it in
the Victorian era. So what type of building
do you want it to be? A bookstore? Do we want it to be a hotel? To want it to be a
generalist store who are a lot of tools are sold. And the next question
is that if you want the environment
to be old or new, or how many stores do
we want it to have? And then what inspires you
to create that environment? And you need to find
those in the references. And then about
weather conditions. We want it to have a rainy environment or
a stormy environment, or day or night. Basically, you ask yourself
a lot of questions and write them down so that you have a clearer
image in your mind. After knowing what
you're going to create, you need to ask yourself, why? For the white category
we have basically why am I creating this environment
in the first place? For example, you want
to create it for a portfolio piece or an
art challenge or anything. And you might have
the goal to take your environment or
to the next level. And creating some AAA arts, whether it's Materials, Textures,
geometry, and anything. And why am I going to create
this environment to learn modularity or for learning
Unreal Engine five, basically what it does. I set a goal to have a
better sculpting in ZBrush, basically a neutralizing
non-elite and lumen. And you know that the knight is the virtualized geometry
mode in Unreal Engine where it allows you to
bring in high-quality film, perhaps without
any optimization. And the lumen is global
illumination that is dynamic exchanging
without any cost. So these are the goals
that you set for yourself. So how to get to these goals? You look at these goals
and ask some questions. So know that we're going
to create modularity. So the question arises that how do I want to hide the repetition
in modular environment? How to use vertex color data to add variation
into modular kids. How to author PBR materials,
maybe in substance, maybe using ZBrush or Photoshop
or basically anything. For example, utilizing
nano uterine lumen, the question voice as well. How do I want to create AAA
measures for non-white? And I'm going to extend
this part, for example. We're going to create
measures for nano it. How do we create them? This is the answer that
you may come up with. We're going to
create a low poly in Blender and do the
high poly sculpting ZBrush and do a UV in blender again and texture it
inside substance, whether the designer
or a painter. So basically you ask a lot of questions from yourself,
write them down. To conclude, the environment
that you're going to create, one of the devices
that can earn a lot of your questions are
the reference images. These reference images can answer a lot of your questions. For example, what type of environment do we
want to create? We go look at the references and get inspired by this
building, for example. And we learned that we want to create a Victorian environment. Now that we know that we have the Victorian
environment in mind, it's time again to go from
very broad to specific. And you need to go again from this step all the
way to the specific. You first look for the big pictures than medium pictures and
then a small pictures. And anytime that you
are creating art, you want to have this in mind. You go from big to
medium to small. And to visualize that you
need to have a shape in mind. And that shape is this triangle. You see down the bottom
of the shape is very big and it's holding the
whole structure from falling. And this is the big ideas
of the environment. This is the big section. And note that this broad
section is holding the ground and this section is really the
beautiful parts of it. Then after you have the medium and then we
have the small portion. So why do we mean by this? When going for references, we know that this is the big picture that we want to create. The big N composition
is something that holds out from the four view. For example, if you zoom out, you are able to
distinguish the parts. We know that this is a building. If you look at from so far away, you are able to distinguish the composition anything
in the picture. But this is not good for
environment creation. For example, if you
are going to create a concrete material to
support this building, we need to have some
references from the textures. For example, we need
close-up images to really see what is going on in the medium shapes and something like this is good. For example, we will
zoom on it and see how many bricks does it have? For example, this one, we zoom on it and we're able
to get some of the wear and tear that is
happening in this image. For example, you see a
lot of dirt in here. And then, for example,
such an image is really good for
creating textures. We are able to just
really a small, tiny shapes that
create this texture. From going from this one that has brought shapes
and beat your shapes, we go all the way to
this one which has some smaller shapes when we go to create some wood textures. So you need to
have that in mind. Firstly, you need
to have something that holds the environment. Firstly, you need to
have a structure, a biggest structure, and then medium details and
then a small details. And when you go see a piece
of art that is created, you see a lot of details. And that detailed happens in
this part, this small part. But a small part isn't going to hold down if it
doesn't have a big shape. And if you go to start to create the environment using
a small shapes, using a lot of details. You might find out that
you do not use it and throw it away and you have a lot of wasted space and time. So you want to start with the big goal to
medium and small. And after answering all
of these questions, we go to the blackout phase. This block or this stage is mainly working with
primitive shapes. For example, working with
cubes, working with cylinders, main shapes, planes
and things like that to prototype to the environment. And this is done mainly
to test the idea. After deciding that
we wanted to create a modular environment and
answering all our questions, we finally go to this step. And by looking at
references that we have, we start to block
out the environment. For example, if you're going
to do something like this, just have the peace in mind. We go ahead and we know that
we have a lot of Mendel's. We take this and
bring it up top, bring it up top of this one, and then start to duplicate this to get the
result that we want. For example, instead of
creating that building fully, we only create the big
shapes so that we know that the environment is
going to look functioning. Great. For example, now look at
this and now look at this. It's the same thing. But first, instead of creating this intricate details and a lot of texture work
and things like that. We need to first
create a blackout. And after that, we made sure that the kids are functioning and they snap together very well and we do not
have any problem. We start to go and create
a AAA props and textures. And this is really what
the blackout phase does. One benefit of this
environment, excuse me, this blackout design
is that you can iterate a lot faster than
creating AAA measures. For example, let's
say that we want to change something
about this wall. If we created the mesh fully
and without lot of things, we would have a lot
of wasted time. And let's say that we
created this fully with textures and with
all of the details. Let's say that we
wanted to change something about this world. We would have to go again
to the low Pauline blender, do the sculpting
ZBrush textured, and bring it in Unreal
Engine to test it if you didn't use the
blackout measures. But now we're only using a
simple placeholder mesh. And let's say that for example, we wanted to make
this window bigger. We simply take it and everything just about manipulating
some vertices or take them, make the window bigger. And then it's the
matter of pacing. This one with other measures, only with just some clicks, instead of having to
put a lot of time in the making process to
make it look good. So this faster iteration helps a lot to iterate into the environment using
this blog called meshes. Well, I believe this is
enough for this lesson. We talked a lot
about the planning and the next one who will
go and do the blackout. Of course, that is an
ongoing process and we're going to do that
in multiple lessons. But we start the
process pretty soon. Okay. See you in the next one.
5. The Blockout Phase: In the previous lesson,
we talked about the planning stage
and how important that is and how really it can fail a project without
a proper planning. And now we're ready to
move on to step two, which is the blackout. And this one is really
important as well. We decide on the planning
and then move to blackout to test the ideas and to
iterate a lot faster. And in the previous
lesson we taught that it's a great idea to move to
the blackout stage before creating the AAA
perhaps and textures to save a lot of time and make sure that everything is
working together. Now, we're ready to move
on to the blackout phase. And then this blackout phase, we are mainly working
with primitive shapes. Just like the example
that we build here, we're working with
primitive shapes with really no geometry or
texture or any details. We're only giving
the big shapes, importing and
exporting into engine to make sure that everything
is working correctly. And when we made sure that
everything is alright, we start to iterate
on top of each other. For example, we
have the first one, and let's say that we want
to add a bit of detail. We duplicate it and isolate. And let's say that
we want to add a top piece into
this wall piece. We simply go. And since we really do
not have any geometry, It's a very easy task. All you need to do
is working with some really simple geometry that is easy to work
with instead of using, for example, those AAA meshes and props and
things like that. For example, we wanted to
do a custom piece in here. We did it so simple
and then go back. And now we have the piece. And it's separated
from this one as well. And it's a lot easier to iterate in this parts
because we will do not have a lot of
complicated geometry and it's a lot
faster to iterate. For example, we have this kid
and now creating a window, it's only a matter of adding couple of polygons and
then removing that. And then for example, if you wanted to add door piece, for example, let me go back so that we have
this piece on touched. And let's say that we want
to create a door piece. We go here and since
we have the logic, we only need to work
with some polygons. We bring it here and
totally remove this one, and then remove this one
to get a door frame. And since all of
these snap on a grid, we're really having no problem iterating and everything
would be alright. So let's say that for example, we're going to create
a window piece. We get it removed
that, and boom, we have the window piece
and we can iterate a lot faster compared to
having finalized meshed. And this one is ready to
test out ideas and make sure that the modularity and logic that we
create is workable. And it's in here
where we have to decide on the UVs as well. The process is a lot easier
when you take one and finalize it and then try to
take variations from it. For example, we have
this one and I'm going to decide to add
some textures on this. The UVs are not in place, so I need to take
this and remove it and bring one initial piece. So let's again duplicate it
and let's look at the UVs. And since this one
is a simple plane, the UVs are really there from 0 to one UV space and
the other has fault UV. It's alright. And
because it's 0 to one, It's going to tile perfectly. So by that I mean, we go in here and try
to add a material. Let's go airbase
texture, image texture. And from here I want to
bring in the base color. Let's go to the material mode. This is not the best example, but do you see
that this texture, since this texture is tiling, if I decide to duplicate
it and bring it here. Although these are two
separate measures, but we're not seeing any
tiling issues in here. You see there's a seam in here, but since the texture is tiling, we're not really seeing
the same in between them. So making the UVs correct is the best thing that you do
to avoid a lot of problems. So let's take this one as an example and now
let's duplicate it. Or let's remove that and try
to add some things in here. For example, let's do the
same thing that we did there. I'm going to take this one
and extruded just a bit. Let's remove the snapping. And this is what we
get, for example. And I'll do the same thing and I welded these to give
it a bit of shape. And I'm going to
take this and add a bevel to make the
shape a bit interesting. So this is it. And now you see in here
we have a bit of problem. That is because we created the geometry and this really
doesn't have any UVs. So I'm taking this right-click
in here and unwrap. Now you see this
happening in here. And since this is too big, I'm going to re-size
the UVs just a bit to make that perfectly
work with that one. So you see here, and now
let's go in here as well. Let's go back to this piece. Or if you want to save a bit of geometry and texture space, you can take it and delete it. Because when we snap this, when we go back and
try to snap this, since this is going
to snap together, that part isn't going
to be seen here because these parts collide together very much that this
part gets deleted. So I'm going to take this and go into geometry
mode and remove this. And we have a part in here
which we need to fix. Right-click on rap. We get a good texture. So let's say that this one is a good base that we are
happy to work with. Now, the thing
that we need to do is going and do the iteration. And since these were
very perfectly, we have no problems. So I'm going to take this add couple of vertices
to be able to add the Dorian. Now let's take it on. You see, because we are
moving these vertices, we are getting the
texture, a stretching. We do not want that, so we
need to use a sliding mode. So let's take this. And in my case, you need to tap G sometimes. And now you should use this slide mode
without any problem. So I'm taking this one as
well and use the slide mode. Now we have the
frame port or piece. So I'm going to add
another in here. And since we are going to take
the window from this one, I'm going to copy that and
start to work on this. So I delete this part and
the door frame is available. And now let's go in
here and try to add the vertices in here to be able to remove this polygon
for the window. And now you see, although
these are tiling pieces, we have no problem between the pieces and the texture
is tiling perfectly. You see in here we have
really no obvious issue. This is the power of using modularity with tiling textures. And the good thing
is that if you go and try to Tile Texture more, it's an undressed
nondestructive process. So let's go in here and
bring up the shader editor. Now, let's go and try to export
these to Unreal Engine to test them there and create a tiling material to learn
some things as well. So if you are going
to export these to Unreal Engine with the
default Blender settings. You're going to
have some problems. Because first thing you need to center this in the
center of the world. If you go in here, just hit N to bring the Transform menu. And you see in the
location we are negative 20 meters off the
center of the world. So if you want to center this one to the
center of the world, you need to hit Alt and
G to make it go to 000. And anything needs
to be zeroed out. But if you export
this one from here, you're going to have
some pivot issues because the pivot is in
the center of the world and this object is 20
meters off from the pivot. So let's export using
this to see what happens. So now I'm going to go to
Export and Export As if Vx. And if you want to access this faster without needing
to come into this menu, you need to right-click. And for example, like right-click
add to quick favorites. And in here to access
the creed February, It's you need to press Q. And now I have some
objects in here. I have the FBX import unexplored in this menu
and of course OBJ as well. So I'm going to take
this one export as FBX. And right now I really do not care about the
naming convention. I'm going to only select this and limit the export
to select that object. Because if you do
not check this on, it's going to export
anything in the scene. So we select this only
to export this one. So I'm taking this
and let's name it 01 and hit export,
FBX, it exported. And now let's go to
Unreal Engine and try to import that
to see how it works. Okay, here we are
in Unreal Engine and this is a default scene. I'm going to go
create a new scene, honey basic scene, so that we have a lighting system
to work on, okay? To bring up the content browser, you need to hold control and
a space to bring this up. So we need to be careful about the folder
creation as well. I'm going to go
under the content, create a new one, and let's call this
one modular Victoria. In here, Let's bring in a sub
folder and call it meshes. I'm going to again bring in a folder and call it blackout. And in here I'm going
to hit Import and go to the file that are
exported and imported. Okay, we're not doing
anything with this. Let's say Import doesn't
matter for the error. And it also brought material for us, which
is a good thing. So let's bring it here. And in here you're
not seeing anything. And why that is? Because this is now the center of
the world in Blender. Let me go in Blender, and this is it,
this is that pivot. And because we have offset, that offset at this one, negative 20 meters away from the center of the
world, we should look. At there. And we should be able to see, yes, this one is the door. And since it has been, it has been offset from
the center of the world. We are seeing this problem
and the pivot is in here. If we had tried to rotate this or resize it
based on this pivot, we are going to see
a lot of errors. So there's a plug-in
that makes us and makes it easier on
us for exporting FBX. And that is the bat x plugin. And you can find it here. It's a free plugin. You can grab it from GitHub. All you need to do is
downloading this file. And after downloading
you get file. It says zip file. Then in order to install it, you go to Edit Preferences
in add-ons, hit Install, and just head to the folder
where you have downloaded the file and just
install add-on, and it gets installed for you
and you can find it here, just search for vertex. And this is the buttocks. And it gets added to
this end menu in here. You can hit N to bring
it up and hide it. You can find it in here. And in here it has
a great option to center the transform. And if you enable this option, it's going to first
before anything, sensor that and then export it. But it's not going to do
anything with the image. It's first temporarily brings this in here, and
then export steps. First, you need to
specify a folder. Just go to any folder
that you have. Now let's take this one, hit F2 to be able to
rename it and call it 01 and then apply transform is going to apply
all of the transformations, for example, this
rotation on anything. It's going to apply the
transformations on them, make them 0 on this scale, make them one, so that we have the size consistency
throughout the project. Then we have another option
which is the one material ID. And it's good for the times when you have only
one material ID. In this case, for example, we have only one material ID. This is here if you add multiple material or
it is for example, let's suppose that this one
is a new material idea. You want to check
this one off if your image has
multiple material IDs. So now we have the mesh in here, the PVD is working, alright, and we will talk
about the pivot as well. So I'm taking this one, rename it to 02 and
this one renamed to 03. And this naming convention
is very important as well. You need to have a naming
convention that is readable and findable as well. So that when you look at
the name of the mesh, you know where it belongs
to and what it can do. So let me take this
one and hit Export. Take this one as well, hit it. Hit Export, this one as
well, and hit Export. Now let's go to Unreal Engine. And since we overwrite
this one using that, we go in here, right-click
and hit we import. And now it's gone to here. Now the pivot is
working on right? Now Let's go import
others as well. Right-click and hit import. And now these two are
available as well. Imports all. Now we have
these pieces as well. So let's select them,
bring them all in. Now you see the
measures are colliding because all of them
have been centered, and that is perfectly
what we want. So the next thing that we need
to do to make this work is assigned a grid size
and snapping option. Because now if I select this
one and try to move it, every move that I do is ten centimeters based on
this menu that I have. And this is the snap menu
and this is the grid. If you disable it,
you are able to move it freely
without any problem. But if you want to work modular, you need to have
the snapping on. So let's go to a 100. And now the concrete
is now much bigger. Of course, we will
talk about the grid and how to set it up as well later on when we
create a real stuff. So now that I'm taking this, every time that I
moved this one, it's going to offset one meter. And since these are two meters, these are two-by-two cubes. You see in here. Every cube is one meter. These are two-by-two square. So every time that I moved this are moving
couple of meters. One meter, excuse me. Now, let's take this one
and bring it here loud. Now let's say that
I'm going to bring this one here and bring it up. Let's copy this one. And you see, we created a
very basic modular kit. And now I'm taking this
wall and try to extend it. And you see since the texture is tiling, We have no problems. So let's go to the
material and let's say that we want to
make the tiling better. So there's a note
you can hold down, you right-click to bring in
the texture coordinate note. And this is going to decide
on the tiling of the texture. So if you are going
to change the tiling, you need to change it in here or do something better,
hit Multiply. Now, everything
that you multiply is going to multiply
the textures. The default one is one, so you're not seeing anything. I'm going to bring in a
constant and make it, for example two, okay? Now that I'm making it too. Now the texture is tiling
twice instead of once. So now if I go in here, you see the texture is
tiling twice and we're not getting any problem
in the textures as well. Because every time
that you try to tile, all of the kids are
going to tie it together because all of them
come from the same one. If you remember. First we created this one and dealt with the UV,
and then after that, the next ones from that, it's always a good
idea to create the first kit, the first module. And then after doing the UVs and pivots
and things like that, take the variations
from that, that way. Always you have the consistency and you need to have the
pivot in mind as well. The pivot should always stay the same when you decide on
the period of something, it never should be changed. For example, now, I have
centered the pivot, excuse me, place the period on the bottom
left of this object and anything else has the pivot on the same place so that
they snap together. Very good. So if you go and alter
the pivot, for example, now I have altered the pivot
on this one and exported. And the good thing is
that when you export, it's going to automatically
overwrite that file for us. So I have exported zeros three. Now let's go into
Unreal Engine and take the 0 degree and try
to re-import it. Now you see have been altered because the pivot
of them has changed. So always you need to have
the material, the UVs pivot, and the naming in mind
because the result going to maintain the connection between the DCC app and Unreal Engine. So let's go in here and again, bring the pivot in
here, exported. Now let's go to Unreal Engine. Again, hit rain ports. Now they went back there
because the pivot is now here. So you always need to
have those in light. And let's say that for any
reason we come in here and try to in this door frame and try to offset the
pivot just a bit. So let's go into UV editor and try to select all of this,
and this is the file. Now, let's try to re-size
the UVs just a bit. Now since the UVs are
different from these, Let's export this one. Now let's go to Unreal Engine and try to re-import
the door frame. So now that are reimported, you see that we get a harsh semen here
where the connection of this one and this
one happens and that is because the UVs
have been altered. So you need to make the UVs
tiled together perfectly. So do not worry about
these concepts. We're going to talk about them extensively when
we go practical. But these are the things that
you need to have in mind. Now one thing that you see is because we are using
a tiling texture, we are seeing a repetitive
pattern happening in here. You see 1234 tiling
textures being here. And this is one
of the weaknesses of the modular approach. You are getting a lot
of repetition because the tiling texture on that island geometry
makes that happen. So you need to do a
lot of tricks and a lot of magic to
make this go away. So let's go in here and try to offset the UVs to be better. And now, even in here you see that there's a
harsh semen here. So you need to keep the UVs consistent
throughout the project. So this one is export and now go in here and try
to re-import that. Now that issue is gone and we're no longer
seeing the problem. One of the important benefits of this one is the
fast iteration. So besides from being able to
create different variation, you can take one batch for
example and do changes. And that changes will be, will be reflected back in Unreal Engine in no time
if you use this method. So let's go in here, and this is what we have. So now I'm going to
take a duplicate in case something goes wrong and have this
one as a backup. So I'm working on this
one and not this one because the name
has been changed. I'm only going to work with this one because if
you export this, it's going to give
you another FBX. And this is basically
what you get. And this is really not
we want what we want. So always you need to override the same file
without any changes. So now let's say that
I'm going to take this one and do
another variation, for example, taking this and create some changes
in the geometry. So let's do some
manual, small changes. For example, creating a
frame on top of this one. I simply take these geometry and take this one
and bring it in. Of course, since I'm
using a snapping, It's a snaps one meter away from the surface that I have
a stretched it from. So I'm going to bring
this, bring it here. Now. I have a new piece and now I
have manipulated that piece. Right now. I'm not caring about
the UVs because we learned how to do
the UVs as well. How to correct them
and things like that. So I'm going to
take this exported. And now I go in Unreal
Engine and boom, Let's right-click and re-import. Now you see that change
has been reflected here perfectly
without any problem. And this fast
iteration is something that we're going to use
extensively later on. Instead of bringing in the
mesh and try to replace it, we only change in the
mesh and hit Export and overwrite on top of
the previous file to do the iteration. And this way, you
are able to finalize the meshes and this
block code meshes are going to stay in the place. And the same thing you can
find in these references. For example, we start
with the simple blackout. We do a window, just a window piece in this block code and then do the iterations
on top of that, we add this intricate details. We add the texture work, we add these paneling, we add these ornaments
and things like that. And after some time you see the building come to completion. This is enough for this lesson. It has already gone
beyond 20 minutes. We talked about some
general rules to follow. For example, making the geometry using only primitive shapes. And briefly went over
and talked about pivot, grid size, naming convention, transformation and
tiling material. Especially for these three. We really didn't talk too much. And in the next
one we're going to talk about these extensively. This block code phase really
has some awesome benefits. It can iterate pretty fast. And as you sell, we are able to change
something and export and boom, get it in Unreal Engine. And if there is any problem, you are able to fix that pretty early on because
there's not a lot of texture shader and
geometry being in place. You're only working with
some simple shapes and the problem Fixing is
going to be pretty fast. And then after that,
you are able to test your ideas to see if
they work or not, if they become modular or not. So if you want and test your idea and found out
that it doesn't work, again, you go back and fix it. And by fixing, creating another variation or bringing another kit to fix the idea. Then you can see the
environment quickly. And in seeing here that
more or less this is going to be in place to the
end of the project. And anything that you do, not evolving the mesh and finalizing it is going to be
replaced on top of this one. And now you know that this
is the environment and you are going to be good
playing the game play. You are able to do
a lot of things. For example, this is
a door, of course, since this is a two meter by
two meter, it's very small, but you get the idea and
you're able to test your ideas and play them and to see
if anything works or not. And this is pretty good
to be able to test the ideas early to see if there are any
problems you solve them. And if everything is good to go, you go and start to
refine the textures, refine the meshes, and
do all sorts of things. And one of the most
important ones is getting motivated because you see that
the idea is taking shape. It's going to work, and it's practical and
beautiful as well. When you have this
one, for example, you see that the
environment that you're creating is getting shape. You really get motivated and see that the environment
is coming to life. And it's going to
work perfectly. You see, and you get motivated
throughout the project. And of course, the
changing is pretty fast. If you want to change a module, you can go to the
Content Browser, select this one, for example, and swap it with no problem. And since everything is tiling, you're going to have no problem. So for example, if you
are going to select it and make another
floor is just easy. Cell take them and try to replaced the modules to
create what you want. You say pretty fast. We were able to do simple building only
using three modules. And this is very
good to look at, to see that your
idea is going to take shape and it's
going to work. Now, the only thing
that you need to do is creating beautiful
materials in substance, making great textures that tile, making the tiling
geometry and so on. Now since we are using nano it, we're not going to
use a mesh like this. Is it? This one is tiling, is a tiling mesh, but there are some
problems in it. And if I go into the wireframe, you see that there's really nothing much in here to look at. So let me go in here and try to look at the wireframe mode. You see this is a very,
very simple geometry. It's pretty flat and you're
not able to see anything. But this is the easiest
method to work with. You know that you have
a geometry that works. The word, the vertices in here have a counterpart
in there as well. That is why your geometry
is going to work. But if you add something and offset this
vertices in here, and if I try now
to duplicate this, let me bring it here. Now you see a gap in
between these because the vertices doesn't have
a counterpart in here. So using these
floodplains is very easy to get it done
without any problem. But we're going to do a more difficult and more
attractive and newer way. It's adding a lot of geometry. We're going to use
tons of geometry. And those geometries are
going to be handled by night to make the optimization. But we're going to add
a lot of geometry, for example, for this part, we need to add
geometry and we're going to do that when we
do the real production. So this is what you need to
do to get the blackout down. And in the next one, we talk
about some technical things. For example, assigning
the pivot, the grid size, naming convention, and
things like that to make the project consistent
throughout. Okay, see you there.
6. Some Bolckout Techniques: In previous lesson,
we talked about the blackout and
how to use it and how benefits and how beneficial the blackout
is to our project. Now we're going to talk about really how to create this
block called meshes. And now we're going
to talk about especially the pivot grid
size and naming convention. When you decide about these, especially for pivot grid
size and naming convention, you need to make them
consistent throughout the project and do
not change them over. Because you're going to
break the modularity and bring back the project
consistency as well. So first let's talk
about the pivot and have a geometry that you create has a pivot by default. So let's go in here
and create a plane. And this plane has the
pivot in the center. And you might like the pivot to be in centre or he might want to offset the period to somewhere else depending
on the needs of your project. For example, if you want to rotate and snappier
pieces from the center, the pivot should
be in the centre. For example, in such a case, we have something like this. Everything now is a
snapping perfectly. It's snapping to grid. But if you take
this one and let's say that we want to rotate this. It rotates from the center. But if you're going
to create a wall, for example, that the wall is going to toil in this direction. The pivot needs to be
somewhere in here, in the bottom left. So that when you copied, it has snaps from here. And if you want to make
a 90-degree corner, it's easy just to rotate it and create a 90 degree corner. And it's a good practice
to always have the pivot at the same place for all
of your modules in the kit. Because it makes the
consistency, for example, even if your geometry
doesn't start from here, let's let the pivot to
be in here, for example, let me copy this one to
tell you by an example. So I'm going to bring this one up and let's say
that we're going to create a window in here
that is very simple. I'm not going to do
anything special. This is the place for window. And let's say that
we want to detach this one for the window
so that attach it. And now we have the
wall with the pivot. And it's our right. And we have the window as well. But the window doesn't have
the pivot in the center. For scam, for example,
something like this. The pivot should be just in the same place
according to the kit. For example, these have
the period in here. And a window as well should have the period in here
because let's say that if you want to copy this
wall and bring it in here, and snap it to here, instead of this one
having the pivot in the center to bring it here. It's always good to
have the pivot in here. And it's not just so
easy like this one. I bring it here and it does
something like this for me. For example, let's duplicate a window and place the
pivot in the center. And let's say that we offset this one to something like this. And if you want to bring this
window using this method, we really have to go
in here and try to find the window and
put the door in here, put a window in here
and its own place. It's going to have a
lot of hardness to place this window just the
place that it needs to be. But if we have the
period of the window as the same as the piece
that corresponds to. We only need to place it on the grid and it's
going to be fast. Placing it right in the
place, for example, now I'm going to place it somewhere really
random in the world. So if we need to place
the window in here, all we need to do is center this one and now
turn on the pivot, excuse me, turn on snapping. And now we need to bring it so that it fits the
place perfectly. So it's a good idea to
make all of your kids in the same category or in the same modules to
have the same pivot, stay consistent
throughout the project. And never, ever try to
change the pivot after deciding on what it is going to be because it's going
to ruin your project. Well, this one was
for the pivot and now the next one that we need to talk about is the grid size. And this is as
important as pivot. And the grid size is basically the maximum extent that you
decide for your kids to be. This grid size is an
imaginary box that all of your modules should fit in in order to snap
together perfectly. And the easiest grid sizes are sizes that are equal
in both x, y, and z. Something like
two-by-two by two. In x, y, and z, so that all of the
height, width, and length are together equally. And let's explain that in here. So you see in here
we have this grid. This grid in Blender by default is one
meter by one meter. And to decide on the
size of the grid, if you want to make
it larger or smaller, you need to go in this menu. And in here we have this scale and this represents the 3D grid. One more important thing
that is basically very important to do is going
into this scene properties. And in the units
you want to set it either to metric length, two meters or centimeters. Now, in here, length has been
calculated using mirrors. And now, if we go in here, the scale is 11, is one meter. If you make it too, it's going to make
the grid bigger. And if I take this one, and now instead of only
moving in one meter, it's going to move into meters. You see, it's going
to move into meters. And if I make this
one, for example, 0.5, it's going to have
more grades result the resulting that will
have a smaller grid. So you see now it only
moves half a meter, which equals to 50 centimeters. So you need to decide on the grid size from
the beginning. Of course, this
doesn't really do much because this is only
imaginary in Blender. For example, if you
are going to make the environment in
Blender, of course, it's good to set it to one or two or four or
basically any value. And as a rule I'm
telling you that always keep your numbers in
multiples of two. For example,
two-by-two, two-by-two, or four by four by 48
by eight by eight. And of course you can go by
three by three by three, but you're going to
have some problems. Of course not, not problems. For example, if you
are going to alter the size in subjects
you need to go and multiple these values in order to pieces to snap
together perfectly. The numbers of the dimensions need to be multiplies
of each other. For example, a piece
that is two-by-two, two-by-two can snap to a piece that is four
by four by two. And by that I mean that
may create a cube. And this cube by
default is two meters. And it means that
it's two meters in every direction,
two-by-two by two. And let me copy that. And now I'm going to
multiply that x and y. So I'm going to scale it in x twice and scale it in y twice. So you see that now this one is a lot
bigger than this one, but this one is still can snap
to this without any flaws. So I'm taking this one, bring it here, and
bring it here. And you see, since the values are multiplys
of each other, they're going to snap together perfectly and leaving no gaps. But if you make it, for example, three by three by three, if you make the odd numbers, if you're going to multiply
them or divide them here, getting these bad numbers
that have decimal points. For example, 1.551, you're getting decimal numbers
are not whole numbers. So in order to make it
easier for yourself, it's a good idea to use the
multiples of two if possible. But if the project
doesn't allow, just go for something
that you're happy with. Now you see how grid
size is important for making these
snapped together. So let's say that I have these two pieces and I'm
going to copy this one again. Now it's going to tie
together perfectly. But now if I create a piece, let me bring in a
default cube again. And this cube is, instead of being
two-by-two by two, let's make it three
by three by three. And now you see that it
doesn't match the proportions. And let me make this 12
to match that better. And although you see it has problems a
snapping to the grid, and it doesn't match
the grid perfectly. And if you do something
to make it really there, we're going to have a
lot of space that is either positive space or
negative space, like here. And it's not going
to snap perfectly. If you duplicate it. Again, it's going to
have some bad geometry. So you need to make the grid size always have
the same multiplies. Again, he can stick
to the two-by-two, two-by-two, or for your
four by four by four. And that grid size is
really an imaginary box. Let me go and create a cube. And this cube is two meters. Let me make it four. And now we have a
four by four by four. So let me go in here and
place the pivot down the bottom and make
it centered in here. So let's say that this is the grid size and
everything that we do here should
match the proportions. Now. And it's a good idea,
it's a good practice, although not necessary,
It's good to place the pivot on where you
want the pivot to be. For example, if you want a pivot to be in
the bottom left, just place it in the bottom-left
and you're good to go. So place it in here. And now let's say that
we want to create a wall that is four
by four by four. That should be a place in here. And it should
especially stick to this part that is length and width so that it can
match the coexisting kits. So in here I'm going
to bring a plane, and now I'm going to
make this 14 by four. So let go, Let's go in
here and rotate it. Bring it up. Now we have a kid that really gets placed in
here without any problem. And this is a kit. But now the pivot isn't just in the place that
we want it to be. You see the period is
here in the bottom left, but this one is in the center. So in order to borrow the
pivot from this mesh, you first select the target mesh that you want the
pivot to be there, and hit Shift and S. And let's make it harder by bringing this
to another place. For example. Let's bring this one as well. Now the pivot is in here. So this is the
period of the world. We need to offset this period to this period so that we can
borrow the pivot prompt here. So you're going to understand
it just in a minute. I'm going to select
this hit Shift and S. And now these, these two are going to
manipulate this circle. So what I'm going to do
is bringing the origin. This circle is
called World origin, and the origin is
basically the pivot point. So I'm going to bring
this one to select it. Now, it offset at this
from here to here. So now what we need to do is
selecting this one again, Shift and S. Now this point represents
the origin of this one, which is this orange
point that you see here. So we set this one to cursor. Now the period is in here. And now I'm going to
do something else. Bring the cursor or world
origin into its place. And now both of these are
having the same pivot, are borrowed the
pivot from this one. And it's perfectly alright. So now let's say that
this one is a kid. Let's copy to another place. And again, I'm going to do that example and create a door, just a simple example. That is not going to
take a lot of time. So let's say that the creator, the door, I'm going to add
just a couple of variations. So I'm going to take this one and this one and delete them. So this one is a
variation as well, and it has the same pivot. Okay, I'm going to duplicate
this and bring it here. And let me take this one, duplicate it over because I can make a window
out of this one. So let's select these two. Right-click and
bridge edge loops. It created a window as well. So the window, I'm
going to make it a bit smaller,
something like this. Okay, now we have
three pieces and now let's say that we want
to create some sub kits. Let's go look at references. In here. You see that in such a place there is
a floor kit as well. It doesn't connect to the
top piece with anything. You say. It's the ceiling of the bottom floor and this is
the floor of the top floor. And in here we have something
that stays in between. This is the ground. And we could go and try to attach this just using
this method, for example. Try to attach these walls. But if the player goes in, we are going to have
some Z fighting. For example, if I have
ground to be in here, let me again duplicate it
and try to put it in here. Let's say that this is the
floor of the top floor. But what about the
ceiling of this one? The ceiling and the floor are going to have
some Z fighting. And you see two measures
are on top of each other. So in order to remedy this, there's some sub
kits that you can use to put some spacing
in-between these so that these are not fighting measures so that we have
something in-between. So this is the time
where the sub kids come together and we can go and create variations
of the grid size. For example, now that we
have four by four by four, we know that everything,
for example, two-by-two by four,
can snap to that. For example, a one by four P's
can also can snap to that. So let's come in here. I'm going to take a duplicate
in case we lost something. And this is a
four-by-four piece. I'm going to take this
one and bring it down. So right now, what we have
here is a one by four Ps, one meter in four meters. So let's go back. And let's tell that. Let's first add just a bit
of geometry details in here. Just to make it a bit more
beautiful to look at this one. And this one. Just like this one. And now, because the
period is in here, I can take this one and just snap it here
without any problem. Let me bring the snapping on. Now without any problem, you see that it
goes in place and act as a place in-between these. And it's good also to have some authentic fluorine in here. So let's connect these
two pieces together. And I'm going to
duplicate this one. Again. You say it goes and it slows, works with all of the kids
together. This one as well. Now, let me take this
window, bring it up. And this also adds a bit of a spacing in-between the floors. And now let's say
that in here we want to add couple of words. For example, couple
of smaller windows. So a four-by-four can also support two-by-four
or four by two. So let's go in here,
bring this one. I'm going to take from this
and bring it right in here. And now this is a four by four. Let's take this one
and bring it in here. Let's decrease the size. And now this one is a two-by-four and it's
perfectly supports here. In order to make it authentic, I'm going to add some windows so that we know
that we're doing. So I'm taking this delete. And let's say that these are some couple of smaller windows. So I'm taking this,
bring it in here. And since the logic
works to buy, the forest snaps in here
without any problem. And since in here is four as
well, two-by-two means four. Now we get a piece that
is working perfectly. So it's all about
playing with numbers. And even if we wanted to
create a third floor, we can take this, bring them up. You can go ahead and start to
make a third floor as well. If the gameplay
needed something, you can do that as well. For example, let's take
this one and bring it here. Now we have a
four-by-four piece, but that may take
this and bring it to the top so that
we have a 6.4 Ps. And that doesn't
matter as well as long as it snaps together, it's going to work perfectly. And now we have a six
meter wall in here. And let me again go
and add a couple of windows and duplicate it across. And now you see we have
variation in the building. It looks less repetitive
than the previous one. But if you are going
to try to duplicate another of these
four-by-four meshes in here. It's not going to work because it has a bit of empty space. But if you are going to
cover that, It's easy. Some pieces that
should have snapped together to fill the spaces. So as long as your mathematical
calculations are right, you are really more than
welcome to do anything as long as it has snaps
together and functions, right? For example, in here, the
flourish should be the same. Let me take this, bring it up again. So as long as the floor of
these share the same logic, it's alright, for example, if the player is in
the building itself, Let's say that this is
the view of the player. This is a window, and
this is a window as long as the floor and thing
is working. All right. As long as the floor and the ceiling are doing
their job pretty well, It's really not a good problem. It's not a really huge problem. So the mathematical is alright, you're going to
have a good time. So this is the blackout
and now you can take it and do whatever you
want to do with it. We can iterate on it. It can do a lot of things. And now something about
the naming convention, because it's very important. For example, if you go into Unreal Engine and I
started to look at this, the name in here is 03, and it doesn't actually work. When you're looking in
the Content Browser, you're not really going to guess what this module is going to do. You need to invent
a naming convention to make all of these
readable as possible. And you want to make it
not only readable but easy to understand and
distinguishable from each other. For example, let's go in here and we have some kids in here. Let's say that this is a
wall piece that we have. This is a wall and window. This is a window and this
is a wall and window. Again, I'm going to take
this and delete it. Let's say that we
have three kids, three modules in here that
belong to the same kit. And knowing that all of
these are coexisting, they're going to be together, just like this one having
the same material, existing, belongs on
each other and so on. So to make the, we go in here and do the Rename and the naming should be as
descriptive as possible. The first thing that you
need to do is adding. This has an represents
the Static Mesh. And it means that this
is a static mesh. And we're going to find that
better inside Unreal Engine. Of course, a static mesh or
things that do not differ. For example, a building
definitely isn't a static mesh because it's
not going to be animated, It's not going to be
moved down anything. So a static mesh. And then after that at MOD, so that we know that this is a static mesh and it's modular. So the next thing is, what type of cute this one is, for example, this is Victorian. So that we know that this
belongs to the Victorian kit. Or if your project
is Victorian and you know that you can
simply ignore this one. So Victoria, for example, raise for residential building, you need to have some sorts
of abbreviations in place. So now that we know that this
is a residential building, this is a wall. And always after anything, you need to add 01, so that later on, if
you added variations, you can distinguish
them from each other. For example, if you create another wall that this
wall is different, for example, having an
arc, something like this. Let's do something like this. And now we need to change
the name on this one. For example, let's go in here. Now this one needs
to be all 0 too, so that the naming stays consistent throughout
and you can read them. And now we can read that this is a static mesh
modular belonging to the Victorian era
residential building. And it's a wall 02. And taking the same
name, let's go in here. And this one is just like this one but
something different. It's a static mesh modular Victorian residential
building wall. And after the wall, we need to add window so that we know that this is a wall that contains a window. And 01, again, if you want
it to do a variation, you simply duplicate it
and make it 0, excuse me. So that for example, the windows in here are a bit
bigger, just like this one. To add a variation,
and this one, Let's go paste the same
name and try to rename it static much modular
victory on residential. And this one, we can
call it window 01. Okay? Now we can really just
slap it into place. Let's say that for this one, we have another
static mesh window. We duplicate this in here. Just set it to, point to, and place it in
here just to make it really the size
that we want it to be. Make it bigger so that it covers the whole window
frame and it's done. Let's say we have now a good and solid naming
convention happening in here. But the thing is that
you should never change these naming conventions. You should have never
change the pivot. You should have never
changed the material. And you should
have never changed the proportions and the
grid size of the measures. So let's go back a
couple of steps. And in here, Let's
say that we make this one bigger by some mistake. So if you export it and
going in Unreal Engine, and when we try to
re-import this, we're going to get
some problems. So you see now the
mesh is bigger, the consistency is broken, the texture is not tiling
anymore and a lot of problems. So you need to have
always the pivot, the grid size, naming
convention and transformation. And this transformation
means the scale, rotation and the
location of the mesh. You should always place it
in the center of the world, just using that bad eggs. And you should have never
mess do it rotation. And let's do, We did the scale. And now let's do a rotation. For example, if you do a
rotation and exported again, let's go to Unreal Engine
and re-import this. You see now it has been
rotated very weirdly. It has done a lot of
inconsistency in here. So after this, of course, I forgot something
and that is the UVs. You should not change
the UVs as well. Of course, we have
demoed the UVs on how we can change the UV.
Let me go in here. And this is the UV. If you try to rescale the UV, you're going to get
different texture resolution in here and in here, causing the tiling to be lost. So always when deciding
on the pivot grid size, naming convention, transformation,
and the UVs as well. You want to change them because you are going
to have a lot of problems. Well, this is the end of
the introduction chapter. We talked about
modularity in theory. And in the next one, we're
going to do the practice. We're going to go through the references and find something that suits and
start to build them. Of course, until now we
have covered the chapter, gives me the step one, which is the planning
and the blackout and didn't cover the
AAA procreation. And we leave this one
for the next chapters. And really there's no point in going and refine this to make a huge environment out of this because it's going to be
a lot of voice that time. So we have learned
about the theory. And then the next one we're
going to create a real scene, refers to the blackout. First to the planning
done blackout. And then I start to flesh out the scene using different kits. Okay. Take your time and learn
the theory because we're going to do practice. Congratulations on finishing
the first chapter. Theory in the next one.
7. Blockout The Residential: Congratulations on finishing
the first chapter. And now in this one
we're going to go for real production and start
to make the environment. Of course, the amount of
modularity is based on your needs and depends on how far you're going to
have modularity, for example, when it
comes to planning. Now we're going to plan for this particular building
that we are going to make. But first, I'm going
to do an example. And let's take this
building as an example. So this is the building
and you can see that clearly it's a perfect case for creating a modular scenario. I'm going to plan that for now. Of course, we're not going
to create this because this is so simple and really
not that interesting, but it's a great idea to
use this one for planning. So let's talk about
the amount of modularity that you want
your project to have. For example, you can go ahead
and make the first floor of single module just like the seal modelling inside Blender or any DCC
app that you have. And this is the same module. It cannot be changed. It can be used only in this way. And then you can go ahead and make this one
another module. You have floor completely
as one module. And then the third
floor and the roof can be themselves
individual modules. This one has one benefit. You can do your
work a lot faster. You create a module and you
only have to repeat it, but it has some
drawbacks as well. You get a lot of
repetition and you get less amount of customers
ability for your modular kids. In that case, you would
have something like this. This is composed of
three modules only. This is the first module. You can see that just imagine
that this is a final piece. We have only one door
and some windows. And for these ones as well, we have some windows and
a centerpiece in here. This one works a lot faster. But the problem is that they get less amount of
customers ability because you have only one
module and if you are going to make a lot
of buildings with it, you're going to have a lot of repetition because you're only using a model that doesn't
have a lot of details. Of course, the benefit is that
they are going to be a lot faster and do not create
a lot of variation. The bad thing is that you
get a lot of repetition. But the workflow, that is
my personal preference is making each individual
repeating pattern, a kit, a module. So in that case
we have this one. This wall is repeating all over. So let me select it from here. This wall is really
getting repeated all over. We go on, create a
module out of that. And then in here we have
this door that can be used and repeated throughout the
project, another module. And then up top in here, we see this window when
repeated a lot of times. So I'm taking this
one, another module. Up top, we have another window that is different to this
one because it's a smaller. So this one again
becomes another module. And this Wolff piece as well is a tiling piece. I'm taking it. And another module, you
see we have selected 12345 modules from
this whole building that are repeating elements. And we take that, model
them and make them toil so that we can create
a modular kit out of that. And after that, we can create a lot of more
variations from that. So this is the process that
is my personal preference, and I encourage you to
use this one as well. Of course, the needs
of the projects vary from one to another, but this is my favorite method and the method that I'm
going for in this lesson. And to create a good thing, you need to have a lot of
good references so that you can guess what you are
going to create from them. For the first building, I decided to mix and match these free to get
something out of them. I really love the
look of this shop. And also the fact that there's a residential building or basically anything on top of it. Of course, I'm not going to
make it just like this one. I'm going to make some changes. For example, bring the door
in here, make it smaller, and make window shop in here so that on top of it we have
some sorts of buildings. So now that I'm looking at this, this looks like a
four-by-four piece to me. It's just like in each direction and we have
some pillars as well. And these pillars
are a bit tricky. We can use a lot of them to
be corner pieces as well. And the coronary pieces are important as well because they are going to give a more natural look
to your environment. For example, if you do
not have a corner piece, the module that you create is going to be something like this when they stitched together. When you're going
to create a corner, it's going to be
something like this. Let me rotate this 190 degrees. It's going to be
something like this and creating a very sharp
90-degree corner. But in reality this is not true. So we're going to create
custom corner pieces. For example, shrink this
one in half. This one. Shrink this one in half as well, and delete the rest of it. And we join them
together and create some more geometry
in here to make this one a bit less edgy. And CG. These are four corner
pieces as well. And for the pillars as well, we're going to
create some pillars. They give their environment
a more beautiful look. So now let's start
with the door frame. I'm going for four-by-four
piece for the door frame. So let's go in Blender, bring in a plane. And now this plane
is two-by-two. So let me convert it
to a four-by-four. And I'm going to bring
the pivot just in here. And let's make it a stand-up,
something like this. And this is not going
to be the whole door. This is going to be
the door frame itself. And always to make sure
that you are going to create the sizes correctly. I'll always have referencing the scene and this
one is a two-by-two. You can shrink the size, for example, in here. And now this looks like something like a
scale of a human. Or he can go and bring into Unreal Engine mannequin or have that from
Unreal Engine four. And I always bring that one. I'm going to create a project. So this is it and
this is the size of a human, 182 centimeters. And compared to this one, it's looking all right,
and this is the scale. And I'm always looking at that
and comparing the size of the player to the elements
that I'm creating. Okay, let's go in here and
first save the scene and say too much because it hurts a lot when you're
going to lose some progress. So let's go in here and try
to give this a bit of detail, just some elementary details so that when you put
this into Unreal, we know that this
one is adore piece. So let's go for it a name, I'm going to name it a
static mesh and all the four modular and RAS, so that we know that this one
is a residential building and runs after that 01. In case later on we
created a variation. We know that this
is the centerpiece. I'm taking this. And according to
those image that are, so I'm going to create
some buildings, excuse me, some frames. K, This one is good
for the entrance and now let's rotate the player. This is the size of the player, but I'm going to make this a bit wider so that the player can
enter without any problem. And the height of the door, I'm going to make it a bit
more, something like this. So this is going to
be our door frame, so I'm going to extrude it out. And this is the piece that
we're going to create. Let's give it some
details as well. I'm going to connect these and take these
vertices, for example, and turn off the snapping mode and bring this
back, for example, just to give this a
bit of silhouette so that we know there's going
to be something in here. Of course you do not
have to do this. And the good thing
is that you do not do something like this. But because I really hate
looking at these flat surfaces, are always loved to do
some detailing in here. Just in case that we know there's going to
be a little bit of detail in here and promise ourselves that there's
going to be something, okay, we have this one perfectly
created, an after that. I'm going to create
sharp as well. Of course I'm not going
for the interior, we're going to we're going
to create the exterior is only one I'm going to do is really not duplicating
this one by one. I'm going to create
something that follows the rules of these but
really not copying. So now that I'm looking at this, I feel like this one is too big. This four-by-four
is really too big. So let me take it. And I'm going to
hold n and n here. And why? I'm going to
bring it to three, okay? This is now more manageable
and the size is better. Let me now the wireframe. And this is the size
of the character. And no problem. The character can
go through in here. But if you're going to really have the level
designers in mind so that they can create the player animation
going through the door. He can go and select
the vertices. And these ones as well, and widen them a bit. Something so that there's room
for the player to walk in. Okay, This one is a
four by three piece. I'm going to create two
floors on top of this one. So again, I'm going to bring
in a plane, just re-size it. And connect it here. Let's first put the pivot in
here and place it in here. And this is four by four. Let's make it four by
three. Absolutely fine. And now they share
the same pivot snapped together perfectly. So let's turn on the snap mode and you want to
put the mode to increment. And for changing the
increments as well, you can go and come in
here and change the scale. For example, if you
want to make it three, it's going to make
every three meters and increments and you can snap
it just once and goes. Perfectly. Soap, No problem. So let's go back and put
two increments to one. And I'm going to copy
the name from this one. And another information that you can add in the name of the, excuse me to the name of the module is the
size of the module. So let me go in here. And after, before the 01, I'm going to add four by
three underlying one. You can add this one so that you can read it a lot better. But what I'm going for this one, put the name in here, and this one is going
to be the top floor, basically something
like this one. I can name it. Second F for second floor. Of course, you can go for
any name that you want, but we're going for
something like this now. It perfectly snaps
up top of this one. But one thing is that never a snap the
floors like this one. Place in-between them so that
you can add more details as well as separating the
floors and ceilings often, for example, if you're
going to really create, again, this one is
going to have a floor. It's not going to stay on top. For example, if the
player walks in, let me simulate that. There's something like this. The player is in here
and can travels into the level and down below in
the first floor as well. We have something like this. This one should
also have a roof. And that way we are going to
have a lot of Z fighting. So I'm going to
bring this in here. You see that the location
in the object properties, it's now plus four z. So I'm going to make it plus
4.5 so that it goes up. And in between this one, I'm going to create
an art piece, piece that we are
going to have a lot of details in something like this, for example, we have a lot of details to make it more
beautiful to look at. So again, I'm going
to take this one, duplicate it, bring it here. And I'm going to select a point. I'm going to bring them down until we have
five increments. This, these ones are
ten centimeters, 12345. Okay, now let's go and attach
it up top of this one. Let's bring it up. It snaps, and we have
the top piece perfectly. It's a good thing before
importing these into Unreal. Just a snap them here to
see if they work or not. Okay, I'm going to
rename this one. And of course we
are going to make these tile to not
worry about that. We're going to do
that when I change the name to static image
modular residential, ornamental tree, or 0.01 in case we wanted
to create a variation. So now I'm going to create a shop and let me
take it from here. I'm going to duplicate this, bring it in the center, snap it here, okay, the shop is going to accompany
the introns in here, and I want this one
to be six meters. But I'm going to tell
you why in a second. So I go to this Transform panel, and in here instead of three, I'm going to add six. So that when our tile
this, Let me go back. I'm titling this 11 and twice. I'm tiling this one twice
and not getting any problem. So this one is going
to be the shop. This is going to
be something like a unique piece that you
cannot really use too much, but it's going to add a
lot of details into that. I'm going to delete these and select this one and name it. Sharp four by 601 in case you wanted to create
some variations from it. Okay, let me take this one. I'm going to add some
details to this one as well. It's not really recommended, but when you see them
having some detail, you're going to have a lot of
good time looking at this. It's really motivates you
to continue your work. Of course, if you're going
to save a bit of time, just leave this be. But if you're going
to make them a bit more beautiful to look at, just add some detail
and you see it's a lot cooler than
having that floodplain. And then this one, again, I'm going to come in here
and create a window. Hey, let me bring this one n and another one in here
and extrude this one in. Just to have a bit
of silhouettes. And for this shop as well, Let's go and add
a bit of detail. And again, I'm telling
you that if you do not want to waste your
time detailing this, you're more than welcome to go and detail the rest
of the things. But in here I said because I really do not love to
look at the floodplains. I'm going to add them
just a bit of detail. So I'm going to create
a corner piece as well so that when we are going
to create a corner, we do not see that sharp
on unnatural, ugly corner. So let me go and create a cube by pressing shift and
a and bringing in a cube. Okay, let's go in here
and make it point by 0.5. And for the z, because all of these
pieces are four meters, I'm going to make this
14 meter as well. So let me place
the pivot in here. Okay, let me, Excuse me. Let's go and place
the pivot in here. Now. These are going to have
some corner pieces as well. In order to make them a snap. I'm going to leave the
corner in the between. So let's go in here, add a vertices here, n vertices in here, and select this center vertices
and make it the pivot. So it snaps perfectly. And I can bring it in
the center as well. Let's try that one. And when we make
this one the corner, It's going to cover a lot
of places. It's great. Okay. And let me take this one and
I'll simply call it corner. So now I'm going to create a third floor for this
building as well. But the third floor, I'm not going to make
it four by three. I'm going to make the
third floor a bit smaller. So I'm going to take this one. Let's bring it here. And in here. I'm going to make
it three by three. And it's going to snap perfectly and it doesn't have any problem. I'm going to bring it here. And let's turn the snapping
to be on and bring it up. Of course, there should be
a piece in between these. So I'm taking this and
the snapping should work perfectly if
I bring this and make the snapping
a smaller bits. Okay, now we have a
three story building. And let me take this
one and I'm going to rename it just third floor. And for the size, I'm going
to make it three by three. This should be
descriptive enough. Let me take this and I'm
going to copy them just in case to test the toiling copy. And another one, k, You see that we
created a building. And it's very good
to look at them because we know that now these are going to be a snapping together without any problem. And on top of the third floor, I'm going to add the
rooftop. Rooftop as well. You're going to make it either
modular or a one-piece. And now that I'm
looking at this, you see that piece
that goes on top of the roof is more intricate
than the previous one. So I'm going to take
this and bring it up. Let's just bring it up on here. And I'm going to make
this one a unique piece. I'm going to make it
move ornament tree. I can really invest in this one. And instead of ribeye half, I can make it three by one to make a difference
from the pieces. So I feel like I've
made a mistake. And in here, this size is three
by half, not for by half. And you're seeing that here. This is the corner piece. Let me bring it back up in here and duplicate
it and bring it up. Okay, Now let me
duplicate it and trust stain with it just a bit. After this one, I'm going
to create the actual roof. And you see that in a lot
of the buildings in there, we have a triangle roof. So let's go about
that one as well. I'm going to create a piece. Let me bring in a plane. And now I'm going to
make it three by three. And actually let's
make it three by six. Or let's do that the other way. The x by three and put
the pivot in here. Bring it up top. But I'm going to make this one something like this so that
we have the roof as well. So let me take this
one and call it. Woof six times 301. Okay, and now let
me duplicate it. Sometimes. It makes
a great building. You see that how simple we were able to do the
modularity on this one. Now from now on, it's only
the matter of detailing this as much as we can to
make this look beautiful. London nanometer as well in Unreal Engine is going
to help us do that. To make this detailed a bit. I'm going to take this. Let me take this and create a vertice in here and
bring this one in. Let's disable the snapping. Something like this, so that we have something like this on top. Instead of having
only a flat piece. So let me take this one, bring it up, turn on the snapping to see
if that works or not. You see that now it
works a lot better. Now also we can take
this plane from here, Shift D to duplicate it, and just hit P to separate it. So I'm going to
separate the selection. And now we're left with this
piece, with this plane. So this is what I'm going to do. I'm going to select it
and create a guard piece from it that bingo isolated. Go into the polygon
mode and take this, I'm going to take all of them, hit I to insert. And we're going to hit
again to separate these. And I'm going to
hit E to extrude. Once. Let's go back. We have some gardening
pieces in here, so that's someone talk. Do not fall from here. Okay, do not worry if
these look boring, we're going to
make them awesome. Let's copy another time. And I'm going to take this one, Bring it here as the main piece. And I'm going to call
it buf guard by one. Okay, Now I'm thinking about adding different modules to make this one look
more beautiful. And I found out that when we are going to cap this
building from here, we're going to need some walls. So let's do them as well. We only need a flat plane, and let's make it four by three. Just to see what happens. Let me bring it here first. Let me As from here, excuse me. I'm going to make the
corner piece from here. Now that I'm looking at this, I should be able to snap
this one with this. So let's go in here and
take a look at this. And you see that it's a
bit of from four meters. And by that I mean,
this is one meter, two meters, three meters, and four meters on top. We need to select
this one and bring it right in place that
it meets four meters. So I'm going to bring
it right in here. So let's go back. And of course we need
to delete these and replace this one with this. So let's take this one and do the resizing to be
a lot more exact. So this is the four meter. Let me take it and bring
it exactly in here. Now this one is
actually four meters. And let's look at it from here. Three meters, perfectly fine. So I'm going to go a step back and actually take this one, delete it, and bring
this one here. And bring this one here as well. And instead, let's
make this one four by three and remove this one from the end of the name so that this one is the
backup file that we have. Okay, let's take
this one, copy it. Sometimes. I'm taking this. And let's say that we want to make this building a
symmetrical piece. I'm going to bring it
here and just rotate it. Now let's copy this one. Let's see how many pieces we need to cap this building off. So we have an extra
meter in here. This four by three
isn't actually working, so I'm going to change the sites because in here
we have 12345678. But in here, since this one is a 3-meter piece being
repeated over three times, you're getting nine meters. So I'm going to make this
one in stuff four by three. Let's make it four by four. And now, if I
duplicate it one time, you see that they actually
snapped together. And it works perfectly fine. So let me take this
one, bring it up. And bring this one up as well
to not worry about these because we haven't brought
those in just now. So let me take this one as well. Bring it here. And you see how this
snapping piece makes it more beautiful and giving it
more shape and definition. Okay, Now that I'm
looking at this, we need to create some pieces, four corner pieces
for this one as well. So I'm going to take this
one and bring it up. So you see that when
I bring this one up, we need a corner piece as well. So let me copy this
one, bring it up. And I'm going to select
all of the vertices from this one and take this
and bring this one down. We have a corner piece
for this one as well. So let's bring it here. And let's just bring it over
and name it corner too. Since this one is a
one-meter piece as well, we need to have a one-meter
corner piece as well. So I'm taking this
one, duplicate it, select the vertices and bring them down to make
them one meter. Okay? This is another
corner piece as well. So let's bring it here
and name it corner 03. Okay, now thinking about doing a costume piece in
here to cap this part of and there are a lot
of times when you need some custom pieces to solve an issue, and
this is one of them. And there's no way we can cap this part using
these modules soap, we need to create a costume
piece for this one, only to cap this part of, that is a part of
modularity as well. So we are actually too long into this lesson and we're going to do that
in the next one. Okay, See you there.
8. Residential in Unreal Engine: In previous lesson, we did these modules and now we're
ready to tackle this one. And we're going to create
a custom piece for this one that is not going
to be used a lot of times, but only when we have something
like this that is common. For example, you've seen here, even if you take this
one as a modular kit, you have this one only used once or twice in
the whole building. That is not a problem. That is a problem and this single module is
going to solve that. Let's come in here and
select a couple of these. And we should create something
that feels this gap. I'm going to come onto module
to be in-between these, I'm going to bring Shift and
S to bring this menu up. And I'm going to bring the
center of the world to select it now that everything that I place is going to
be placed in here. So let me rotate it in here and you can
do a couple of things. One is create 1.5 of it
and duplicate it across. And by that I mean,
creating a piece that is just like this
and duplicate it across. And the next option
that you have is creating that completely. Because we do not want to
have any obvious repetition. We're going to have the
kid model in that way. Let's go back and start
to model this one. Let's select vertices and bring the vertices up
until it meets here. And select these and
bring them up until here. Make them cover this gap
from this side as well. Now, I'm going to add a
vertices in the middle and taking these two
and bringing them down. Or even better, I
can take this one and this one and
merged the vertices. And that is how we
created this kid. To fill this gap. Of course, we need to tackle the pivot. And the pivot is in here. Let's go back. And it feels this gap perfectly. Okay, it's fine. Now, let's bring it back and place it here
as a backup piece. And I'll just name that
room costume piece in case that we know that
this is a custom piece. And now that I'm looking
at these references, I find out that in these pieces they have
these windows as well. So let's go ahead
and create that. First. I'm going
to take that from this one because I want
to have the same pivot. So let's copy one module and
you see that it's in here. So let's isolate that
and start to model that. I'm going to create
only one piece and Bevel dad to create
a room for that. Created the room for that. And now let's select this
polygon and deactivate that snapping because I do not
want that to be activated. So I'm going to extrude, but I'm not going to extrude in this direction in the normals. I'm going to hit right-click
to disable that, and I'm going to drag it out. Okay, for this one, Let's select this
and select this and align them to the right. Excuse me. I should
select borders. Instead. If a loan for any
reason doesn't work, just select this one. And we need the x
information, this red one. So this is it. I'm taking that and bring
it here and apply it. Looks like that. I need the global, global and copy the x
information and paste it in here so that it comes
out to fill this gap. So now let's create
a transition piece. I'm only going to add
some vertices so that I can take this sensory piece and add and hit Control I to
invert the selection. And I have this
selected and hit, Okay. Now I have this piece
as a block code one, and the pivot is as
the same as this one. When I drag this here by having the snapping mode turned
on, you see that? I can perfectly do that here and have that
window piece in there. Okay, That is gone. Now let me bring it in the center and just
give it a name. And for the naming,
I'm only going to simply call it roof window. Of course you can take
whatever name you want, but this is more
than enough for me. So I've believed that this window and this
house has been finished. We have all of the
modules and now we can go and start to set dress this
one inside Unreal Engine. Again, when we needed a piece, we come back to Blender,
create that piece. And again go back to
Unreal Engine and do that. Now, I'm going to create
an incremental save and to save a new
version from this scene. In case just needed to go back and bring something
from that scene. I have the backup file on. These are the main pieces
with the pivot and the naming convention on
anything on this is the door. This is the window. This is the second floor module. This is the trim piece. And I'm looking at
the name to make sure that the right one
gets selected. For example, the
name of this one, just look at it and just look at the name of this one
which is a variation. So I do not these, Let's take this one and this
needs to be renamed as well. I'm going to simply
call it tiling wall. Now, let's bring it in here. You see how with some modules we were able to create
something like this. This one. Let me go and find it. I have the backup in here. And this garden on
the roof as well. Of course I have running here. So let's see, what else
do we need to have? Of course, it's a finished one. And I feel like, yeah, this one for the third floor as well needs to be exported. So check that. And all of the kids
are these ones. And I'm going to hit M to create a new collection and
call them done to separate them from all
of the kids so that I have this folder and I
can turn them on and off. Now, let's isolate this
and I need to export this. And of course let me take this wall and make it
rotate to this side. Because I want all of them to rotate in the same direction. By default. Just like any piece
that we have here, there are facing
the same direction. This one should as well. So now I'm going to
bring in the buttocks. This is going to help us a lot. You need to configure a
folder and have in mind that this folder should stay untouched throughout
the whole project and it should not change it. Because later on we come back to this and I start to refine them and re-export them to be
important in Unreal Engine, we need the folder, we need the naming structure and anything to stay
at the same place. And for now, since
all of these are sharing only one material, I'm going to apply
one material or ET, but later on maybe we add couple of material IDs to same mesh, will check that off later on. Center transform as well should be turned on
because we want them to bring the machine
the center of the world before exporting
and then export that. I'm going to specify a
folder just in the place of the Blender files of these
in this very direction. And throughout all
of the project. When we do variation on these, I'm not going to change this
folder for whatever reason, because I only want to export, overwrite the file and Unreal
Engine just Hadrian port to re-import it fights to cut down a lot of unnecessary work. Okay. I'm taking this and I'm
going to export them. Just take a couple
of them at a time. Hit Export. And if you want to
see the result, just hit this one
to open the folder. And these are the
modules and 14 of them. And it's right, we have
14 pieces in here. I was wrong about 15. And if you want to count them, you can simply go into this viewport overlays and
turn on the statistics. And here it says that there are 14 objects present in here. Okay? Now it's time to go into Unreal Engine and
create a new level. Just the basic 1. First off, you need to have the snapping
and one meter increments or we change it between
a meter and a half. In some cases. Have it turned on
in the beginning? And now, let's Save. Remember, to save often create a new subfolder in
here, call it map. And just note that we are under the modular Victoria
and just call it level underscore
modular Victorian. And in here I'm going to write
the process for example. Now we know that we are in
the blood called phase. And after that put an
a so that later on, if we needed to save a
variation from these, we change this one to be safe
and go to folders measures. I'm going to bring them in here. Of course, it can create
multiple folders. For example, now we
are going to bring in the residential building kit. You can create an
extra folder for that. But since all of these
have these rays on them, it makes sure that alphabetically they
come after each other. And later on we
create another kit. We change the name so that alphabetically they
come after each other. And we do not have to create
multiple folders for them, just for easy navigation
and personal preference. So right-click and import. These are my files. I'm going to select all
of them and hit Import on and do not care
about these options. We will fix them later on. Okay, and now we have this. Now I can drag them in the
scene to start to test them. The corner piece, just bring up the content Brower by clicking on control and space and docket in the view so that
we have no problem. Okay. Since now the snapping
is turned on. You see, when I
release it somewhere, it gets snapped to where it
should be based on the pivot. So now I'm releasing
that in-between that you see it gets snapped to
the increment points. That is a great
thing to make sure that you're always on the grid. This one needs to be rotated or you can go and rotated
in this direction. Okay. And this one, these the window piece, the floors, the shop, third floor, and the lingual. Of course, you see that all
of them are working now, but I don't want all of them to be only having this bad color. Let's create a simple
material for them so that it's a bit more pleasing
to look at them. So bring down the
counter driver. Now let's go in here and creates a folder that we are going
to place our materials in. This one is going to
be called materials. And in here I'm going to
create a subfolder so that we know that this one
is for blackout purposes. So just go in there, right-click and
click on material. And I'm going to call it a man. Every time that you're
going to create a master material that
you are going to take instances from just add before anything
underscore lockouts. And in this one we're
going to create a material that is
applied to the world, not the geometry,
because you see, for example, this one
you see has a bad UV. And if you are going to map the texture to the
UVs of this one, we're going to get errors, but I'm going to
bring in a node that is called World aligned. That is it oral
the line texture. We give it a texture than bringing the XYZ
to the base color. Now, it says that we
need the texture. So let's go and
bring in a texture. We need to hold down T in here and click to bring
in a texture sampler. And from here we can create and bringing a texture and just go and search for Chapter.
Bring this one in. And the material
functions are going to work with texture objects. I'm going to right-click on it and convert it to
a texture object. And now you see that
it works perfectly. But before that I'm
going to add a multiply. Multiply is not going to work
with the texture object. Again, hold down T because
the texture is sampler. If you drag a node, it can
bring into multiply easily. So we're not going to
plug anything in here, but we're going to
plug this node in the texture of this one so that it converts that to
a texture sampler. And this acts as a dominant so that we can add
some mass to that. For example, adding a vector
three to change the color. So I'm going to convert this one a parameter so that we can
change that in the viewport. So call this one Color, and I'm not going to
use this green color. Instead, I'm going to use
black and white map from it. So let's select it and bring it. You see that it has RGB. So this is our, this is G and this is B. Every one of them
has its own color. So I'm going to create
three multiplies. Or instead of multiplying, Let's add a sharp node because we want to be able
to select between those. Just hit L to bring in a lobe. And this lobe needs an alpha, and alpha is basically
a black and white mask. The black parts are
going to be fed in a and white parts are
going to be fed in B. Okay, just bringing the
red one into the Alpha. And now let's go look at the
red channel of this one. And you see that the
red channel is black everywhere except
for these borders. So for the black part, we need to bring in a color. And let's just make it name it are so that we know that this
belongs to the R channel. And plugging in here in the a and bring another one
called this one RR, just so that the name differs. So let's make this one white
and create another loop. This time we're going to
add the green channel. And for the black, we're
going to fit this in. And now let's go for
the green channel. And this one, you
see in white parts, we're going to add this color. So let's bring copy this one, namely g, and plug that in
here and create another loop. This time we're going to use
the Blue Mosque as alpha. Let's go look at the blue mask. The mask isn't doing anything. So anyway, let's just add
a color for that as well. Okay, Let's name this one
b and plug it into B. And this one a and this b
and this b are not the same. This stands for blue, but this one is the mask. Anyway, though, it's
not connecting. And that is another problem. Let's do bring it here. First, disconnect that,
and bring it here, and add this texture object. And bring this one
in here so that we can add it onto this part. And there's one problem that, and that is this x, y, z is having the RGB channels
and we do not want that. Then if we plug this texture, we're going to get errors. So you see that in this texture tab you're
not getting anything. So I'm going to
bring in this x, y, z, and there's a node
called component mask. This component mask is going to separate the RGB channels
from each other. You see that in here we have R, G, and B separated. So I'm going to create
three of these. Just plug them in here. In the first one, I'm
only going to have the R in the second one, g in the third one, I'm only going to have the B. And let's bring this texture. And I'm going to
plug in the nodes in the appropriate folders
in their inputs. So this r, I'm
going to hold down control so that you
see this hand icon. And I'm going to drag
it and bring it here so that I do not have to
wire notes together again. So this G into this tree
and this B into this P, and this can simply be deleted. So let's add this one
now to the base color. And now we have a world
line texture that can be applied onto any surface
without even having a UV. So now let's go
and test this one. But this one is a
master material. We need to create an instance from it to change
it in the gameplay. Let's go in here,
right-click and create a material instance
and apply it in here. And you see, although we
had some ugly UVs in here, that one was perfectly aligned. So let's go into starter
content materials. For example, apply this
material on this one. And you see that because of
the stretching in the UVs, we're having a lot of errors. And let's apply that
in here you see the UVs are not
doing a great job. We have a lot of problems, but let's go and go to
this block of material. Since that is a world
align material, it's going to be
aligned to the world. And if I take this
one and move it, Let's disable the snapping soda. They can see the
movement better. You see the mesh is moving, but the texture is staying
in the same place. Because this texture is applied to the world and anything that gets in the way IT projects that information
into that texture. Okay, now let's go and
upload here and bring in. First. Let's remove this
or just let's relate. Only going to rename it. I'm standing for
material instance and remove that information. Bring this up. And now we need to
apply these colors. But I'm going to
pick the colors from the real world information
that we have on this textures. So let's pick up from here. This is just so that we have some colors to look
at and that gives us a bit of motivation to go
and start to work on them. This one here, okay, next like that got changed. And for this one, Let's go and pick from here. Okay? Now for the black one, Let's go and pick up from here. Let's make it a bit
darker. This is alright. Now let's take this one and
make it black so that we have a separation in between
the tiles like this. Okay, I'm going to minimize
that and save this one. And now we're ready to create
a building using this one. But before that, I'm going
to save everything out. Go to the meshes folder
and select all of them and open them and
apply the material on the static mash editor. Because if we apply
the material on this static manage edits
are in this window, It's going to apply that on all of the instances
in the world. But if you go into the viewport and let's
say that for example, we have couple of
instances from this one. Apply the material on this, this one doesn't get affected. But if you go and apply
the material in here, let's just search for
ammonia underscore. Blackout. Apply the
material in here. You see every instance in
the world gets affected. Just right-click on
this one, hit Copy. Right-click in the
material and hit Paste so that you do not have to search
for it every time. And applauded, apply them on the static mash editor so that any instance in the
world gets affected. And this one already gives us a sense of dimension as well, because you can see
the distance in between the checker patterns
and things like that. And to get a better sense
of dimension as well, I'm going to bring
in the mannequin that we had in Blender
and place it in couple of places in the level
so that we know that what the height of the player compared to the whole
environment is. And now you see all of these now have the color
information in them, except for this one, because we overwrite that
with another texture. So if you are going to reset
it to the default texture, just go to the Material
Editor in here and just place this icon and it reverts
back to the previous one. Now, all of them are
having the same material. And there's one thing he
said that the material is one-sided and that
means on places, for example, just like this one, we're getting some errors
because it's not blocking the sun from entering the
surface of the material. You see we have no, nothing blocking
the sun in here. So there's a trick
in the material. Let's go to the master material. And in here, there's something
called two-sided headed. And it's going to double
the count of the geometry. I believe Penn, it's
going to create another geometry on that
other side as well. And now you see all of them are having the material applied on the invisible side and
avoiding the sun to come in. Now we have all of these
bell that's a start to subcluster residential
building using that, okay, I'm going to select all of the static measures and
I'm going to delete them. And bringing the content
browser, or better, go to this window and bring in a content
browser from here, the Content Browser number two, so that it's a window and I can take it and drag it in here. Or better, Let's drag
it in here so that I can go into the modular
Victorian measures. And I'm able to select
them aloud easier than what was actually able to sell. And if you have problem reading the thumbnail in
here, there's a mode. You go to settings
and there's a mode called thumbnail setting,
thumbnail editing. And you just select
on a thumbnail, just rotated so that you can see a lot better
information from that. Just do something
so that you will recognize the contents
of the mesh better. So these are the pillars
and doesn't matter. And when you're done editing, just save this, hit Control Shift and S
to save everything out. Okay, the first
thing that I need to add is the door, the entrance. So let's apply the transforms
and a snaps and bringing, bring this one into the
world and place it in here. Okay? Everything fine. And I'm able to guess the shapes and everything is working. Alright, the next
thing that I need to add is the shop window. But this lesson is
already taking too long. So I'm going to pause
the video and see you in the next one where we continue to finalize this
building, the blackout. Okay. See you in the next one.
9. Finishing The Residential: In previous lesson, we
created a blackout, created the bacterial, and place the first
instance in the level. Now, we're going to extend the building to
make that finished. Okay? The first thing
that we needed to do was bringing in this shop. And note that when
I place it and release it in here because
the snapping is turned on. This is the snapping turned on. When I place it, it's going to snap perfectly to the place. That is a great option
to always leave turned on because you're
going to need it anyway. So these ones were
finished and now let's placing the trim pieces
that we had there. And this is the trim piece. Let's place it here. And you see that it
snaps perfectly. Okay. We have this trim piece as well. And we see that how
that geometry called Peace helps us read the
forums a lot better. So on top of these, we need to add the third excuse excuse me, the second floor. And that can be found in here. The third floor, just release it in here and it snaps in here. But we need to change this
one to 50 because this one is 50 centimeters and move it up only once so that
it snaps perfectly. This is the third
floor. Excuse me. I need to bring in
the second floor. And if you're happy with it, just leave the snapping to
be 50 instead of hundreds. But for now, I'm going to
set it to a 100 and start to place in the modules.
Perfectly fine. And now we need to
bring this one up. Since this one goes
up, who lead to, again change this one to
50 and snap it in here. And I start to change
it again, 200. And see how beautifully these pieces come
together to make that building and abroad
in the mannequin as well. To start to look at the size of the mannequin and guess how big the environment
is going to be. So now let's go for
the third floor. This is the kit. And let's snap into place. Yeah, it's working. Alright. And done. The next piece that you need
to add is the roof part. So this is the roof
ornament tree. Let's bring it here. And here either snaps perfectly. And let's copy that three times. When I start to look on how the building is
going to look like. Perfect. So let's again look
at what we did in Blender. The next piece is these
ones, these roof tiles. So that is it snaps
again perfectly. This one. And this one will need to bring in the
window piece as well. So because this is borrowing
the pivot from this one, it's going to perfectly
snap to the place. But I'm not going to
add a lot of them. I'm only going to
add couple of ones. But the size is
really distracting. Let's go to Blender. And this is the process that makes it a
lot better for us. I'm going to select this one, bring it back a meter. And again, export
and around religion. Take this one, re-import
to apply the changes. This one now is a lot better. This is why I'm telling
you to keep them all in their own folders so that the process of changing
dM is only importing, exporting and things like that. So let's go and apply
the roof guards as well. And they're going to snap perfectly together
without any problem. And you see that the
building is getting built. And you can, for example, take this one, bring it here. And I start to really test on, test your own ideas. For example, make it have four rooms instead
of three rooms. And you can do that perfectly
without any problem. But you see that how versatile you can
use the modularity. So I'm going to make
it just like this. And then in here we need to add the tiling wall piece so it's
going to snap into place. Let's rotate that 90 degrees. And we needed couple
of ones from this. Now, let's bring in the
corner pieces as well. This one meter piece. Okay, perfect. Now let's drag it up in here. I need to place in something
to read with this as well. So let's take this one and instead of that,
place it here. Now later on, we're going to make separate pieces for this. Okay? Let's bring in the
top piece again. And this is going
to overwrite that, but I'm going to
change this one to 50, bring it up only once. And that is going to read
with that as well. Again. This piece, again,
the formula piece, that needs to come
back only one step. And it's doing the job, alright? And of course, since
this one is a 3-meter, not a formula, you see, we do not have a
trend piece in here. So you can go in
blender and start to make a full meter piece
for that one as well. Just copy that and go
into transformations. And instead of four, let's make it three and
just change the name to O2, not all four. Then take it back
to x and export it. And now we're going to import that to Unreal Engine import. And that is to be found in
here, this force peace. Important and we need to apply my underscore blackout
to that finished. And now instead of this one, I'm going to bring this
1-meter piece up top in here. Okay, It's working perfectly and as planned and as expected. So you see that we needed a piece and we created
one and brought in, you just start to
flush the scene. And whenever you need it, some pieces is simply bring them in and start to create them
and you bring them in. Okay, Now, let's take this and
I'm going to drag them up. Let's make this 100. Again, take this
to bring this up. There's a one meter gap in here. If I bring this one, we're going to have a lot of
space that is unnecessary. So again, I'm going to Blender, copy that wall tiling wall. And we're going to make a
custom piece out of that. So I'm going to take the vertices and bring them
down only to be one meter. Now let's take it, it's in here. Instead of four by four, I'm going to make it four
by one and hit Export. And again, we're going to
import it back into 100. You see when a need happens, we do something bringing
a kid to cover that need. You start with some kids and
you're going to have needs. You create them and
bring them again. Again, I'm going to add
blackouts to that and drag it to the scene by going
here and rotate that 90 degrees and place it. And it's going to be alright
without any problem. So again, I'm going to create other piece. Let's take these. I'm going to either you
can duplicate them, rotate or you can
bring in new pieces. In order to make it faster, I'm going to just
duplicate them. So they snap together.
Perfectly fine. This is alright. And from
here as well they snap. And I'm going to take
all of these pieces. And to avoid the time losing, I'm going to only copy them to other side and
make sure that you rotate them 180 degrees. And although these
are one-sided now, later on, they're
going to be changed. Let's snap them in place. This is going to work. Alright. Now, let's
bring in these pieces. That is this one. Let's just snap into place. Rotate 90 degrees. This is a bit of doesn't matter. Let's go make it five, excuse me, 15 and bring it here. Solve that piece. But again, it has some problems. Now let's go solve that
problem in Blender. Let's take these to isolate
these ones with them as well. So I'm going to
take this and this time instead of
snapping to increments, I'm going to vertex snap that. So I'm going to select
this and bring it to here. And make this one active, so that the active
vertex a snaps to here. Okay? Now I'm going to rotate that 90 degrees so that they
share the same pivot. And this is to fix that. Okay, let's take this one and this vertice and
needs to come in here. And since the snapped
vertex is turned on, we are getting that error, not error, it snapping
vertices for us. So let's take this
one, a snap it here. And I'm going to take
the pivot from here. I'm going to firstly. Export that to see if
it fixes the problem. So again, re-import. We need to bring it here. It covers the problem now, but we have a bit of
awkward spacing here, which we need to fix. So that's an easy fix. Go to blender and just
add some vertices. Just hit K to bring
in the knife tool and start to cut that
in turn to apply them. Now, I'm going to select
these vertices and bring them in so that the lines
snap together. This one actually works. Alright, let's take
this one as well. Snap them to their own places. But you see that although
we have this one, booth moved vertices the pivot because it's still in here,
which is a great thing. Okay. I'm going to save it again,
export and re-import. And it's now filling
the space perfectly. Okay, Done. And now let's bring it here and make sure that
you rotate it 180 degree. We created this and
now the only place that is left is the back
side of the building. Although you can create windows, you can duplicate
these pieces or you can bring in the walls
and placed them there. So we're going to
place in the waltz, hold down Alt and rotate
to copy from those, again, a 180 degrees. And let's duplicate again. And in here we have
one meter piece left. So that is not really a problem. We take these and
bring them here. Just select these and start to place them here
to cover this part. If you want that, you can
rescale that to something like this so that the
back side of the building as well has some
pillars as well. And one thing that we
can do is go in Blender. Let's go there and bring
this one in its own place. It can take this
one, duplicate it. Instead of having a
four-by-four wall, you can go and make
it four by five, not in this direction. And this direction. Because this piece
is nine meters, this is a forward
four meters wall and you can bring in
pieces to cover that. But since we're not going to do anything with the interior, you have the option
if you're going to make the interior better, just go and create a four by five piece to cover this part
as well and removing these. So actually let's go and
do that using that method. I'm going to select
all of these. Again, go to blender
until this one as well. Make this one by one as well. So the period is
still in its place. Let's rename it. This is going to be
a five by one piece. This one is going to
be a five by four Ps. Okay? Let's take these two
vertex again, Export. Now I'm going to bring
them in. Just hit Import. And these are the pieces
five by 14 by five. Again, what we are going to
do in a static mash editor, we're going to apply
the material on them. Okay, copy and paste it in here. Now I'm going to select all of these and remove them and
place the wall in here. Okay, fine. It covers
all of the places. Let's make this 100
for this top piece. Now since this one is going
to snap on the surface, it's going to always find
its counterparts done. Now this building is done, I believe one more thing
that we can do is adding these pillars
around the building to make it more intricate. So let's take them and you say how snapping
works perfectly. So this one, let me take them and try to duplicate them on
all of the building. Since the snapping,
an invalid thing we created is
working. All right. You're now ready
to create a lot of variations from
this building and all of them are going
to snap together. Okay, congratulations on
finishing the first building. Now, the thing
that we need to do is adding more geometry, texture, and material to this. And we know that this
is going to work, right? No matter what. And this is compared to
the size of the player. This is, for example,
an NPC adore shop. And it can move
around the building and the size is
going to be alright. Because we have the
mannequin in here and we have compared to the
size to this one, this first building is finished, and in the next
one we're going to create other buildings as well. And later on we create
some street pieces. And maybe we create
an ally in here. And maybe another more complex, more beautiful building just
on the side of this one. Okay, congratulations on
finishing the first one. And then the next
one, we're going to create more kids as well. See you there.
10. Blockout The Museum: Okay, everybody understood
that how it's easy to make modular
kits and you have this one and you
can set dressing, use it in a lot of levels
that you are going to create. And the good thing
is that you can make it as many colors as you want. For example, you can
make a turn floor building out of this one or mix and match
them together to create more variations as well, creating variation kits
to make it even better. So we finished this one
in the last lesson. Now we're going to make a more intricate
building as well. It's going to be a lot bigger
and having more floors. This one was to get ourselves familiar with the concepts
and how they snap together. How we can create kids, how to solve problems. Included some of my mistakes in the lesson to make sure that everybody who does
the same mistake Has the way to
solve them as well. And one of the greatest benefits is that it can actually
take something, solve the problems
and things like that. Now, I'm going to make
the bigger building. But in the beginning, I'm going to tell you
that in here I'm going to create a valley or
something like that. So let me take this one as an example to see how wide
I want the value to be. So it's a snapping and
I'm only taking this one to make sure that I
understand the concepts. So let me bring these again. I'm selecting all of these
and duplicating them. So let's see what about
a four meter Valley? Let me hit play. And it's not wide enough.
It's not wide enough. Let me go and make it
six meters valley. And now that I'm
looking at the distance between the buildings,
this is natural. This is the distance
that I'm going to keep in-between the buildings. And in here, there's
going to be a valley. And of course we
are going to make some walkaway kids
that are modular as well to create a sidewalk in here and some street
elements as well. Okay. I decided to keep the six meters
distance in between these. So I'm going to bring
this one in here and remove all of these
unnecessary parts. And we're going to create
the next building, which is a lot more complex. On this one. It's going to be more intricate, especially when we try to make AAA meshes in the
below code level. They might be similar. Anyway, because we're
only working with gulags and cubes and cylinders
and things like that. But when we try to really make the beautiful measures
in the next chapters, this is going to really
make a lot of difference. Okay? This is going
to be the placeholder for me so that I know I'm going to place my
measures in here. So another thing is that I went ahead and save the new
version of this scene. My workflow is that whenever I do he'll change to a level. I create another variant
so that later on if I messed something up
or did something wrong, or go back to the previous one. So with that said, let's go and look
at the references. And the main reference that really was beautiful
as this one. It has a lot of
intricate details. And this one as well, It's really beautiful, but we're not going to make that complex. But this is the main idea
that we're going for. We're going to make
something that uses this concrete pattern for
this one for this building, I might use a break
or something. This will later on maybe create a brake material in
Substance Designer. This one is going to be created using
concrete and plaster. When I'm looking at this,
I feel like these are concrete and plaster
mix together. So we're going to
make something. Of course, you see that
in the block code level, if you take all of these
intricate details out here, go, only going to see
some rectangles and some primitive shapes being mixed and matched together
to create something. And of course,
later on, we'll add these ornaments as well to
make them look so beautiful. This is another image
that I really liked. This is the corner piece
that I'm talking about. You see in something like here, where these two join together, we have the sharp
90-degree corner, which is not really so beautiful to look at,
especially for games. It looks very bad. But something like this
is a corner piece. Of course, you can add any
corner piece that you like, but this is something
to take an idea from. It's a module and it covers
both sides in the axes. And you can really bring
that to make it more natural and give more
silhouette to the object. Let's go and start blocking out. Again. I'm going to go to Blender. Of course I'm going to create a new scene because I want
these to be untouched. This is for the residential
building and this is for something that later on
we add meshes to that, undo all sorts of things. When we add AAA measures, tessellate it too much. We're going to have a lot
of space needed for a file. And when we make those
measures into this file, we get something like that. Two gigabyte blender file only for one kit and maybe even more. And if we bring all of the
kids together in this one, it's going to crash blender, although has progressed the bit for handling
too many polygons, but for now it's a bit like it. So I'm going to
create a new one. Just go to New and
a general project. And it's done. And now I'm going to
save this project. And I'm going to call
this one a museum. So let's go in here. Museum 01. Okay, save file. And again abroad, the
same mannequin hand. This is a two-by-two
cube, right? And if you want
to set the units, you want to set it to
metrics and the length even two metrics or centimeters. But didn't want to make
sure that the unit setup is such metric because that's
what Unreal Engine does. And you have consistency between the units that if you
want to change the grid, it can go in here and change
it the way you want it. For now, I'm going
to set it to one. And this is the mannequin and we're ready to start creating. So again, for this one, I'm going to create
an entrance first. And now that I'm looking at
the entrance of this one, this one is four meters tall, but I've seen a lot of museum and a lot of buildings that
have intricate details. They have taller doors, taller and thinner doors. And that actually
really separates them from the buildings that
are close to them. So I'm going to create
a six meter p store. Of course it's not
going to be the holder, it's going to be some
details around it. The whole piece that is going to hold that is going
to be six meters. This one is for, I'm going
to make that really taller. So again, in Blender, let's create a plane that
this is a two-by-two plane. Let's make it six by six. And actually six-by-six
is very large. And I didn't intend to do that. So let's go and in z, in x, excuse me, make it three. This is going to be for the entrance and for
the period as well. I love to work the
pivot in here. So again, Alton do
to bring it here and rotate that 90 degrees. This is the centerpiece that everything is going
to be compared to. I want to make some stairs that go into introduce as well. This is the piece. And now let's go and select, go into the Edit mode and create a segment controller are, and bring that segment down. I want it to be
perfectly, uh, meters up. So let's go to global and the z, it should be in here. Well, now that I'm looking
at it, it's looking alright. And you know what I'm doing? I'm going to make this untouched and do the
carving in here. You're going to understand
just in a minute. So I'm going to go in here, create an inset and just hit
right-click to close that. And now you have the, excuse me, just put the insert
and left-click. And now I'm going to
make this tinier. So that for example, this
is the door that goes in. And this is it. There should be some stairs that go in there than there
should be a door. So let's go and create
the stairs as well. I'm going to create three. And for each one, I'm going to extrude
them just a bit. And this is the blackout. I'm not really
concerned about how to make the geometry better. This one, or the
stairs that go in, but make, you should have in mind that this is
the street-level. And if you place this
inside the level, there's no way to go in there. So that's what I'm
going to create. I'm going to create a
staircase that goes from the street into this
to create a transition. So I'm going to copy this
and let's isolate it. And I'm going to select
this bottom one. Control I to invert the
selection and delete everything. And this is the base
for our staircase. So I'm going to make it, let's, let's hit Control Z and turn the snapping on,
unmake it increments. Now let's bring it here. One meter piece
could be alright, so I'm gonna level that
to this part as well. So let me take it
and bring this up. And I'm going to level
that with this one. Let's select this one
and set this to global. And if you do not see
that just hold n. And in the item you can see the
properties of the vertices. I want the information in z. It's a meter and 14 centimeters. So I'm going to select these
two and global in the z. I'm going to paste that
information so that it goes up and levels
with that one. Okay, so now I'm going to go to the edge mode and extrude
this edge right here. So I'm going to extrude it once. And actually let
me take this one, these all vertices and bring
them half a meters away. Okay, Let's deactivate
the snapping. It's alright. I will leave for staircase. It's still going.
Alright, so select all of the vertices and all of them and decrease the size in here to make that
belong to there. Actually, let's select this
one and bring it down. Doesn't matter.
We're going to make that reach up top there. So in here, I'm going
to create some steps. Okay, let's select all of them. Hit E to bring it up,
deselect this one. E to bring it up, de-select it a, de-select it e. And this is, I
believe going to be a good one for the staircase. It's alright. And now
something for the pivot. If I'm gonna make this
one villus snap to this, I need to make the
pivot the same. So again, what we did before, select this one and you see that the center is
actually the center. So if we want to
see what I'm doing, I'm going to bring this here to make sure that you're
better understanding. I'm going to make the
pivot, make this one, make this circle to
the pivot of this, so that this is the
center of the world and borrow the period of
this one to that one. Okay, I'm selecting this and you'll see that this
is the pivot of that. Okay, I'm going to hit Shift S and bring the
origin to the selected. Now we no longer see that circle in the
middle of the world. So now I'm selecting this one and Shift S pivot to cursor. Now it shifts us again, this one to origin. And now I'm selecting
this and this. Both of them have
the same pivot. And it means that, for example, let me disable the
transformations on all of them you see, although I have the
transformation disabled, this is always a
snapping to this part, creating this beautiful
staircase for us. Okay, let me take this and
I'm going to rename it. And I just renamed that to
static mesh modular museum because this belongs to the museum kit and it's
a six by three Ps. And the first variation, okay? The next one, static image, modular museum and
transistors there. This one's about it.
And to accompany this, I need to create ones that instead of a door have
a big window so that people can look
through the class and take a look at the
inside of the museum. And you should
know that this one is higher than the
level of the street. Whereas the kit that
we created before, this one is the same
level as the street, but that one is higher and
needs a staircase to go up. But this one is actually
upload the level. So for those as well, we're gonna make
them higher than the street level so that
they are attached perfectly. So I'm going to take that
variation from this one. So let me take this. Now. All I need to do is
selecting this hit Control and plus to extend the selection and remove it
and remove these as well. So I have this book border
that I need to cover. And you can easily
select this edge and this edge right-click
and bridge edge loops. So it covered that part for me. And go to vertices
mode by hitting one a to select all
of them and hit m by distance to see if they have any extra
vertices available. So in here I'm going to go to polygon mode
by hitting three. And again, hit I
to insert a bit, and hit E to go in. And just scale it so that it
has a bit of shape to it. So these are going to
snap perfectly together. Let me hit Alt and G to move that to that
place and turn on the ACT snapping mode
and increment it g to be able to move that k. You see that these snapped
together perfectly. So this one is going
to have the window, so I'm going to rename that. So simply add the
entrance window so that we know what
this kid belongs to. And these ones are the kids
that are going to be used. Only for the first
floor because they have a connection to the ground
and need these staircases. And for the top floor, we need to create
different ones as well. Both for the top one, I'm going to create four
by three pieces again, because I do not want all of the floors to have
the same size. And of course I'm going to
have some trims that go in between the floors as well to make that
be more beautiful. So again, I'm going to borrow
my geometry from this. Let's select this
and again go select this one controller and I to invert the selection so
that we have this one only, but this one is a meter. So I'm going to
make it half pieces right here and ready to be used. And on simply just name
it a static mesh modular museum trim, three times half. Now I can simply drag it
to the top because it's snapping and I have no problem a snapping that to the top
as well. This is it. And actually let me take these, delete them and take these and just bring them
over so that these are my main pieces and
the pieces that are make up bring them here just
to test them and bring, create a test
building using them. Okay. Now I'm taking this,
bring it over. I should have that
piece in here. Let's duplicate it again.
Okay, It's working. All right, and up
top of this one, I need to create another one. So I'm going to
borrow from this, this time and now make
it three by four. And let's see our
snaps to the top. Let's bring it. Okay. It's a snapping perfectly. So it should be here. You see it snaps
in here as well. And this one is going to
have windows as well. Let me select it and
create a simple insert in here so that I can extrude it in and give it
a bit of shape. This is really what
I want from it. I'm going to duplicate
that to this side. And assistance. This one is a snapping.
It's going to snap perfectly to the surface. The snapping here
and here as well. So let me take these, I need to duplicate them again to make the
building really bigger. And of course, the
window size is too deep and to big K doesn't matter. We're going to change
them later on. Again. Let's copy these. I need to bring them up. Since this one is a
half meter piece, I need to bring them down. Just something like
this, this one. And for the third floor as well. I can use the same geometry
or if you want it, you can go ahead and create
new geometry for that. But since I'm going
to repeat this, I'm going to make a new
window piece as well, okay? Just rename it. And of course need to
do the name as well. Just call it second floor. And the size is four by
three and copy the name. And this one is going to have the same name,
but variation one. These are going to have
the same dimension, but we simply different designs. These are the kids and this is the result that we
are getting with this. Again, on top of these, we need to have another trim that connects this
one to the roof. I'm going to select this one, bring it over and just make
the size three by one, and go rename it
trim three by one. It did that. And now let's
bring it over to this side, just here so that it snaps
perfectly to each place. But this one is
going to look too much like the previous building. It has the same dimensions, so I'm going to take this one
and make it instead of one. Let's make a huge roof piece. Let's make it too. So that we can put
more ornamental work in here to make that
look more beautiful. Doesn't matter for this
decided to do something. And that is mixing, matching the hips together
to save a bit of time. And by that I mean, if you go to a Unreal Engine, I found out that this
piece is going to perfectly snap to that
without, without any problem. And this guard piece and
things like that are so common in between
the buildings. So I'm going to use that kit alongside with the
roof of this kit. And you see that how modularity really takes care
of a lot of things. We're able to mix and match
kits together if they have the same dimensions
and we have really no problem using
different kids together. And they're going to work
with each other pretty well if they are created
very carefully. Now, this lesson is actually
reached to its end. And in the next
one we're gonna do the rest of it and bring that and create a building inside Unreal Engine. See you there.
11. Export Museum Kit to UE5: Okay, This is where we left
off in the previous lesson. And now we're gonna do something and bring that inside Unreal. Start to dress a scene with tag to see what
works and what not. If we need a new piece and basically those kinds of things. Okay, let's go. This is the pieces that we have. And before doing anything, let me bring this and I start to dress some geometry to
make it look better. Deactivators snapping
mode domain brings some out just to make
them look better. And especially this one as well. Bring them out and bring
this one in there, give it a bit of dimension, but make sure that you do not change anything from the period, from the naming convention
and things like that. Okay, I'm selecting all of them. Bring the vertex on, and you need to assign
a folder for them. And this is the folder
that I'm giving them around and I'm going to export all of them
together. In Unreal Engine. I'm going to bring them, start to give them material, but of course I'm
going to change the material instance so that
they have another color. Again, go to Import
and bring the pieces. Import all. Now I'm selecting all
of them onesies since they alphabetically have
that museum in here, they're coming before the
residential building. Bring them all. Just
minimize that and go to the material and take
another instance from this. And I'm going to change
the color to something different and actually
take the colors from here. So for that one, let me bring it from here. I'm going to have
this mixture of colors and select
different ones. And try to move the colors in between so that you
get beautiful color. So let's bring this one out. Something like this is alright, so this is the name of it. Let me bring it up and just hit F to delete
the instance from it. And in here, just make it an I. And this one, I'm just
calling it Museum. So that it's different
from the previous one. Can just hit F2 control C to copy the name and bring
the static mash editor up. Copy the name, this is it. And copy and paste material
on all of the instances. And after pasting this, we're going to create
that building. Okay? This is it and paste again, Control Shift and S to
save everything out. And now we need to
bring the pieces. And of course we didn't create the pillars as well as
the walls for that. And we're going to
create them eventually. Okay, let's go to
measures Control Shift. It looks like this one
doesn't have the material, just assign the material. And you see how different
colors enable you to distinguish the kids in
the Content Browser. So in here, because this one
is the end of the building, I'm going to start from here. Just bring it out. This is going to be the
end of the building. And this is going
to be the valley. And this is going to be primary. Here's until we bring
the real pillars out. And you see that this is
higher than the street-level. So let's again
bring the entrance. Instead of bringing these
and having to rotate them. Let's see what data because I want them to face
in this direction. So let's go to
Blender, take them. I'm going to rotate them in this direction to see
if they work or not. Okay, let's go in here. Select them all. Re-import. Let's see if
they work. Delete these. Now. They should be other
way around. Doesn't matter. Take this and rotate
them in this direction. Make sure that they
are 90 degrees. Now, again, go and re-import. Now this one should
face in here, which is alright, okay, delete this Control
Shift and S to save everything out and bring the entrance
window in here. This is going to be
alright, perfectly. So I'm going to
bring the door in here and you see that it's
higher than the street-level. So again, I'm going to
take this, take this one, bring it here to
something like this, and copy another one. Let's make this one bigger. Let's take these two and bring them here so
that this is our building. Now we need to bring
in the stair as well. So let's start and it's
going to snap perfectly. Because of the system, a snapping system that
we created for that. And again, for this one as well. You see how beautifully they
start to work together. And then on top of this, we need to have that
0.5 trim piece. And then later on, when made sure that
we need something, we go ahead and add
pieces as well, including the pillars and
whatever else that we needed. Okay. Now, let's bring in the top
floor the second floor piece. Let's bring it here. And since we have
this trim piece, it needs to go up half a meter. So now it's snapping perfectly. Let's do one thing. Let's select these two. Because these two are going
to be identical pieces. So I'm selecting these
and copying them across. And instead let's delete them and bring in
that piece as well. Let's see, Use this
variation one as well. Again, we need to bring in
centimeters up to here, and this one needs
to go up as well. Now the difference is not
too much in-between them, but later on when we start to add real geometry
and texture, now, then they will
make difference. So let's take this one again. On a 100 increments. Bring this one here
and here again. Now, time for these. Again from these. Later on, I believe when we
make the design, it should come together. This is it, but I believe
that this could be a bit bigger than this one
because we wanted this one to be really
Luxury building. So that's again, take all of these pieces and try to
duplicate them on top. Once or twice more. So let's make it again. 50 centimeters increments,
bring this one up. I feel like one more or
twice more good to know. Let's make that
just like this one. And we add the roof
pieces as well. So now for the roof piece, we need to borrow
from these as well. So let's go and make it a 100. And now I need to bring in the roof pieces from
the residential kit. So I'm bringing that here. And let's see how
they snap together. They snap perfectly. But we need to
bring this one up. And we need to bring that to
meters while piece as well. So bring it and since it's a snapping,
it's going to work. Alright. Just try to
move it in place. And it needs a half
a meter distance. This is on this one. Perfect. Now it's using the same
kit twice to make use of different kids
interchangeably to save a lot of time instead of
going and creating one kid, one separate sheet for
this one we could have. Now, we're using these kits. Let's take this one again, go 200 increments and it
starts to duplicate it across. And we need that
guard piece as well. Now, let's bring in the guard
piece from here as well, because these are some common
kits that can get used between the projects
interchangeably. So this garden peas, again go to a 100, start to duplicate it across. And the time that we swap
it with real geometry, you see that in
all of the level, it gets changed
without any effort. So again, for this one, let's go bring in
this piece as well. But this one needs to be down, excuse me, 50 centimeters. Well, I'm going to use it
randomly in some places. Not to make the building so
mathematically symmetrical. This is alright. Now, let's go and start to play. And I'm happy with
the dimensions and how these buildings look. They should make
a great building. Alongside together. I'm in compositionally. Okay, this is it. And now we need to create a
waltz for this one as well. And I'm not going
to use these walls because I'm going to make them have different material than this red brick material
that we use on this. One more thing that
I understood is that I want this one
to be extended more. I want this one to be taller. And I'm not going to do
something like this. Let me save this. Let me select all of them. They have been all selected
Control D to duplicate them. I'm not going to rotate them a 180 degrees and do
something like this. I want them to have a
buffer zone in-between. I do not want to attach them
to something like this. I want the building
to extend more, so need for another piece. Let's stitch them
back to their places. And I feel like a six
meter piece will do. So. Let's see how it does. One meter, two meter, 3456. Ok, now in here we need to
add another piece as well. So let's go to blunder. Actually, let's make it
with the previous kit. So Abroad up the
residential kit. Let's take this
one because I want to make that off of this one. Select this and now I'm taking
an edge and extrude it. And now I need to bring
this six meters away. And let's make the
increments, the snap 123456. Now I'm going to select this control and I to invert the selection
and delete this. Since we got that from this, the pivot is the same. So whenever I move this one, since they have the same pivot, it's not going to
be any problem. So let's hit Rename. Just name it roof six
by three k exported. And now we're going to import
that in Unreal Engine. So again, let's go
import and head to the residential
building and bringing that roof six by three. Doesn't matter for this error because you do not care for it. Now, this is the piece
and just search for MI on risk score blackout
to give it that material. Now, since that one has the same period as
this one when I drag it in here. Actually it needs to go and
bring down half a meter. Okay, half a meter. And it now has a
stitch perfectly. That is site. And now we can take
this one and try to duplicate it sometimes to make that groove come
together as well, to make that building
look bigger. Okay, Now let's look at here. It's working all
right, perfectly. So now we need to care. We need to take care of the sides of the building and back of the
building as well. So now we did this
piece as well. Let's go back to the museum kit. Again in here I'm going to create some tiling
walls as well. So let's create a plane, and this plane should
be four by four. Let's place the pivot
in here and make that stand up and bring it here. And again, we need
a rotation to do. I want to make that
rotate in this direction. Okay? Now this is a four-by-four
wall piece and I just renamed that tiling
war, four-by-four. Export it. And now we should
go in Unreal Engine and start to place it to see if we need an extra
piece or not. Let's again import. And this is the piece
that we need done. And now we should apply the material that we
needed on top of that. For this one, let's
search for museum. This is the material. Okay. Let's bring it in. The snaps together perfectly. And I need to create a
whole piece in here. It should fill the space
and go to top as well. Let's do three of them and
duplicate them up top. Okay, once more. And it needs that we need an extra piece to cover
this part, doesn't matter. We use 24 by four pieces
alongside each other. And in here I believe
that it needs to middle piece. Let's test it. This is a four meter
piece and this is a tool in here which is
perfectly snapping there. So I need to create a six meter piece to
accompany that is a fixed, Let's go to Blender. Copy this one. And
in here go and make the piece four
by six instead. Or six by four. I need to go in that direction. Okay, Now let's change the name. This needs to be
deleted and this needs to be six by four. Again, Vertex Exports. And I'm going to bring that in. And this is it. Let's go give that the material
that it needed. Just search for museum
and you're good to go. Okay, Now, let's
bring this one here. And it should snap here
perfectly. Ninety degrees. And let's bring this up. Once. The second time, third, fourth. And it should snap
to hear perfectly. Now we need to create a piece that fills
this gap as well. So this gap should be a meter and 75
centimeters in height. Again, we need to variation
one for 40 meters and 4146 meters because this
one is two meters piece. Or instead of that, let's take all of these. I'm selecting all of
these modules on top. So I'm going to select them. I'm going to bring this
half a meter up and you'll notice that the increments
is set to half a meter. So bring this up and I'm going to copy this one on top of that to make the calculations
are right because I love to work
with here numbers, no decimal portions
and things like that. Take this one and bring it up
to cover this part as well. Okay, it's fine. So now in here, we need
a two meter piece, a two-by-four and a two by six. Okay, Let's go and
duplicate these two. And the fix is pretty easy. Bring the item up in
here instead of four, hit tube, and in here
instead of four again. Now the thing that is
needed is renaming this, this 14 by two, and this 16 by two. Okay? I'm taking both of them unexplored and
then importing them in Unreal Engine this six by
24 volt to import all. Again, we need to give
them the materials. Select the static measures. Museum should be alright. Okay, copy and copy once more and start to
bring them in here, it should have snapped
together perfectly. Of course now the
snapping is turned off. Floods activate the
snap and turn it on. And it should snap
here perfectly. Okay. And second should be here. Of course, this one
should be here. This one needs to
be copied over. This one again to
fill this area. It did it perfectly. And now we need to copy the whole thing on that side
of the building as well. So I'm going to select
all of the modules. And after doing this, all we need to do is creating this custom piece
in here as well. And that is not going
to be a hard task. We're going to only create that piece and some pillars as well should wrap
up this lesson. Okay, I'm selecting all of them. By holding down Alt, I'm able to drag a copy and just rotate them a 180
degrees and bring them here. Now the snapping in here
is perfect as well. So now we need to
tackle this part, and that is pretty easy. We're gonna do the same approach for tackling this one as well. And for that we go to
Blender again open the previous kit. This is it. I'm taking this and I'm
going to bring this one. And rotated a 180 degrees to create that piece
inside Blender instead. So this is the piece
that we need to cover. So that is easy to create that. And I'm going to borrow
the geometry from here and take this one, Shift D to duplicate it, right-click to leave
that in its own place, hit P to separate that. Now we have this
geometry that we can use to create that kid. And this we using is very
powerful technique to, and I'm going in the edit mode. And remember that we're
not in the object mode, which we are able to
do a whole movement. I'm going to go to Edit
Mode and select all of the geometry and bring it in here just a bit so that
when we go to object mode, the pivot is still in here. But the trick is to leave
the pivot in the same place. So I'm going to remove
the snapping mode for now and take this edge and bring it here so that
it covers this part. So now I'm going to hold
down E to extrude this one, and right-click to leave that. For now we have this. So I'm going to take
this one and delete it. And you see that we have
the peace. And a pivot. Is that the same place
that it should be? But one thing that I'm going to check is for the
normals of this face. Let me isolate it and
go to into solid mode. And you can look for
face orientation. Just go for face orientation
and you say this is red and the site that
should be outwards is blue. So I'm taking this
hit Shift and N to recalculate the normals. So now, when I go back one step, now, the blue part is facing towards the viewer
the way that it should be. And if you do not
know about this, the face normals should be blue and the interface
normal should be red. And these reds are not
going to get billed if you do not assign a
two-sided Manchuria. This is it. And I'm
going to disable the base orientation mode and take these two
vertices and drag them over just until here. That's a pretty easy fix. And now I'm going to
take these to bring them up until they get here and hit us to go into re-scale mode and make them
cover this part roughly. Okay, this is the
piece and very easy. And more or less it's
covering the part for me. So in order to make that exact, I'm going to again go in here
and turn on the snap mode. And this time vertex and
active and activate this one to here and connect this one
to this vertices as well. Now it looks like it has
gone to a wrong word. So it doesn't matter. I'm bringing that here and snap that to this word. Pretty easy. Okay, Done. And now we're ready to export this one and test stat
inside Unreal Engine. Okay, just rename it. And since I've taken
that from the roof, just let's call it roof. And remove this one
and this extra dot. And export that to Unreal
Engine using this path x. I'm going to bring that here. And this is the piece
that's important. Doesn't matter. I'm only going to bring that in. This is it. It's facing this
direction and it has very bad UVs,
but doesn't matter. So I'm going to give this one the blackouts material instance and I underscore blackout. Okay, fine. Now I'm dragging this in here. So let's bring it back. I'm taking this one, I'm
bringing, bringing it back. So you see that it perfectly
covers dipole for us. So I'm going to copy
that to other side. And you see that the pivot
is in here. If you want it. He can place the pivot to be attached to this part and
you can fix that in blender. That's a pretty easy fix. You can take the whole geometry selected and bring it in here. Instead, I can go to
increments and try to move that in increments so
that it snaps there. So easy fix export. And now it should be fixed in Unreal Engine
right-click and import. And now it has attached
to the pivot and just a couple of moves to
arrive there. Okay, It's done. Now. Let's bring it here. And we need to rotate it a 180 degrees so that it's
facing the right direction. It's done. Now we need to do something about back
part of the building. And of course, creating the corner pieces for
this one as well. And after that, we go for
the ally to do that as well. Okay. Congratulations on
finishing this building as well. Halfway. And in
the next one we're going to take care
of the rest of it. Okay. See you there.
12. Finishing The Buildings: We created this
building and now we need to go for
this part as well, and to the pillars as well. So let's go first for the back part to see how many pieces do we need
to cover this part up. If you want, you can
bring from these kids and make this one a
two-sided building. But since you know, and that is a pretty easy fix, you can basically do
something like this. Okay? This one needs six meter piece. So I'm taking this one, bringing it here 90 degrees
and place that in here. So it covered are perfectly, as I said, you can bring
in modules from here. For example, this Windows and place them on the side
of this building. But since these ones are
not really going to be seen and not really a priority, I'm only going to cover
this tiling wall. So for this top part as well, let me bring these two. And this one needs
to go in here. And every time we put this, all of them are
going to be fixed. And when we create a mesh, this building is
going to really fly. And when it becomes a lot better than
what it is right now. So now we need to create
a pillars for this one. So for the pillars, the first one needs to be a six meter pillar
plus this in-between. So the pillar for this one
needs to be six meters and a half because I do not want to create a
six meters piece, for example, like this one. Let's make it 1.5. Excuse me, lots
increase the size. I don't want to make it
something like this and instead have little
piece in here. I'm going to make a 6.5 piece
to cover this part as well. Okay, let's go to the lender. And here we are, and
I'm going to bring in a cube, okay, Now, turn the snap on and set it to increments so that they're
able to bring it here. This is the center of it
and I'm going to make it smaller to something like this. It's alright, Okay. Now I'm going to take this
one and hit Alt and g. Excuse me. Place the pivot in here and
I'll turn g to bring that. They're now, again, I'm
going to bring it here. So in here, we need to select this polygon and go-to item. And for Z, I need to hit six. You see that it goes
up to paste this part, but we have the stream
to cover as well. So I'm going to hit 6.5. Perfectly fine. This is the first pillar. Let me do a duplicate
and bring it up. Let's see what I'm going
to create from this part. Let's make it naturally
start to bring it down until it covers
that part. Yeah. This one is outright and I can
duplicate it, bring it up. And you see that the perfectly should cover that part as well. So it's not, doesn't matter. Let's take this and
bring it up just a bit. Okay, now we have
three different pieces to cover that part. So these are the pieces. I'm going to bring them down
and rename them afterwards. I'll name this corner. And this one. Let's
name it corner. Or. And for now, export
these to Blender, excuse me, To Unreal
Engine to test them. Taking this using vertex, export them, and now I'm bringing them into
Unreal Engine. Let's go to Content Browser. Important. These are the pieces
that you need, okay? Now again, we need to give them the material that they need. So they are in here. And in here I'm
going to underscore museum to give that
material to it. For this one as well, placed on Mac control Shift
and S to save everything out. Now I'm going to bring this. The first is the this piece. And let's bring it here
and remove this 1 first. This one is doing all right. And on top of that one, I'm going to bring
in other pieces. So let's make this 150. Okay. It's doing all right. And on this one as well. And can bring it
up doing alright. That's right below this part
and singing with this trim. Let's see, for this one, I need a PPI studies
right on top of this one, again, is perfectly
fine because later on, maybe we match the trim off this part with this
part on this mesh. And then in here we need to
mirror for this top piece. Make that so unique. So I'm taking this one, take the top
vertices, go to Item. And in here instead
of five meters, Let's set it to and
it's done. Okay. Now let's borrow their name from this one and make it to sit so that we know that
this is a two meter piece. So bad techs export. I'm going to import that into Unreal Engine. And here it is. Import our gave it
a proper material. Okay, let's place it here under the snaps perfectly
covering this part for us. Now we need to take these
because all of these work and I'm bringing them right in here so that this part
also has these. And I'm taking this, bringing them in here. Since the pivot
is in the center, It's very good working
with the corner pieces. Okay. Now I believe the building is more or less done in
terms of the blackout. And now we should tackle this part in the
middle of this alley. And what I've seen
in Victorian art, there are some buildings
that are floating. Not actually floating by that. I mean something like this. You see there's an ally in here, but there's a building on top of the small building
on top of that. This is giving us the idea, but that's not actually
what we're going to create. So again, I'm going to create a new blender file
and call it Allie. And first I'm going to
start with the pillars. And in previous ones we
started with the entrance, but this one doesn't
have any insurance. The first thing that
you see is a pillar that is holding that
the building on top. This is the scale reference. Though the pillar is
actually going to be something like this comparing
to the side of human. Now that I'm thinking like here, let me just bring
in a test mesh, just the cube and place
this cube on top. Something like this.
I wanted to LA, to have such a height. And look at that from
here. Okay, It's alright. And on top of that
one I want to be some windows and doors
and things like that. The pillar, the first pillar
is going to be six meters. Again in Blender. I'm taking this place
to prevent in here. And take this one,
bring this up, make it global, transforms.
Make it global. And this one needs
to be six, okay? Now this is six meters. And of course I brought that up. Let's select this one. And this is alright, Okay. Now I need to rename this. I call that a static mesh
modular alle corner 01. And again in here I'm going to create a folder for
that and hit Accept. And this is the part. And now in this Allied leaders six meters width that it has. So let me bring in that
pillar and start to test the ideas are going import and first I need to
take this one and exported. Now it's here. Let's bring it up. And it needs to be in here. It looks like it needs to
be thicker just a bit. So because it has some
extra space left in here. So I'm going to go to this axis and try to make
that thicker just a bit. So exported and
re-import it back. It looks like this is
going to be a good size, so exports and imports it back. Okay, no problem. So I'm taking this
one and bring that over here so that these
are holding the value up. And in here I'm going to create
something like a tunnel. And that tunnel needs to be
in-between these two pillars. Pillars. So let's go to
remove this material. Force, delete. Later on who will give these
proper materials in here? Let's duplicate this. Activate the increment,
bring this six meters away. And this is it. And in here I'm going
to create an arc. So let me bring in a plane
and bring it in here. I'm placing that just
in between these two. So I'm bringing that
here and this one here. So let's add some vertices to be able to manipulate
the shape of this art. And since this one
is a blackout, I'm not really going
to do a lot of detailing this one on this one. Let's take these two and another one to make
that round that a bit. Now let's give this a bit of
depth, selecting them all, and hit extrude
from here as well, selecting all of the pieces and bring them back just
a bit to cover this part. Okay, now the pivot, I'm going to make it have
the same period as this one. Before that, let's go and take these vertices and
try to push them up a bit. And this one as well. Okay? Like this is alright. So select this one. Of course first,
select this one, bring the center of
the world in here, and select this shift an
S curve pivot to select, now I'm bringing
the world origin to its own place and
I'm selecting this one, and this is the
period that it has. And it's alright, Okay, I'm selecting that and do
a rename and call it arc. Okay, it's done and
now hit Export. Let's go to a 100
and bring that. We'll do materials later on, but for now, it's
just for testing. So here it is. Let's
bring that in. Snaps here perfectly. It snaps to this part, but I need to make this smaller. Just a bit. Of course in here,
we do not have a six meters
in-between these two. We have 12345. So let's take one of these, bring it a mirror in, a mistake and bring it in. Now this one needs
to be resized a bit. So I'm going to take this
and I start from here, select this one, remove it. Let's do a cut in here and
remove these parts as well. Taking these vertices. Now I'm going to pivot
in here just for now. And in here I'm going to go to symmetry and its
mirror in Blender. And then y-axis, it's
going to look all right? And instead let's
collapse the cemetery. Select this one, place the pivot in here so that I can
resize that from here. So I'm going to take
this and start to re-size it just a bit so
that it covers that port. A bit tricky but worth to do. Bringing the world
center in here and now to cursor, Okay, Export. And now I believe
everything should be fixed. Select this one, re-import. We need to bring it
half a meter away. So let's make it half a meter. Now it's all right. It's doing the work
perfectly well. The next step is to place in the windows and walls and roofs and things like
that on top of this, which we're going to do next. Okay, Again, it's time to go to Blender and do these
walls as well. So I want this one to
have the height and the width of three
meters and four meters. And I'm going to
create a couple of variations for it so that
it's not so repetitive. When we create this, finally, the blackout of these buildings
are going to be finished and then we'd take care of the sidewalk and
the street as well. So let's go create a Windows. So in here, I'm going to
simply create a plane. Let's bring these, this one in the center of the
world and shift us again. This one to the
center of the earth. Now, I'm taking this
and bringing this over, this mannequin as well. So I'm going to make
this 14 times three. This one is going to be four, and this 13, okay? This is the size of the window, and I'm selecting this vertices in here and making
that pivot point. Hello, This is it. And now
let's make it a stand-up. And I'm going to create a
couple of variations from this. This one, and this one too. I'm going to simply bring in a simple insert so that it goes in and we have
something to play with. And let's delete this one and duplicate it to the other side to make sure that
we have it's okay. I'll just rename this
one to Window one. Copy the name in here
if two, window too. One more thing is that I want to have some pillars to
uncommon accompany these. So I'm going to create a cube. And this cube, I'm going to re-scale it just to
something like this. Place the pivot in
here and bringing in the center. This is alright. And now I'm going
to select this one. And in the item, the z, I'm going to hit F4 so that
these are from the same size. This one is going to be
lesser Luxury building. I'm not going to make
that really luxury. So that there's not a lot
of ornaments work on these. So I'm taking this
and simply rename it. So window pillar. And for the top piece as well, I'm going to use
the previous kit. I'm going to use the
residential kids to form the roof as well. Okay, now that we have this, I'm going to select it. And using the Beta x, I'm going to export them. And it's time to
bring them in here to create them simply import. And in here we have
lesser amounts of measures to be selected. I have this window pieces that are needed to bring
in, import them all. And they are here. Let me bring that to here. It's working. Alright? So let's bring it
here. It's working. Alright? And if you do
not see this because this plane has gone into
that pillar, of course, we have an option to take this whole building
system and move it half a meter away
to make room for this. So I did a whole
selection on this. And now I'm going to bring
in a meter away, one meter. And let's try it out. Now I have this. I'm going to bring this here. Just half a meter. It's good. This 1.5 a meter as well. And these 3.5 a meter as well. It's obvious that
we need to make these pillars a bit thicker. And this part is also
going to be covered with those pillars
that we created. This one's so half a
meter again and again. And let me check this
as well. Bring it here. Take this one as
well, bring it here. Now this one needs
to be manipulated. Something, No problem.
I'm taking this one, this one on this one. Bringing up, let me see which one is this one
is the first variation, and now I'm going to bring in the second variation on
top of that one as well. Okay, Now it's done. Now let's go to Blender and
take this one and make it a bit just a bit
bigger and exported. And test it to see how it works. Okay, it's working. Alright, and I'm
going to bring this 1.5 a meter away as well. And it needs just a bit of
more resizing in that part. So let's go in here. And just a bit
more done exports. And it should be alright to, yeah, it's all right. And now we have this
building in here as well. The next thing that we're going
to do is selecting these. I'm going to copy them here. Bring them up. And this Windows system
as well, excuse me, this roof system as well
needs to be brought up. Okay? Now everything is alright. I believe for this building, I feel like this
building is finished. And now let's take
these pillars. And I'm going to
bring them back so that to create an immersion that this one continues
to the other itself. Just like something like this. Okay? Now this one is finished. Of course, if you are
going to do something, you can create some tiling walls or the end of this
piece as well. But since it's not so important and you know how
to create those, I skip that part and now
I only need to apply another color material
on top of this one to differentiate that
from other kids. So let's go in here material and create a new
instance in college. And I underscore, ally, we need to give
this a new color. First one, let's go for this. And I'm randomly selecting colors to pick
something that I like. Make this one black. And this one
something like this. Very lively colors. So let's go to the blackout
meshes and bringing all of these up in the material. I'm going to place them. I underscore alley. So lively colors, the colors are
beautiful on this. This one is done. And this one and the last one. So let's go and
start to visualize that the colors are to live. So let me for now take these pillars and
give them another color. So I'm selecting them. And let's go to
the Details panel. And in here, I'm going to
bring this one into layout. Now, looks like it's
not doing anything. I'm going to select this default one and go into details
and apply that. Scholars are to live on this. I need to bring in
the saturation. It's really annoying my eyes. Let's go for this one. Bringing the saturation. Already did a good job on that. And this one a lot better. Now we have consistency
across all of those. But for the pillars, I can take them and make
another color for them. So let me take this
and change this one to be something like a black color and this one darker as well. Okay. Now, let me take this
and apply that material. You see that it's
working, alright? Okay, now the blackout, all of the buildings is done. Then the next one
we're going to create the strait gate and continue to develop this
environment further. And I believe that we are in the end of the
block code phase. It didn't take a lot of time, but it's a must. If you're going to
have a great project. It's time to end this lesson
and in the next one we will continue with the street
piece. See you there.
13. Finishing The Blockout: In previous lesson, we finally finished the building kits. And now it's time to go and
tackle the sidewalk kit. And after the sidewalk kit, we're going to do the strategy that is going to mainly
have some pathways. And after that, I
believe we're done with the blackout and
then move out to the fun part and start to create real art and bringing
to finalize the scene. Okay, now let's go for the sidewalk and for the
width of a sidewalk, I'm going to make
it four meters. And since I want the
kids to be square, I'm going to make
four by four kids. Some blender in here. I'm going to create a cube. And I'm going to place the period right on the
bottom and bring this one up. Then are already
renamed the name of the file so that we know
that this is a sidewalk kit. I'm going to resize
this 15 times bigger. So I'm going to
bring in a plane. And this plane, as you
already know, is two meters. So I'm going to rescale
it by two to make it for so I'm having
the snapping turned on. Let me bring it here. And this is going to
be the tiling piece that is going to tie
in this direction. It's going to have a
corner piece as well to make that flow in
this direction. So let me take this
one and bring it here. And I want this part to be
rounded corners to that part. So I'm going to hit bubble. Of course it's not going to bevel by default for vertices. So you need to hit V, then be, excuse me, control and B
to activate the bevel. And then we make it
work with the vertices. So depending on the amount
of roundness that you want, I believe that something
like this is alright. And then just like always, I can take this one and I
start to bring it here. And it's going to tile
perfectly without any problem. So this is as easy as
creating something like this. And if you wanted
to, for example, make this brown to the
other part as well, he can simply take a
duplicate from it, bring it here, and just
rotate it 90 degrees. And then you have a piece that
goes in here and then you can continue your
way around that. So I believe that only couple of pieces
are enough for this one. This one, and this one, I'm going to keep them. But you are going to create
the valley Kate as well. The one that goes in here. And we know that this value
is already six meters long. And I want the kid to
flow in this direction. So in here, we can go and
create six by six kids. So let me take this one. And I'm going to
scale this one by 1.5 to make it six by six. So since this one is
a four meter piece, if we scale it by
1.5, it becomes six. And you can check
that in here to see that it's a
six by six piece. So I'm taking this
and removing them. And the only pieces that
I need are these ones. So basically three pieces of modular enough to make
this entire kit available. But the only thing that
matters is placing the pivots. I'm going to place
this pivot in here. I'm pleased this one
in here as well. So let's do that until I
start to see how it works. And to make them come on top of the ground level and
avoid any Z fighting. I'm going to extrude
them a bit in Blender. So I'm going to take this and extrude it just a bit in here, just write down a
very small value, something like this. Okay? And in here, again, I'm going to extrude it and enter this value in z so that all of them
are in the same white. Again, this one and
the same value in z. All of them are done. And I believe that I should make the pivot on this one in here. Instead of that. Let's
see what happens. I have this one and this one, and this one as well. So let's make the pivot in here. Now what remains is
renaming these parts. So let me rename this to Static Mesh modular
sidewalk toiling 01. In case we needed to create any variation we
have the naming. And this one, I'm going
to call it corner. And this one is going to
be called sidewalk alley. Okay? And again, I'm going
to go to vertex and assign a Exporting
folder for that. And I'm taking all of them and export them
at the same time. And I'm bringing them
inside Unreal Engine. Let's go to meshes
folder and import. Just head over to the folder
that you have saved them. And it's time to bring them and create the sidewalk using them. And of course for
this export errors, we really do not care. So let's go and find
them, and they are here. So this is the tiling
piece it's going to tile. Let's make that dress
the environment with it. So it's going to
try and go across. And I'm not sure if I'm going to make this one a nano eat much or a simple static mask
because nano it for now doesn't support
vertex blending. And I really love to work with vertex blending to
add water splashes, damage, dirt and
things like that. I'm not sure about that. So let's bring this one as well. It looks like we have
done that wrong. This is the key that belongs
to Allie. Excuse me. I need to select all of these. Just select an instance
and hit Shift E to select all of them
and just delete them. I have picked up the wrong one. This belongs to LA, and this one is a
four meter piece. Doesn't matter. I'm
going to take them. And again, hit Shift a to select all of them and bring them here. Now, if you are
really happy with it, you can go and start to address the scene
as you like with it. But we're now only
keeping want to street one block or one
everything you call it. We only have that. It's enough. If you're happy with it, just go and start making
variations with it. This one is going to come in here and round off this part. And if you are making this side as well,
you can take this one. And since they tile, you really have no
problem tiling this over. But since all of these
are not going to be seen and not necessarily
for the tutorial. I'm only working with this. Now we have the valley
piece in here, excuse me, LAP is in here which
we need to place. And now understood that we
extended this alle by a meter. We took this whole
building and brought that over to make extra
room for this part. So it doesn't matter. I'm going to Blender and take
this one and go to Item. And in here instead
of six by six, make it seven by seven. And It's easy, just export and take the mesh and
re-import in Unreal Engine. I'm bringing this out and
it's now tiling perfectly. So this one as well. Just try to dress the
scene using that. And you see that we have
a Z fighting in here. And that is because we
need to bring it over. Just buy once. And done. Let me go from here and
I start to look at that. And it's looking already good. Now what we need to do is creating this street,
Keith as well. And it's not something
complicated. We need to have a street mesh that tiles in this direction. And modular measures
are always tie link. Some of them are toiling
in one direction. For example, the
street kid that needs doing in this direction. And some wall kits, for example, this tiling wall kids
that need to tie in other directions as
well in both x and y. And you need to make sure
to plan that as well. For example, something
like a street kid doesn't really need to
tile in all directions. Only in one direction, but something like a wall
that you need to connect to. A lot of pieces need to have
tiling in all directions. So I'm now deciding how wide
I want the street to be. And for now I decided to
make that middle piece. And I'm really stuck between
making it eight or ten, because eight is double
the size of this one. And we can do some
tilings as well. So let's just start with eight. And actually let's make
some eight by four kids. So I'm going to bring in
a plane, make it four, and re-scale it in
any axis into risk. And we're scaling
in x and hit two. Now the size of this
one is eight by four. So let me go and do an extrude. Excuse me. I'm going to do an extrude and put a
really small value. And here I'm going to place
the pivot right in here. This is the piece that
tiles in this direction. And what I have in
mind is, for example, tiling this in here and
have to street sides, side-by-side to each other. To create a 8-meter the street, I'm going to delete all of them. And this one needs to
be renamed as well. I'm going to borrow
the name from this one and just call
it a street child. One more thing as well. I need to create corner
pieces for this one as what, for example, when we bring
the street tile in here, I want that to have
a three-way or four-way tiling so that whenever
you wanted to create an, a street, you have
the tools to create. So right now I'm simulating
this situation in Blender. Let me bring this out and
just do something like this. And I'm bringing this over. I'm just going to
create something like this. Something like this. And this is the straight. I'm going to bring it here and toilet in this direction. Okay. Just bear with me. This is less street tile that
is going to tie in here. As I said, I'm going to have a couple of these
side-by-side over each other. And for the other side as well, we need to have
these ones as well. So I'm bringing this here. And the only thing that needs
to be changed is this one. This one needs to
change direction. So I need to do something to make really a strict
system with this. I'm going to simulate
the situation just so that's basically
something like this. I have the street part
that is coming in here and sideway
rolling to this side. I need to have something like
this to create a four-way, three-way, basically as
many sites as you want. So this is a three-way
that I'm going to Create. And then let's again
take all of them, excluding that one, copy
them and bring them here. And I need to flip this to the other side as
well to create a four-way. This is eight and now
I need to bring in this one to create
another street with that, this one is going to be
turned into a three-way. This one is going to be
turned into a four-way. Okay. Let me take this, delete this one and this one. Because all of these needs to be replaced with other measures. So I'm taking this and I believe that I'm not really sure in which direction
it should tile. So I'm creating and simulating a sidewalk to be able to guess the direction. Another one. And I'm taking these and
bringing them to the other side. So this is it. A straight needs
to come in here. Okay, and now that will bring
it here and this one starts to roll here, I believe. No. This one is that basically, now I have these pieces that I need to export
to Unreal Engine. These are the backup
files that contain the true naming.
You see up here. And I'm going to create extra
measures for this part. So I'm going to say
these, isolate them. And these ones as well. I'm going to isolate
them and create my mesh based on these. So first things first, I need to take this
and note that I have selected multiple measures and what I'm going to edit mode, I'm able to manipulate
them altogether. I'm taking this
one and this one. And I'm removing the
faces in here because I need to bridge the
edge loops though. This is it. I'm taking these two edge loops. And these two right-click
and bridge edge loops, it's not working right now. I'm going to bring them
together using this tool. Okay? Just something like this. And I'm again taking these two edge loops and these two as well
and bringing them along. Later on, I will snap
the vertices together. Again. I'm selecting this one only. I am selecting this base and controlled selector here
to select an edge loop. And now I'm going to
extrude along the normals. So you can hit Alt and E to
extrude along the normal. It's going to take
an average and then you can right-click
to confirm that. And after that, dragging them in the direction
that you want. I'm going to select
them and convert them to vertices by
holding down one. And of course let me
go and select all of the vertices in the
bottom shelf as well. I have all of them
now selected and I'm going to align them to left
and dragging them here. Now let's go back and start
to see what we have created. So this one is in here and
now we need to bring it here. And I need to move this
piece to the other side. So I'm taking this
one, not for now. Let's go and select these
and make this one pivot. And I'm bringing in
the origin to here. And let's see if we
can do that with a mirror modifier. It's done. And now I'm taking
this one and delete them for these as well. Let me take these. I'm going to create a just for them to connect
them to here. Okay, Let's go to edge
mode and start to bring in some pieces. And since we are
working on the grid, they're all a snapping
perfectly together. So I'm going to face mode
and delete this extra faces. If you have any extra vertices, just go and you can delete them. We created this piece here. Now, I can safely
remove these parts. But before that, let's
do some cleanup. And I'm taking these, and these vertices need
to be welded together. So I'm taking this and this. They have some vertices in
themselves who need to go in. And let's take this one
on this one, well done. And before that actually let's join them together to
be able to help them. So hit Control and J so
that they are joined. And now I'm selecting these two vertices and
weld them together. And these two need to
be welded together. These two as well. I
believe that now we have a unified piece that I can take this one and delete
without having any issue. So let's take this one and
this one and delete it. And I'm going to
bring this here. But just first, let's activate the increments so that the
movement is a lot smoother. So I'm going to go in here and there's a phase in-between
that needs to be deleted. So let's go to face mode. This is the face. And the face of this one
also needs to be deleted. The face that is in between. So this is it. And now I'm going to join these two pieces together by
holding down Control and J. And I'm taking these
middle vertices and A-star to Well
done by distance. So the distance is too high. Let's go and see if you
can do something better. Just select them one by
one and merge by distance. I'm taking this vertices, bring them over and
weld them together. And I'm doing the same
thing in here as well. These vertices need to
be welded together. So we created this piece. And now the only thing
that remains is removing these extra parts because
I do not need these parts. And if I go back, you see that we have this piece in here. So in this mesh, I really do not need these, these vertices. So I'm going to take
them and delete them. Just something like this. Let's go back. That is it. And let's remove the modifier. And now there's something
else we need to do. We need to remove this
vertices in between. So it's not welding on one. Some step back, this one. And now I need to take these faces and control
Select All to this one. So now activate symmetry. And now we should have
no problem welding this. So let's apply that
and go in here. Now I should take, I should be able to take
these vertices and delete it. Clean data as well. And now we need to
connect these pieces together so that they
join pretty nicely. We have this piece
for the connected. I'm going to connect these
two pieces together. I'm going to select
this inner base from this and delete it. Now I need to, well
these vertices together, so I need to select
both of them. But not, Let's not waste a lot of time on
this one because this is a blog called peace that is going to be
removed later on. So now only need to
have the silhouette. So let's take these two, join them together, and let's
place the pivot to be here. Now I need to drag it and place it to the
other side as well to make a new variation from it. So I'm taking that. Take this edge loop. Let's first isolated
to be able to select all of these
vertices and delete them. Now there's one thing
remaining and that is adding a mirror modifier to take
that to the other side. So I'm taking this
one, delete it. Now let's add a mirror
and add a perfect mirror. Let's disable this one, select these two edges. And I'm going to make this
one the center of the world. And now I'm going to
bring in an empty here. And empty is something
that you can use to define your
directions, basically. So planning axes. And now I'm going to bring in the mirror and you're going to understand
what it's going to do. So let's go in Y and
pick the mirror. This is the center object and
that did it. Let's go back. This is the piece that
it made perfectly. So we have this piece
and this piece together. And if this one is
staying in the world, just go in here and make it bounding box center so that you put your pivot
goes along with it. It took a bit of time, but we were able to
finally create them. Now we have these
pieces which we can use to level the C. I'm going to call it a street freeway
and copy the name. And this one is going to
be straightforward way. That simple, okay? Exports an export and take these ones as
well, an export them. Now in Unreal Engine, we need to go back and
import everything. Okay, now, let's see
what we have here. So I need to bring this
straight tiling piece. This is going to tile
in this direction. And let's do one more time. I'm going to select all of them and do another
trial in this direction. So we did the first thing, and now we need to bring in this three-way piece
to create that part. Again, if we needed
a four-way piece, we could do that as well. Then we can tie the
street in this direction. But since we do not need that, we're going to use
that piece as well, only the three-way piece. And again, I'm going to bring it here and select all of the
sidewalks except for these, and bring them here so that we have the street
done as well. Okay. We created the sidewalk, the Alley, which is here, and the street and the
street tiling system. And of course, if you're
going to expand your map, you are more than
welcome to do that. If you see something like
this which is happening, you can start to bring
in variation pieces so that you are one is in here Untitled
in that direction. And it can bring in
as many pieces as you want to start to set
dress your scene. So I feel like that
blackout is finally done. And we're ready to move
on to the next chapter, which is actually creating art and bringing in Unreal Engine. And we're going to utilize
substance package, ZBrush Blender and do a lot of cool things and
learn something new. But before that, let
me actually go and create another variation
of this material, or rather from this one, because it has
some darker colors that we dwell with the project. So I'm going to make this
one something like this. We're going to make this
one the street colors. Something like this. Okay, I'm copying the name. But let's go in here and
select all of the pieces. And I'm going to apply the material on them so that we have
something to look at. And that is a pretty easy fix. And finally we reached to the second chapters and we created the blackout
for everything. We created a blog
called for buildings, three kinds of buildings. We created the street system that can easily tied together. I'm going to go ahead and
save a new version from this scene so that whenever
we lost something, we have something to go back
to an a star changes there. We did the blackout. It didn't take too long. But we finally
finished the blackout. And now we can make
sure that everything that we're going to create
is based on something. It has a logic behind it. And the only thing that we
need to do is replacing these measures with
high-quality measures that use this same rule. For example, having the
same dimensions as these. The only thing that
you need to create a high-quality art that
has the same dimension, styles, and has the same period. This is done. Congratulations
on finishing the blackout. And in the next one who will
go and create real art. Okay, see you in
the next chapter.
14. Fixing Some Problems: Okay. Now that we have
done the blackout, I understood that to prevent
the future problems, we need to go and make sure that the ground level on all
of the kids is the same. And what I mean by that, I mean that something like this, if I bring this up, is see that the ground
in here is three meters. Three meters is a good value for the ground
piece for this kid. And if you are going to
create kits that are tiling, and by those, I
mean, these ones. This one is four by four. And if we make this one for Y4, we either are having bigger
brick size when we bring it, the abrade materials
debris card on this size are going to be
different from this side. Or if we change the brick size, we are going to have inconsistent
brick size but tiling. And if we make the
textile density right, we're going to have
tiling problems. So you need to either make
these three-by-three as well. For example, the ground size on this one is for the meters. On this one is three
meters as well. On this 13 meters as well, go into details panel
and bring this up. And this one you see as well, the ground level
is three meters. So if you're going to make
tiling pieces of these, you need to make sure that the tiling pieces that
are going to tile in both directions use
the same ground as well to prevent some
of the future problems. Now, there's a bit of fixed that we need to
do in these kids. For the first one I'm
starting with this. This is the kit and you want
to make sure that those that share the same tiling texture
to have the same ground. For example, this one. Now
this wall is a four-by-four. Of course I'm not going
to change the name, but you know how to do it. Now. This one is four by four. I'm going to rescale
it to three-by-three. So I go to this item and
instead of four-by-four, I put in three by three. Okay, this is done. And now this one is for, I'm going to make it three. I'm going to export
them right on. It's going to cause
some problems, but it's going to
prevent a lot of future problems from happening. I should have told you
this one early on, but I forgot to say this one. Again. I'm going to
wherever I see four, I'm going to convert that
to three. On this one. I need to make this 13
and on this one as well. So I'm taking these two
as well, export them. And now I'm going to Unreal Engine and see
the pieces that we need. And I'm selecting all of them
and re-import them back. So this is one, this
is one, this is one. And these ones as well. So right-click and
hit re-import. You see that they
create some problems. So not a huge problem. I'm taking this one, bring it
down under Pillar as well, I believe is four meters. Let's go and start to
fix this one as well. Make it three and exports. And I'm going to find it. It's here. Right-click and re-import. So now they're easier for us
to be able to change things. Of course, since this
one is four meters high, I'm taking this one or let's not change the
pillar. Excuse me. I should have never done that. Let's go live the
pillar to be okay. Now I need to take these, start to bring them down
without any problem, unable to snap them together, just takes a bit of time, but it's going to prevent a lot of the future problems
from happening. Just bear with me on this one. I'm going to bring it back. And to make sure that
the timing is perfect, I'm going to take them, take these all and
do another copy. Now I need to take these these in here and bring
them one meter away. Now, one thing that
remains is that this one's need to come down a meter away
to match that as well. So I'm taking everything, bring in one meter and take these ones as well to
bring them one meter away and start to place them. Because later on if
you had those pieces, we would have a lot of
inconsistency throughout kits, but it's better to have the ground piece in the
same level for all of them. So let's bring this
one, bring it over. These ones as well,
bring them over. And now I need to bring
this one again, one meter. And take all of the pillars and bring them one meter
away on their place. And now the walls of this one. It's an easy process,
but it's better to decide on that before
even creating the kit. Let's take this one. And bring it up. And
having these selected. I'm going to take this
and bring it on and see it's perfect 99
meters in this direction. Now I believe I'm looking at the kid in all of the
directions to see. It's alright for now,
but there's something that we need to do for this. Let's go simulate the
settings in Blender. I'm taking this and this one and this piece
that needs to go there. So now I'm dragging a
copy and isolate them. That will bring them
all in the same place. In previous iteration, we
had something like this, where that triangle really
fit a lot to bring it here. We have such a situation. So I'm bringing
this a meter away. Now we have something like this. So we need to do a
couple of things. One is again taking
this one extended, let me take this and we
have the snapping on, but we need to make
it vertex instead. And a snap it to there. This one needs to come in here. And this one needs to
come in-between these. I'm selecting this
one and make sure that this one has 50
centimeters away from this one. To be just in the middle. So I need to bevel this vertices to create
something like this. And now I'm taking this one, snap it to here. And I'm taking this one
again and snap it there. Of course, you should
have snapped out there. And we covered those parts. There's a gap in-between here and that is not
a problem as well. I'm taking this, Let's extrude. We extruded something. And let's now take both of the vertices
and bring them here. Actually, I need to bring it here perfectly
to snap to here. So this is that piece as well. I'm taking the piece, it P to separate it. So we created that one for
the roof part as well. So let's export. Of course this is the wrong
file to export to the better one later and rename this one to remove the ok. Now we're
going some steps back. I'm bringing this over. And let me bring
this and I'll need to take the name from this one. Okay, I take the name
and delete it and paste the name for this
and hit Export. And this one already needs
to be exported as well. So let's go in on real
point this mesh and Hadrian ports that
fix this issue. Now let's go and
import that part, which is this one, okay? Import all. Now I
can do one thing. I can take this one control
C control V to paste that. While having this one selected, I'm going to the details panel and replace the mesh with that. And you see since these
two share the same pivot, it's going to have no problem. Okay? This one is for here. And for this part as well, I need to take this one
and bring this over and we set it rotated a 180 degrees
and bring that into place. I believe that's everything
for this building. Next building as well is going
to follow the same route. We can now everything
is a snapping together perfectly without any problem. Since this one is already
doing a great job, I'm not really touching it. Concerning this building,
this one in here, you can use the tiling
piece from here, since this one is three-by-three
and the ground piece on these kids is the three as well. You can either bringing these to use it in here
to save some time, or you can use these four by four pieces if
you're going to use a separate material or if
you're going to pull up the material on this because this is a different
size building. It's not going to have
really a problem. But to save some bit of time, I'm taking all of these, these tiling wants and
I'm deleting them. Just hit Delete. I'm taking this ones as
well and delete them. I'm going to save a bit of time. I'm going to use the
tiling wall piece in here and use it
on this building. So it doesn't matter really, as long as it's going to
work and function perfectly. So this one is alright. And I'm going to take these and sell them to the
top of the building. This one is going to save us
a bit of time down the way. Okay? Now there's these pieces that I'm going to delete
and bring this one up. And maybe in here
or use a one by three piece which we are
going to create later on. So I'm going to select
all of the pieces, start to tie them over until
we reach the other part. Only the matter of
copying and pasting. In here as well. We
have a meter extra, and I need to take this one, take all of these pieces. And I'm going to bring
them one meter away. These ones as well. And
this is a quick fix. And preventing a lot
of the problems down the way that you take these and bring them over one meter. And it looks like this
one needs to be selected as well, a meter. Now, this one's needs
to be deleted as well. And also, as well as these ones. So I'm going to select all of
these pieces and bring them over because they already
work great in this part. I need to take this pillars as well and bring
them a meter away. So there's another thing that I need to do and that is again, selecting this walls and duplicate them on the
other side as well. 90 degrees. It's a matter of a snapping
here. Okay, it's done. And now there's only one
piece that has remained. And it's going to snap
perfectly as well. So there's couple of things, a couple of more things
that we need to do. And what is a stretching
this to this side. And that is easy as well. We were just doing
like this one. Okay, let me go in here and we need to bring
this piece a meter away. Let's make the
snapped to increment. This one needs to
come a meter away. This one as well.
Looks like we have everything set up and we're ready to move
on to the next one. So I'm going to export this one and export
this one as well. Let's find this. Re-import. It needs
to come in here. Perfect. And this one as well, Let's find it and re-import it. Okay? Now the problem is done. And now one more thing
that we could do is creating a custom three
by one piece to fill. All of these are space, okay? And that is easy. I'm going to find that it looks like we
already have that. So this is it. I'm bringing that in and start to
place it in here. Two level design this one
as well and finish it. Later on. We will check to see if this is
inverted or not. But for now, only. We care about placing this to the right place. This is done. Now, let's duplicate it on
the other side as well. That is so easy. This one only needs once. And I'm going to again select these and bring them
over to this side, okay? Now this is done, the problem Fixing is done. You can take this and suppose that actually
this is finished. But for these parts, since these are
two custom pieces that are not going
to be used so much, I'm going to leave
them just the way they are because they are snapping
and they work perfectly. Okay, this is done. Okay,
This chapter is finally done. And the next one who
will start to create a real art as well.
See you there.
15. Substance 3D Designer: Okay, everybody, congratulations on finishing
the blackout part. And in this one we're going
to create a real art. And now this is where the cool part of the
tutorial is going to begin. We have done the
fundamentals and we have a great blackout
that is going to hold out in a lot of situations. Now we're going to
really create materials, create real high-quality nano
it meshes and bring domain. We're going to do a lot of
cool things and we're going to learn a lot of new
techniques together. First things first, we
started with this building. And what I have in this building for This building in mind is creating a red brick type
of building for this one. And I have gathered
some references that we're going to look at. So this is one of the looks that I'm having
for this building. I'm going to create
some red bricks. And I have sent this with breaks in a lot of Victorian art. And these are so common. And I'm going to create what
Briggs for these parts. And then in here for this
entrance and the sharp as well, we're going to do
some wooed as well. The top part is going
to be wet break, and the bottom part is going
to be all about roots. These are the references
and as you know, I've created a reference sheet. And then this reference sheet, we have images that are
big, medium, and small. For example, this one
is a really big one. And by that I mean, it gives us the big picture how many
bricks we're going to use, how the bricks and cement are being mixed together
and things like that. How many dirt? How much dirt and things
like that are in here. But in this picture
we're not really able to get a lot of the cool details
that these images have. So in order to get
the cool details, we need some close-up
images as well. For example, this one is
clearly given us a lot of cool detail on the
brakes, on their edges, on surface damages, big
damages, a small damages, this tiny little spots that
are common in these images. If we wanted to make
that really dirty, this is going to help us. And of course, for
the museum building, I have something
like this in mind. Of course, I'm not
going to copy this, but the whole building is going to follow
the same structure. Of course. As I said, I'm not
going to copy this one. Even the colors is
going to be different, but this one is
going to give you an image of how this
building is going to be. A lot of plants were this
building and this middle one. Maybe we're using some of the bricks that
will create here. Maybe we create variations
and apply them on here. That we're going to create the materials mainly
inside Substance Designer. And we're going to create tiling textures and materials
just like these ones. So that we could
create tiling geometry and displays these
using those materials. And you're going to
understand just in a minute, but we're going to create some styling breaks
so that later on we could apply those
bricks on top of these buildings and
displace these. And since we are using
tiling textures, these are going to be really
good looking when we start to add the geometrical
details and material details. Okay, now we're going to close out Unreal Engine
and go to substance. This is substance 3D designer, which we are going to create
the brick material in. To create the materials
is simply go to File New and we want to
create a substance graph. And in here, the default
option is the empty. But I'm not going to
use empty because it doesn't have any outputs. And by that I mean,
if I create this CC, we do not have any
outputs to show in here. So you mainly want to
close this 1. First. Let me go in here and close it. And always want I'm going to create a material in substance. I go for metallic roughness. And this is what
Unreal Engine users. And for the resolution and things like that do
not change them. They could be changed
later on down the process. So for the graph name, I'm going to name it brick, or let's call it
rhetoric and hit. Okay. And it created a material, a default material that
has a lot of outputs. For example, we have
the base color, normal, roughness, metallic, ambient
occlusion, and height. Of course later on if you needed something who
will create that. But for now these outputs are enough to give us
the result that we want. And my main workflow is creating the height first and
then their height. We create the color information. Normally information, metallic, I'm being so
collusion and roughness and things like that based on
that height and substances pretty powerful to create
masks from height channels, for example,
separating the edges to create edge damages
and things like that. We're going to
understand later on. But for now, let's
save the package because we have an
unsafe package in here. You're going to hit
Control Shift and S and go to the folder that
you want and save the file. You have saved it. And every time you want can
either go to the folder, click on the substance file to bring the Substance Designer up. Or you could go in here, open and go to the file and open it in
substance directly. Now we're going to
create a brick material. One of the greatest tools to
create things like gouache, which have a certain pattern
is the title sampler. And to make the viewport
to Willie more usable, always bring this Explorer and match it with
this one in here. And this Explorer window isn't something that we use regularly, but this library
is so important. It holds a lot of the nodes that we're going
to create in the process. For example, in
this texture group, these noises are very
handy and very powerful. We are going to use them a lot. So you want to have them shown here to use the space better. And when we drag something in, every detail about that is
going to be shown in here, for example, the
scale is the amount of tiling that this
node provides. This is the default styling, and this is more tiling, makes it really a smaller. If you're going
to see the tiling while being in here
in this 2D view, hit a space to see
the perfect time. For example, we
have the disorder, it's going to make it
really randomized. And then a lot of the settings
based on which generator, which texture, and which
pattern you are using. To bring their title sampler, I simply right-click
and add nodes. You can bring these common nodes that are available to you, isn't simply go to add nodes. These nodes are some of
the most important ones. But if you're going to bring in from all of the nodes,
you hit a space. And in this search menu, just search for tile. And in here we have a
lot of tonal options. And the one that we're going
to use is the total sampler. And it gives us this pattern. And this tile sampler is great for creating
those patterns. And you see already it looks
like something like a break, although not totally, but
something close to it. And it has a lot of
cool settings in here, pattern size, rotation,
color, and things like that. It gives you a lot
of flexibility to create your materials. Okay, for now to
see what it does, Let's go to position. And in here we have the offset. So you place the offset in
and they already see that it starts to create some of that brick pattern
that we have in mind. I'm going to go back
and first things first, we need to decide on
how many bricks we want each row to have in x and y,
horizontally and vertically. And you might be tempted
to create a lot of breaks, a lot of rows in here, but that is not a good idea because we're going to
title this a lot of time. You see that building
has a lot of floors on top of each other and that's simply
gets repetitive. You want to make
it as generic as possible and as a
smallest possible. And you want to avoid a lot
of custom details in here. For example, let
me apply this one to height and to normal as well, so that we're able to see
something from that. Okay. Let's guess that this one is a brake material
that will create you really do not want to go and add some details that
are too obvious. For example, is this gradient. This one you see
when we tiled is, you're going to see a lot of repetition or
something like this. When you see that, it's going to create a lot of repetition. And then we have a node
that is called Blend. And you never want
to blend something with this. The texture. You see that this is how the
texture now it looks like it has a lot of details
that are tiling visibly. So you want to avoid as
many custom details as possible and leave them for the engine when you
create materials, just leave them for their
to add variations there. So as less costume
details the bur, so you want to make that really
generic inside substance. Substance works really by utilizing the black
and white data. And black means yes. Excuse me, black means
no, and white means yes. For example, Start, we have a lot of black
and white in here. And it works with black
and data as a mask. For example, if you are going
to create a base color, these black parts are not
going to really do anything. And we're going to create a simple material to really know what is substance
going to do. Although I know some of you
know how substance works, but to make sure that
everybody's on the same page, we go and create a really, really simple material
that is not going to take more than 20 minutes
to create so that we get familiar with substance
and how it works. So we're going to create a
really small mode material. So always when I'm creating
something and start to work from big,
medium and small. And this one is a big shape. And if I take it and
drag it into the height, you see that it starts to
displace the shape a bit. But to see the effect, really, we need to bring in
this 12 normals. So now you see a bit of
detail happening in here. One thing to keep in mind is that substance mainly
works with direct export. Unreal is OpenGL and that
means that the g channel, the green channel of the normal
map, should be inverted. This is the normal
map and it has three channels, RG and B. And if you are going to
separate the channels to see there's a node
which is called. Rg, be split and drag
the normal into it. And in here you say
this is the R channel, this is the G channel. And in order to see the
different channels, just go and double-click on the node to be able
to select them. Now, this one is the G channel and that is
inverted inside Unreal Engine. And if you are going
to work with OpenGL, to work with Unreal Engine, you could simply go into
this materials default. Just for previous material. From here, select a
metallic roughness and isolation and displacement. And in here it gives
you some options. And in here you see the normal. It has been set to Direct X. And if you are going to use
this inside Unreal Engine, you need to flip
the green channel. And to keep everything
consistent, I always export my
normals indirect X format and flip the green channel
inside Unreal Engine. Do not worry, we are going
to cover that later on when we export materials
into unreal engine. Of course, excuse
me, I was wrong. Unreal Engine uses Direct
X and are always offer my normal maps in
OpenGL and later on convert them to direct
eggs inside Unreal Engine. So in order to make
this one OpenGL, you simply disable this one. It becomes OpenGL
plain and simple. In here. You want to
go in here and set the normal map format to
direct to OpenGL as well. And this is by default
embedded into the normal load. You will right-click, excuse me, you hit a space and
just search for normal. And this is the
normal that converts your height data
into normal map. You plug something
into it and it converts that to a
normal map for you. So this is the Direct X. I always convert that to OpenGL. And later on inside
Unreal Engine, I flipped the green
channel to get the Direct X normal
map because a lot of the softwares
that I work with are going to use OpenGL, but Unreal Engine is Direct X. So to keep them consistent, are always render
my normal maps as OpenGL and convert them
inside Unreal Engine. So this is the Cloud material. This is the Cloud. And Cloud is a
really great note. You're going to use that a lot. And it has a lot of
black and white arrow. The black and white data
means that the black is no. White and white is yes. And in here, the black parts, in terms of height are going in and the white
parts are going out. So it creates
something like this. And if you're going to see
that dramatic height effect, you simply go to
material again and go to metallic roughness,
tessellation plus displacement. And if you're going to
really see that a scale just bump up the scale to be able to see
the result better. Now you see that
these parts are going in and those parts
are coming out. So plain and simple, and it's using your
height channel. This channel is directly fed in here so that
you can use that. We have normal in here. And I'm going to
totally disabled the Direct X so that we
have the normal as OpenGL. So this is it. And of course, using
the normal node, you can really bump that up
to get a stronger effect. For example, if we're
going to create something like a brick, which is harder than
something like mod. It's really desire to
bump up their normal. And of course, it
has been kept 23. You can overpass that value to something, for example, ten. But it's going to
make your normal map a lot more noisier, but it's desired in some parts. For example, if you
are going to create a cliff material that needs
a lot of bumps and tears. You want to do that, but
for something like mode, you really do not want to
make that really too intense. So there's another
one which is a very important one in the PBR maps
and that is the roughness. And roughness means that
if your material is rough, and in here you see it has
plugged in a single value, and that value is
close to black. And it means, although
it's not pure black, but it has a bit of
roughness into it. I feel make it pure black. You're getting a
totally what material and this is something
like a water. But if you're going to
make it more like water, you want to bring
this up to see that. Okay. Now we're
getting somewhere. The metallic material for
roughness, excuse me, for something like
mud isn't something that we're going to use
because mod isn't metallic. If you're going to
use a material that consists of metallic
and metallic objects, for example, metal
itself or Chrome, bronze, silver and
things like that. You want to use this output. But if not, just plug a
simple uniform color, just bringing a uniform color, and this is going to give
you a color, either color, you can choose from different colors in
the color spectrum, or simply use a gray scale value that ranges from 0 to one. And this is the sRGB
value that you're using. If you're going to use a float
between 01, just use it. This sRGB is a value between 0, two fifty five, fifty five
means white and 0 means black. When you get around
in substance. You really discover your values by ice and not looking at
a lot of these values. Okay, now let's go and
improve our mode material. So I'm going to remove
this one as well. So this is the big shape. Let's make the scale bigger. Make the ground a bit smaller because we have now more
texture resolution in here. So this mode is now too harsh and mod is not
really looking like this. And if you're going to
see the lighting changes, hit Control and Shift. And by dragging right-click
the left and right heel, you're able to alter the
lighting condition in here to be able to see the
prompts and things like that. Okay? Now I'm going to make this
one directional lipid. So let's go in here and find something that
is directional. This crystal node is great, but this is too harsh. And if I hold shift and
bring the input in here, you see that it's very harsh. So there is a node
that is called blur. This blur and blur
high-quality grayscale. I'm going to use
this one because it gives us a better quality. So drag the quality of
our intensity down a bit, just a bit and you see
how it blurs the image. So I'm going to just use
something like this. And now I'm going to
blend these two together. Just select one of them, hit a space and
bringing the blend, it's going to wire
that in here for you. And this is a blend, just
like the blending Photoshop. And if you are
going to use plant, you want to put that actually
in the chain of actions. And you want to connect
a blend into this, but there's a better way. And that is holding shift on this node and dragging
that to blend. It's going to not only
connect that for you, but also wire that to all of
the outputs that you have. Okay? Now, let's bring in
the clouds and here, and I'm going to mix
these two together. So let's use Multiply. You see that now we have both
shapes from both of them. So this is it. And let's go to roughness. And I feel like this
is really rough. So this is good for something
like a modern material. So now the mod material is
looking good from far away. But when we look close up, we're seeing a lot
of blurriness. And that is because we're only using couple of
nodes that are big. Now, we need to start
adding medium and small details to make it look in medium and close up
distances the better. Now, right away, I'm going to bring in another node from here. So let's use this one. And this grunge maps are really awesome in terms of
giving you cool details. So I'm going to bring
the contrast down. And again, I'm going
to bring in the blur because I do not want
that to be so intense. So the quality up and
this one down just a bit. Then again, in here, I'm selecting the latest node, which is the blend space bar. And it can bring the, bringing the blend from here. And I'm going to bring here. So you see, this is already
starting to add some details. I want to blend that
with the previous one. So these are the
notes that I can use. For example, I can use copy, can use add, subtract, multiply, and a
lot of things that we can use to get the
result that we want. So let's go for something
like soft light. And now you see in close-ups
we are seeing some details. So let's go and start to
add some small details. For example, those tiny
cracks and damages and stuff. So one of the nodes is for, I'm using this one a lot
in a lot of productions. And another one is this dirt. And there are a lot
of their study can use black and white
spots is again, some of the nodes
that you can use. So let's bring in the dirt again to a blend
and dragging here. And now I'm going to subtract this one from the whole one. You see in here. We have a lot of spikes. So let's go and
bring in subtract. And you see there are a lot of harsh ones in here
because these are too intense than subtracting them from this results
into pure black. So I'm going to bring the
intensity down just a bit so that you see in
close-up details also, we have something to look
at and you see in here, we have something to hold on. So again, let's add blend. Of course, this is the simplest material that I'm creating. When you go and become advanced inside substance
creating materials, you're going to have easier time finding different nodes and using different nodes other than blend to create your materials. So this black and white spots one is always good to add
a lot of cool details. I'm going to bring in the
scales up. And in here. I'm going to leave that at copy, but bring the
intensity sole down. Let's compare that before you see there's nothing in here. And after adding
just a bit of that, you see that adds some
resolution into the mode. So let's add yet another level. This dirt is also a good one. Let's add a blend. I'm going to connect that here. And now I'm going
to use Multiply. This multiply is
also a good one. So again, I'm going
to bring that down. And now you see,
even in close-ups, this has a lot of cool
details to look at. So this is the firm. Let's bring up the
scale and waves rotation is going to
give us some randomness. Let's bring the scale down. This is it. Now let's separate some of the
data that is from here. I'm not really going
to use all of that. So our dragon node, and this time bringing the
levels node and this level is node is going to level out basically anything
that you have. You drag these sliders to select between the black and
white data that you have. So I'm going to separate
only these splashes. And I'm going to bring
in the blend here. Now instead of making subtract, I'm going to add that
to mix so that we have some details
coming out as well. But this is starting
to look really spiky. So I'm going to drag it. Just something like this. Let's tell that we
created the height map. Let's look at that. And now I'm going
to bring in a node. And that node is called
R T ambient occlusion. And it's going to create
ambient inclusion based on the height
that you give to it. So I'm going to drag it. Let's drag it in here. And based on the amount of
data that you're given, it's going to create
a ambient occlusion. So let's bring in the
height down because this is not too deep of the material. I'm going to remove this
one and plug it in here. And right away you see that
on these darker areas, it starts to darken them because ambient occlusion in
these small parts, the light could
not enter so much so they are darker than the ports that are
exposed to sun. So this is the ambient
occlusion and for roughness, Let's bring the uniform color. This one and something refer. And these ones, I'm going
to bring in blend node. And I'm going to mix
these two together. And the opacity is going
to be the height map. So bringing the height map, this is the result
that it gives us this opacity map acts as a mask. And now we have two inputs. Now let's look at that. It's going to mix these
two inputs based on the mask that we have in
here, which is this one. Of course you can
do a lot of things, but now we're going
to do this and we added a lot of cool
roughness details into it. Of course, we're not
going to really make that a huge AAA material. This is just to look at that. So let's make this 15 to
make that really pronounced. And now we need to create a
quick base color for that. So for base color, I always start with
uniform colors. So it has space and
just search for you. And the first option
is the uniform color. So I'm going to bring into
uniform colors and we have a color picker here to pick colors from external
sources as well. For example, you can bring
in the images that you have. This one already has
some cool colors. So I'm going to hit this picker icon and
we can pick from here. Okay? This is the first one, this is the first color. And let's pick one from here. These are the colors. I'm going to blend these
two based on annoys, based on a random noise. So let's bring in this. This is a base color
that it gives us. And if you're not happy
with the results, you can select the
nodes together, hit X to invert it,
something like this. But let's take this
one and bring in the V down a bit
to make it darker. And now, again, let's blend. Now I'm going to use a
note that is called HSL. These are just early is going to control the hue
saturation and lightness, basically that is the
abbreviation of those. So let's click on it and
change the heel to something. Or change the lightness
to make it darker, but really make it brown. So I'm going to convert, connect that to this blend. And now this one only
is going to be shown. So I'm going to bring
in another one and connect that to opacity
to be as a mask. And this is the result. This is before,
and this is after. Under which are the
color you make, the better your material
is going to be. So first we're going to
create some random tiling wants mixed with different
colors to create a base. And after that, we bring in
these information to make, to make that really localized. Okay? Again, I'm going to
bring in the blend. And there's a node which is called gradient, gradient map. You can pick different colors based on the black
and white data. For example, let me go and
pick something so intense. For example, this fracture sum, I'm going to add that in here. And it converts that to
either gray scale or a color. So this one, you can, instead of picking only
seeing single color, you can pick up a ray
of colors, for example, I'm going to bring this up using this Gradient Map
on picking that up. And in here, you need
to pick gradient. That one had the pink color, but this one has
the pig gradient. So the gradient, and you
need to click and hold and drag so that it picks up
from all of these colors. It picked up. But since all
of the colors are the same, it didn't pick a lot of colors, but for something
really intense, this is the amount of
color that they can pick. So let's go and start to
pick from here instead. This one is already good. Let's look at that and it has a lot of intense detail as well. So I'm going to bring that here and make this one the mask. And you see that it has
created a lot of cool details. So I'm going to connect that to the base color input so
that it gives us the color. But now this is really a
random color and it has no connection whatsoever with the base material
that we created. So I'm going to bring
in these masks, for example, this
dirt debris created. We can extract a mask out
of it and use it to color. For example, let's
go create a blend. And I'm going to bring
this one as the opacity. So I'm selecting that. You see, we have them in here. Now let's for simplicity, let's hit a space and
bring in a uniform color. And this uniform color
is going to be white. Let's make it white. Let's pick up from here
so that it's obvious. So now I'm going to connect
that into base color. Now let's look at it based on the mass that we fit in here. Based on this mask
on black parts. It's going to ignore that, but on white parts it's
going to apply this for us. So this is it. And now let's hit Shift, hold down Shift, and
drag it in here. And you see that
on these parts it has made that white color. So let's make it black so that those darker areas get
some information as well. So again, let's add a blend. And we can choose
from these colors. Let's select this one
or the height itself. I'm going to bring in a
gradient map from it. First, I need to
connect this one into the base color,
into the opacity. And I'm going to connect
this one on top of that. So now this one
needs some colors. Let's go in here
and I start to pick some colors from here. Let's pick up from here. So I'm bringing in
the Gradient Map, gradient editor
and pick gradient. Okay, I'm going to
pick up from here. No, it didn't do a good job. Let's go and pick up from here. This has a better color Arrange. No. Let's go for this one instead. Okay. Although I'm not
happy with the color, this is not what I wanted. But now, after this one hit
a space and bringing h l, l, bring the lightness
down to make it darker. And it can change
the hue to something that is really looking like the mode color,
something like this. That is a lot better. After that, Let's bring
in another blend. And this time I'm going to use the ambient occlusion as a mask. You see it has created
a very intense mask. I'm going to bring in this, plug it in here, and again, copy
this gradient map. And look at that. It has created this one for us. Now again, I'm
bringing this one. Let's go for gradients. Map starts to pick from
these darker shades. No, not this dark. Let's pick up from here. Okay, this is a good
mixture of colors. So let's apply it
and bring that down. We created a simple
mode material. Of course you can go and
customize that more. This is not the
best material and even not a good example of materials and how
much you can go. But this was a simple
introduction into substance and some simple nodes so that you can use them to create
your own materials. In the next one,
we're going to create a brick material and
continue the work. Okay. See you there.
16. Brick Mat Big Shapes: Okay, everybody, we created this simple material in
the previous lesson to get ourselves familiar
with the substance in general and Substance
Designer specifically. Now, I'm going to
take everything and delete them for roughness again, I'm bringing this in here. You are seeing this
tessellation problem. That is because we do not
have any information in here. And as long as we
plug the outputs, we are able to see the
true information there. So now it's about time we go and create a tiling brick material
that we need for our kit. Let's go and start creating. And just like anything, I'll start with the big, medium and small are first start to create
the big shapes. And by beak shapes, the
shapes that are fundamental, for example, the shape of
the bricks themselves. When we made sure that
we're on a good ground, we start to create details, the medium details, for example, those tiny cracks that
you see in a brick wall. And after that, we go for such a tiny details,
for example, these are small holds
and this surface breakoffs that really
make the viewer pleasant. Well now, looking at this, we understand that
we want the bricks to be a little bit
bigger because these are really too small and not holding very good in
the long distance, as you see in here, in such a distance we are only able to distinguish the color, but it seems that there
should be, excuse me, 34 breaks vertically
and horizontally. So I'm going to do
the same thing, but not discount of breaks
because it's going to be repetitive a lot quicker
than you might think. Okay, press the space and
bringing the tile sampler. And this is the device
that you're going to use. So I'm going to use half
that value instead of 34, I'm going to use 17. And for the y amount, which was actually 17, I'm going to use
something like nine, but I'm going to make
that reversed in here, 917 in here, which is actually
looking a lot better. So the size of the brakes is too small actually,
let's go in here. And in this size tab, you are able to change
the size of them. This scale option is
going to scale them. Just drag it a bit. And if you hold down shift, you have better
control over that. The control becomes
a lot smoother. Okay, Just until we
have a tiny line. And in the size random, I want to add a bit as well. There's randomness
is great to add. Randomness in your, everything that you
create inside substance. Because in nature,
not a lot of things are so mathematically
correct and a lot of random, randomness happens in
a lot of materials. So for a scalar random, for something like this, because you do not want that
if you drag it so high. Some of them are going to stay a lot bigger and some of
them a lot of smaller. And you're going to see
something like this. This is not actually a good thing for
something like a break, but let's change just a bit. And I'm going to
add a slide number so that we have a bit
of variation in here. So if you'll press a space, you see that it's
tiling perfectly. And this scale map multiplier. And speaking of this one, actually let's talk
about these as well. In here we have some gray scale
inputs that we can input. For example, one of them, this one is the scale map input and ask for anything
in Substance. Designer black means no. White means yes, means a small. And what? White means big. And if you bring in a texture
in here, for example, this one that has a lot
of higher contrast. Let me make it so
something like this. And I'm plugging this into
the scale map and go in here. It doesn't change anything. For that to take effect. You need to go down until you see in this scale
map multiplier. So I'm going to drag
it all the way up. And you see, depending on the
input that you put in here, the bricks are
going to stay large and in black areas,
they totally disappear. So this is something that
you can use as well, for example, to make
something really interesting. You might use something
like a Perlin noise. And this Perlin noise, I'm going to make it a
smaller, something like this. And there's a node that
is called Auto Level. And this node makes sure
that you use the full range, the black, all the way to white. And by that I mean, if I
bring in a level node, you see that there are a lot of ranges that have
not been used. So in order to
localize that and make sure that they use
the full opacity. You use the auto levels
or bring this one, this level itself, and this
one is the outer level. If you bring it,
you see that you get the same result
between these. So there's audio levels
is a good thing to make sure that you're
using the full range. Pull it. You see that based on the grayscale value you are
getting the scale multiplier. But I'm not going to make
that something like that. I'm only going to
add a slight bit. And this is not actually a
very good thing for bricks. But I myself, when I'm creating materials and textures
and things like that, I want to have as much contrast and as much randomness
as possible. So now these are good, but they're nothing
actually just like brick. I mean, in terms of
positioning themselves. So the next rollout
that we can use is the position and this
position random if we drag it. So it's going to really make it chaotic for something like a ground pebble where it's
totally chaotic and natural, you want to use
something like this, but for something like a break, It's not going to work. So I'm going to use offset and put the value
to something like 0.5. And now they are actually
starting to look like brick. Under placement is a
lot more like brick. So now I'll want them
to be lengthier in x. So let's go in the
size and the scale. And we have this,
this scale is going to change the scale
on all of them, but this size is going to
control them individually. For example, in x,
I'm going to make it, for example, 1 to, and it makes them wider a bit. So it's too much. Let's do something like this. And actually I need to go back and reduce the
numbers in here. This x amount should be lower. No, let's keep it
just like that. Let's see what we can do
about it to make it right. Let's go in here. And I start to make
them why you're a bit, and you'll see in some
places it has done that. Actually lets go and reduce the amount to
something like eight. And now they become
wider already. This is better. Let's make it eight. Start to increase the x. Something like this. And
now we have bigger bricks. So now we have the global
offset in x and y as well. We can control how much we want these to offset in x and y. It doesn't affect the tiling, but it's going to control the texture a lot of
time, How do not use it? And there's this rotation
for something like a break. Again, you really do not want
to have a lot of rotation. But since I always love to add a lot of craziness
into my textures, I'm going to add just
a bit of rotation, not something like
that. Absolutely. Just like these degrees. And add a bit of rotation. This is good. Now
let's look at that. And now I'm going to
add a bit of rotation. Randomness as well. Not too much because it's
going to stay really chaotic. And bricks are going to
create something like this, which is not
actually so natural. So let's make this 10 and
start to use this one instead. Now these are really random
and chaotic and very good. So let's go and bring this
scale just a bit low. Hurt that. So this is actually very good. And let's look at that
from the far away. We have the tiling,
but not so obvious. So let's go. And this one is going to
really create a good one. This color is going to create that height that
we expect from that. The first option that you
can use this mask random, it's going to randomly remove individual
planks from this. If I start to increase, you see that they
all get disappeared. And this is some for something. For example, when you
want to remove some of these bricks and only
the mortar being shown, that is, or something
like that does good one. If you, for example,
have this mask, you have this ability
to invert that. It's going to show other
ones if you want to create some advanced masks to do
whatever you wanted to solve, the next one is colored random. And if I drag it up, you see that the rain changes
to something like this. And if I connect this
one to the height map, you see that it's starting
to look very ugly and that we connect that
to the normal map as well. I'm holding down Control
to take an instance from this and bring
it down here. So I'm going to take the normal map and make it a stronger because
this one is a break. And now you see the
lines are very harsh. And that is because here we have only black and white value. Black means absolutely
0 and the ground-level, the white means one
and the peak level. But something like a brick
isn't just like that. You see, there's just a bit
of spacing in-between them. It's not something like this. Let's say we have a lot
of unnaturalness in here. So in order to make
them leveled out, that color random is a lot more useful than
you might think. So let's go in here, down the list and
this color random, you see it's going to level them so that you have
more range in here. And a lot of times, I put a lot of
contrast in this, but You can use that as well. And again, in here we have
the colormap input as well. Let me bring that into this colormap and
drag this one down. This is called random. And if you're going to
use a specific map, just like this one,
you can go there. And instead of color random, use this color input and drag it up so that you see this
map only being shown. And this is a great
thing to use as well. The mask map input as well, is that this mask map random is going to hide all of them. And you bring in this
mask MAP threshold. After bringing this down, it's going to keep the brakes
that are in-between these. And it's a great
thing to use. Okay? Now we have the brick. I have the amount of randomness that I
want from this break. But if you're going to add even more randomness and
make this one really random. You can create
another tile sampler. And this time, I'm going to change some
of the properties. For example, I'm going to make these breaks in here wider. Let's make something
like this and bring it down even more to
something like this. And now I'm going to create
a blend in this plant. I'm going to blend
between these two. And we need a mask to
select in-between these. We could use this mask
map input as well. So let's do an Advanced move. I'm going to bring
in a tile sampler. Now, let's remove that and
bring in a brand new one. So just search for
tile size sampler is what you're going
to do is I'm going to make this one really wants. And the y amount, I'm going to bring it
to something like, Let's see how many
bricks we have here. 17. I'm going to
bring in 17 of them. So this is it. And for the scale in x, I'm going to really increase it. Make it too, so that you have some horizontal lines in here. So let me go in here. And in the mask, random, I'm going to remove
some of the planks. So just randomly. And you can either select
this one and plug it into this opacity to get
a mixture of those. Or you can do a better thing. And that is plugging this
one into the mask map of this and go and
mask MAP threshold. You want to increase it so that it's going to separate
these planks for you. And again, I'm going to
take this one, another one. And this time I'm
going to invert the mask, the thing that we use. They're going to
bring in this one into the mask map inputs
and mask MAP threshold. And this one is
going to be larger. So let's go see
what we have here. Now, you want to set the
blending mode to add. Add is going to work. On a screen is also
going to work. You see, we have
something like this. We are using some
of the bricks from this one and some of
the bricks from here. And you see the result,
you can compare them. And this is the way
that we created. Now we have a lot of
randomness in here, but we lost the
control to be able to do color masking in
here to color random. Of course we could do that. But we're going to
manipulate both of them. You need to select this
one, change the color, and go to the other one, change the colors to see
if you like it or not. But there's a node that
is called lot fail. This flood fill is going
to create gradients based on your individual planks and these individual bricks. And then after this one, just search for fluctuate. And there are all kinds
of options that you have. One that we're going
to use is grayscale. And another one is random color, which you can use to
create and separate mask, for example, for coloring
and things like that. And another one is the
random greyscale color, so that you have control
on both of them. You don't need to go to this tile sampler, change something, and then go to
another tie sampler, change something else. You take this one and then to a random seed to
randomize the selection. And you are not only limited
to this ten, you can go, for example, to a thousand,
get a different one. And we're going to use this one extensively,
extensively later on. So remove that. And now we have this one. Let's look at that. And we have a good
amount of randomness and good amount of selection
in between the bricks. I'm going to remove these, and I'm going to
select all of these, right-click and add a frame. And always remember
to add frames. And this one I'm going to
call it breaks formation. If you want to have another
preview, for example, instead of this cube, you can go to sin and use
one of these options. And the ones that
are used regularly. Are the rounded cylinder. This one is a good one. Lane highways as
well is a good one. When you are having
ground materials, this is going to help a lot. Okay, let's go for
either rounded cube or rounded cylinder for
breaks or love to view them in ground cube or round cylinder depending on how you are going to view them. Both to make the preview
and a little bit better. I'm going to select
this height and connect that there is ambient
occlusion to have a bit of more
information in here. So he see a bit of more
separation in between the bricks. And that is because
the ambient occlusion, of course it's not a good one, but we're going to change that. Let's remove this uniform color. And these two as well. You do not need them. Let's take them and delete them to
stay organized a bit. So this is it. And now that I'm looking at it, we have a lot of
good randomization. But now one thing that you
might notice is that all of the edges have
the same shape. They all have the
same sharpness. This is not so natural, so let's go and there is a
node which is called pebble. And you might be familiar
with this pebble. It's a great note to use. Let me see what I did. This one, unselect everything
and bring in the bubble. And this bubble is going to take something from you, an input. And in order to see that, you need to bring
it down, you see, now it starts to
add a bit of fall off from the absolute
black to absolute white. Although this one is only
having 100% sharpness. So let's make it
something like this so that we have a bit
of purple in here and then we have the smoothness. Let's make that a smoother. You see there are a lot
of jaggedness in here, which we can use a smoothing, or it can use the blur. High-quality grey scale. Of course, bring the
quality down, up, excuse me, and just add a bit
of blurriness into these. So when I'm comparing
this 12 days, you see that we have
a lot more clean, nothing here but
this is becoming something like a mud brick. So let's add only a tiny bit. We need to bring this one here. Yeah, not to make that so muddy. So again, I'm taking this one and now we have this
one being blurred. But I'm going to create blend. This blend. I'm going to blend that with the previous one. So now there is nothing changing because this only
is being shown. So we need to introduce a
black and white mask into this opacity so that
on the black parts, for example, we view the
foreground, which is this one. And on the white parts, we see this background,
for example, soap. Let's go in here
and see something. This grungy map is a good one. But we do not need a, need that to be so sharp. And if I select it, you see, we have a lot of
patrons see going from blur all the way to sharpness.
You do not want that. So after this one, just select it and hit blur. High-quality gray scale. Again, bring the quality up and intensity down just a bit. Make the transition better, and go and take this one. And you can bring
in contrast to add more ranges so that they're not going binary from 0 to one. This is a good thing as
well. And you know what? I'm going to go into this
material preview mode and bring the height scales down a bit because it's becoming too
annoying for me to look at. Now we have something
more natural. This one was too crazy. Now we're able to see
what is going on again. Of course, we need to
add more information, but this is going to give
us a better preview. Now there's a great
note to add a lot of edge damage and
Azure sculpt just you, just like you would
do in ZBrush. And that is the slope
blur grayscale just hit a space and bringing the
slope blur grayscale. It needs the slope
and a grayscale. So let's give this
the gray scale and note that I use quite often with that
is the clouds to, so this is of course,
to make that work, you need to bring
the samples all the way up and bring
the intensity down. So you see that we have a lot
of hitting edges in here, but the mode that
you're going to use is mean if you're going
to add a subtractive, if you're going to add additive sculpting so that they extrude beyond the borders. You want to use Max
if you're going to use the both use blur. But the mode that I'm using
quite often is the mean, so that it's always
subtracting from the bricks. So let's use that. Now you see, we have a
lot of shipping this, but this is exactly
not so natural because it's chaotic and
it's all over the place. So we're gonna do
something and create more grayscales to be able
to use with this slope blur, because a better customization
who will do a lot. So let's use some nodes
just like this crystal. And I'm going to make it
something like this and bring on Auto Level so that
it uses the full range. And if I use this one as
the slope blur gray scale, we're getting a better effect. So let's connect that. And you see that we're getting a lot of randomness in here because there are a lot of
changing in the range in here. So I'm going to keep this as low blow gray scale and
remove this cloud for now. But now this one is too
chaotic and a lot of parts, it's giving us some undesired
results just like this one. So looking at that from here, if you're going to create
a really abandoned piece, this is going to be alright, but our project is
not that abundant, so we are going to control that. So to add another
layer of detail, I'm going to add a slope blur
on top of this one as well. So let's take this one. There's a slope blur and
I'm going to use this black and whites to give
that so much detail, but this is too much. So let's go into
this slope blur, bring the samples up, set it to main, and add just a bit, only a bit. So carefully starting
to add detail and you see it added a lot of small
details in this part. Let's compare that. Before you see. It only has the first
level of detail, but now after adding this, it has some cool
details as well. This is a great one to use. You want to be settled with it. If you are going to use
other modes as well, you're more than welcome to do. But it's not going to give you that result that you
might think of because this brick overall is a tiling texture
that is going to be used in the environment. So why wasting so much time refining noises in
this level that the player isn't going
to be seeing over, under rule is that the more of thing is going to be
visible to the player, the more attention you
are going to put on that. Okay? Now, this lesson is
taking too long. I'm stopping here and picking
up in the next lesson, continuing, continuing
to refine this even more. See you
in the next one.
17. Brick Mat Surface Carving: Okay everybody, this is where we left in the previous lesson. We added a bit of
damage to these bricks. But of course, when we made sure that
everything is working, we go and try to
bring this one down, for example,
something like this. Add some more subtle
damage, not so high. So let's go again and try to use a slope blur
grayscale once more. This one we're going to
add finer details as well. So I'm going to bring this one and styles tile
this so much is it, There's a lot of
information in here. I'm going to make
that so tiny in here. I'm going to bring
the samples up. This one is a min and
we'll drag it down. So let's add just a bit more so you're able to see a lot of cool details
in here, which is good. Okay, Let's take
these, bring them up. But now one thing that
I'm looking at is the shape of all of the
breaks is just CG line. You see it has some
breakup but not that big. I'm going to change the
shape on them a bit. So before this one again, I'm going to bring in a
slope blur grayscale, but not this time. We're not going to
make that so intense. This time we're going to
use a more subtle one. Let's bring in this
Perlin noise and bring it down and start to
introduce it to this mix. Now this is so chaotic, bring the samples
up, make it mean. Now you see we have a better
shape shift in these bricks. But this is too much. Let's make it 0.19, 0.2. This is better. I
believe this is starting to look better and the
tiling is cool as well. So let's go see the
result in here. We have some undulation
on the brakes. You see there are some places that are changing but having no damages and a lot of places which are having a lot of
damages, which is cool. We have these big shapes and
we have this a small shapes. And now let's add another. Absolutely, This is big. And now after this one, I'm going to add
another slope blur. This time we're going to use this cloud noise that
are talked about. So I'm bringing this up. It turns this one into ashes. So let's go in here, samples of intensity
down and Min. So we have some medium shape, a sculptor as well. We have some big ones, some medium ones and
some small ones. So let's go in here and
try to bring it down. This is without everything. And this is just with
something we have. Now a lot of cool. I just sculpt in here. You see we have places which is having settled undulation, parts that is having
medium break up. And the parts like this which we are having
an intense sculpt. But now this is
becoming too chaotic. We have a lot of the sculpt
in all of the places. I want some of the breaks
to stay on touched. So again, I'm going to bring
in a blend after this one. And I'm going to hold Shift
and put that in this input. And now I'm going to bring that from here, these untouched ones. I'm going to bring
this one in here. And we need a gray scale map to be able to select
between them. So again, I'm not going
to make that so harsh. I'm going to bring this one. And now you see some breaks. Are living on touched. Of course, it's better
to do something like this and add an auto
levels after that. Okay. And now you see some breaks on touched on some of them
getting a sculpted. And I can take these to hold
x to invert that as well. So let's bring this down. This is getting chaotic. But I want something
really subtle. Feel like this is enough
for the edge damages. I'm going to take them
all and bring them all together so that I can
create a frame on them. Let's select them and
create a frame around them. And college damage. And it can change the
color if you want to. And if you take this frame. It's going to move
everything within it. And this is one of
the benefits of that. You can take whole nodes
and move them together. Now I'm going to introduce some big shapes in the surface
of the bricks themselves. You see the surface of the
brake is on touched really. So let's go again. And I'm going to bring
this Cloud tool. And I'm going to use slope blur. And this time use the clouds
to slope blur around itself. Make it so that you
create this blobby shape. So after this one, I'm going to use blur,
high-quality grayscale. Because for the first one, I'm going to make it so subtle. And let's go to here. And I start to make that
more blobby. Okay, this one. And now I'm going to
use this one to add some breakup on the
surfaces of the breaks. So again, I'm going
to add blend. I'm going to place it here
and bring this one in. So this is the amount of detail. I need to set this one to multiply so that it takes
effect on these nodes. So I'm not going to
make that too strong. I'm only going to add some. And you see, we
have now a bit of wobble effect on the
brakes themselves. They're being ovulated
on the surface. So let's take this one
and bring it more a bit. This is alright. But again, this effect has been applied to all of the breaks. And if you look from far away, they look something
like plastic. And I want to make
this one per brick. So that's some of the brick
habit and some do not have. And this time, instead of
bringing random node in here, I'm actually using
the rigs themselves. This one, actually this
one before the changes. Let me go there. This one, this one is something that we're going
to grab the masks from. So we're going to bring
in the fluid-filled node. And this creates a
gradient which we can do to drive some
informations from it. So I'm going to just write flood fill and
random color grayscale. This is something that can
help us separate some masks. So I'm going to hit random seed. Then you
can do something. You can either
bring levels after that and create a
lot of contrast. For example,
something like this. It will create some
contrasts for you. If you are going to make
that randomized a bit, you can use that. Okay, let me take this one and
this time applied in here. And you see now some
of them get unaffected and some of them
get that surgery. You see these breaks or
touched but this one not. So let's go and bring
the blur intensity down a bit because I feel like this is looking too
much like plastic. And now this is much better and has better edge definition. So let's go again
and bring this down. Now, this much just
something like this. You see, now the bricks have bigger shapes on their surfaces. So take this one, I'm bringing this down. Again. I'm going to create another blend which
is going to hide everything and bring
in another mask. Wearing another landfill. Using the flood fill two random gray scale and change the C2,
whatever you want. Just to change anything. I'm going to copy that level to add that contrast
that we needed. And you can use
something better. And that is called histogram
a scan, which is this one. Then you have a position
and you have a contrast. Just drag it and add the
contrast to separate the bricks. So this one is
doing a lot better. So let me take this one
and add that here as well. Hold down control, excuse me, hold down Shift to place the bricks there and take this one and
bring the position up. Now, I'm going to make this one randomized 200, for example. The number doesn't matter. It's going to only choose
one randomly for us. So I'm going to
create another one. Again, I'm going
to take this one. And this time instead of
using Clouds one, let's, instead of using Cloud stood, let's use clouds one
and see the result. This is it. And this is this one. No. Let's use this Voronoi instead. This is the result that it gives us an after a bit of blur. Let's see how it does. I'm going to connect
that one to here. And this is the effect. And now I'm going to
again set it to multiply. So now this is more intense. So again, I'm going to
bring it down more. Something like this, and
set this one as the mask. And I'm not going to
use this too often. So now we're actually starting to add some information
on top of this one. As much randomness as
you want is better. But have in mind that you really do not want to
overkill yourself. It's adding a lot of
details into this. So again, I'm going
to bring another one and randomize it and
then bringing the scan. This is histogram scan and bring the
position up contrast. Now I'm going to use
this mask again, and later on we will use this mask maybe for
coloring as well. I'm searching through these to see what are found to
be more beautiful. So this one is good. Let's decrease the contrast
and do the same thing. I'm deleting this one. And bringing this here. This is it. This is using blur and this is going to add some more
information as well. Again, blend. I'm going to bring this here. And this time
instead of multiply, I'm going to use subtract to actually cut away from some of the surfaces
of the breaks. And again, I'm not going
to make that too strong. I'm only going to add some bits. For example, you see,
now it is starting to chip away from the surface
instead of adding to that. Now, the effect is all over. I need to bring in this mask
to separate some of that. And actually this
mask is too strong. Let's use that in lesser places. Now, we're starting to
get some information, but some of these bricks
are staying on touched, which is actually not a problem. So now let's select
these nodes as well. Right-click on them or the frame and give them
a different color. And I'm going to call them serve phrase, big damage, done. And now I'm going to
add some finer details. For example, some edge Berg, excuse me, surface breakups
and things like that. So let's bring in one of these furs and try to
randomly use that. Again. I'm going to use
histogram scan and bring in some of the information
and add lots of contrast or only need
some smallest pots. And after this one there's a node that is called distance. And this distance node is going to create
this one for you. It's going to take
this and extrude them. So I'm taking that and
increasing the distance. This is not really
actually useful for now. And after this one, I'm going to add a node
that is called edge detect. So let's bring the
edge weights down, an edge roundness down as well. So you see, we have created
these Voronoi patterns. And actually let's go in here and try to increase
the distance. Soda, they get these
without problem. So this is the effect and
let's increase the width. Now, I'm going to do something
and that is warping these. So there's no just
call or dot work. And you have this
directional war and this, you see there are a lot of CG lines in here which
are two directional. So I'm going to add a node
just like the Perlin noise. And just, you see, this is before and
this is after. It's going to work them. So I'm not going to
warp them too much. I'm only going to work them
in a couple of directions. So this is one and
I'm selecting both of them now in another direction. And you see basically
this is before, this is after, and
this is after, after. Something like this. Now we have something, we have some
information that we can subtract from the
surfaces of the bricks. So let's add a blend. And I can bring this. Let's bring this one. And you see it now creates something like a desert ground. We don't want that.
Let's go four subtract to be able to
subtract that information. And I'm going to
bring that down, excuse me, that
change the effect. And now you see this
is what it creates. And I need to first
invert this one because it's going to subtract this
white parts from this. And it's not doing
what I wanted. So let's go for inverse. So now it's going to subtract these parts and you see it has subtracted from the bricks. But there's a problem that
is all over the place, just like a tiny kid with a
pen or scratching the wall. And it's not so natural. So this is it. We created that and now we need to separate that per brick. And again, to separate
that per break, we need to bring in another
direction all work. But this time it's different. Let me bring this
one into input. And now we need an
intensive input and the intensity input
is going to be the same. Note. And now you see it has separated them based on the brakes. Let me go and show you that this is before that
and this is after that. And you are able to distinguish the pattern of the
bricks in here. And if you're going
to see that better, let me bring this liquid. And let's do that. You see this is the pattern
of the break and this is a confirming that brick
to offset this, okay, now this is it. Now this is more natural
and more random. Just, let's change that. This is before that. You see it's the line
has a continuation. And this is after that. It makes it a bit more random, but now it's again
all over the place. So again, I need to
select a mask from here. Just a fluid-filled
to random gray scale. And after that again
to a histogram scan. This one. And I'll do not want that
to be all over the place. So let's choose something. I'm going to use a
different number. No, not this one. I'm going to use something
that is not visibly so tiling. So this is something great. And this one is going to
be the mask for that. I'm going to place it here. And it's going to only place that on some of the bricks
and not all of them. One thing that you
can do is adding these masks on top
of each other. For example, let's
create a blend. And I'm adding this, this. Just use add. And I'm adding another
blend on top of this one. And I'm telling
you what I'm doing right now, just in a second. And now we have gathered all of the breaks that
have been undulated using these because these were the masks that derived the
noise on the surfaces. And now you see some of
the bricks are untouched and these breaks are happening
in these black parts. And if you are going
to create a mass two, make that curving happening
only on these breaks. You can do that
so you can invert the mask, Invert gray scale. And this is where it happens. Let me bring it here. Now you should see only
the brakes which are untouched or having the effect and not the bricks that are
having some information. So this is a trick
that you can use, but since it's giving us
too much information, I'm not going to use that. So now I feel like I can use that information
on more bricks. So let's go in here and try to add more
position into that. And the effect is so subtle. Let's go and try to toilet. Of course, not so easily
we're able to see that. But now you see,
although we have separated them per brick, we need a still more
information because these lines are to CG and
I'm not liking them really. So let's go again. Bring the lovely slope
blur gray scale. And I'm going to use the
clouds to, again with it. Okay, now everything is gone. We need to bring
in the samples up and intensity down to be
able to cut away from this. So you see, now it's
more like what happens. The brick, It's not
really too uniform and it has some parts
that are deeper and some parts that are not so deep. And you can use blur mode
to get a better effect. Something like this. Or
you can use mixed mode. But I feel like giving
it. Men is good. But of course I found out that the max is also giving us a
good amount of information. So maybe I use Mac maximum
this one because it extrudes. Adds already to the
breaking parts. It's absolutely a great one. Now, one thing more is that some of these bricks
look like mirror. They look like mirror just so let's take this one later on. I will come back for this one to refine that even more and
add more information. But I'm going before anything, before even this one and add some information on those
bricks on all of the breaks. So not all of them look
just like mirroring. This one is just like a mirror. So I'm going to go after this
one and bring in a blend. So now everything
has been hidden. Now I'm taking this
one and adding that to the mix on top of everything. But I need to tell this more. This clouds to,
needs to toil more. Something like this. And not so radical. Instead, I'm going
to bring that down so that all of the bricks have
some information in them. You see, it's not
something too extreme, but something to give
them really look of a break so that not all of them looked something like mirror. And let's compare that
before and after. Let's do something like this. Let's plug this one in instead. And this is some
of the breaks are really not looking
to let them take this one hit backspace
to bring that they see these bricks are actually
looking like mirrors, and now they have more
information to be shown on them. Okay, Now we're
getting somewhere. And let's go in here and
do our works on this one. Let's bring this one in, an after this one
that's bringing yet another slope
blur gray scale. On this one, I'm
going to introduce the black and white spots
to add some finer details. Again, we need to bringing the
samples up headed to main, this time only to add
a bit of information. So let's check that
before and after. This is before,
and this is after adding too much
randomness into these. So let's take this one and
bring the tiling much. Now, this one is
adding too much noise. This is alright. So after this one, I'm going to add a blend. And on this blend, I'm going to add a black
and white spots on top of this one and use no, I'm using something,
not subtract. I'm just cycling
between the modes to see what the best one is. Of course, later
on we're going to add a lot of these
noises as well. I'm only looking for something that gives me
better and inflammation. So this is mean darken or
let's go for max brightness. Know. I found out that
overlay is the way to go. So let's add more finer noise. Now in there, we're having
a lot of information. So let's take all of these
and add a frame again and call them surface carving. Okay, now, you see, although we're not using
any advanced things, we're able to get
to a point which we're starting to get happy with the result
that we're getting. Now, we added the beak
shapes on the brakes. And in the next lesson we're
going to continue to build upon the brick and it
starts to add medium, but smaller and finer
details. See you there.
18. Brick Mat Finalize Height: Okay, This is where we left
off in the previous lesson, and now we're going to continue building up the
rest of the break. So now we're going to add some
medium and small details. And I'm going to utilize
this for nodes as well. Again, let me bring
in the nodes, this one and for two. These are awesome. If you're going to create
something, It's okay. I'm going to take this
one and the scale. Let me bring it up and add
more rotation into them. Not so much. So again, I'm going
to bring in level, just take this one
and search for level. I'm going to bring this up and just have some of them,
something like this. And I'm going to take this and add a bit of information
to that. Of course not. We first bring in some
more so that when we subtract information for me to still have
something to hold onto. Let's again bringing the
slope blur and clouds. I'm going to use that, but this time with
a bigger tiling because that is a huge
amount of information. So this is its samples up, this one down and to Max. And of course this is too much. Let me only have something,
something like this. Now, want to confirm this
one to the break stem cell. Again, I'm going to bring
in a directional warp and work this
against the bricks. Now, instead of ten loads to something really
crazy, for example, a 100, now they're really attached to the
bricks themselves. This is it. Now before this one, Let's add more details to that. Before this one I need to add this attached the clouds to it. After this one, I'm going to bring in a blend and bring in a random gray scale
nodes to subtract from this so that it's not
all over the place. So I'm taking this one
and let's do a subtract. Not so much, just a tiny bit. Okay? Now this is the result, and now I'm going to
add that to the mix. Let's go and bring it
here to another blend. And I'm going to now subtract this one from the whole mix. This is it. Now looking really ugly. We need to go here and
start to subtract that. Now these bricks have something
to subtract from them, this medium detail, but of
course this is too much. So I'm going to add
just a bit of it. Now you see these really start to make the break look good, even in the close-up view. Something like this.
As really too much. Though, let's go. And I'm going to
take this one again. Let's add some other ones. And then I will frame this. Let's see what we have here. And let's add a bit of disorder. Let's add directional warp. And this time I'm going to
add multi-directional work. I'm going to work
that in a lot of directions and
against Perlin noise. Now, it has a lot of weakness, intensity too much and
in four directions. Okay? Now I'm going to
bring in a levels again to select some of the mix. These are some patches and some noises that we
can subtract from the surfaces of the
bricks. This is good. Now again, directional work, and I'm bringing in the
brick from here to here. Now let's do something like
a 100 again on this one. So again, let's
add another blend. But I'm going to add that here. These are some dots and some
dirt's that would go in. Let's go in here. And again, subtract. But this is too strong and these are really against these, these are darkening in
some random directions, but these are vertical. So let's bring this
one down just a bit. Now you see when we add
these small details, the brick look better even
in the close-up view. Now you see we have a lot
of resolution in here. So let's go in here. And before that,
I'm going to add more detail on that blend. And this time I'm going to add the black and white spots on top of that with a lot of tiling. I didn't take this one
until that too much. I'm going to add just a bit. And instead of add,
Let's do multiply. So let's see before and after. Not a huge change, Let's go for adsorb. Not again, let's
go for a screen. Overlay the best or even. Let's not use blend. Let's use a slope
blur, grayscale. And this one as well again, set it to max so that it's additive instead
of subtractive. Bring it down. And I want only a small
portion, not too much. Okay? Now these
bricks have something that gets shown in the
smaller view as well. This is one. Later on we add the roughness information and Makemake these
areas really rough. It's starting to look very good. I'm taking these right-click
and add a frame, and I'm calling them
medium surface details. Now let's add some of these black and
white spots to add some finer details
on micro level. So again, I'm going to bring
this up and bring this over. I'm going to bring in a blend to make sure that
these are separated per break. I'm going to add
directional warp again. And I'm going to warp
that against these books. This is it. And now I'm
going to blend this blend. I'm going to bring in
the bricks themselves, and I'm going to set
that to multiply so that on these parts
where we have no break, we have no information. Okay, Now let's take
this one star to toilet. Of course I need to bring
this one and blended to this. Of course, this is
really ruined it. And I'm going to again go in here and bring
the intensity down. Now you see, even on close-ups, these have a lot of information. But this is starting
to look too much. I'm going to bring
it down only once. Okay? This is good. Of course. It's good to add details
but not over detailing, that we make it twice more. 0.02. Now, this is again, watch. This is better. Now I'm going to do something. I'm going to bring
this one over, bring this one back and make this one
happened before those. Let's do a step back. Something like this
when I'm taking these. Of course, Let's leave
this one and I'm going to make that happen after
I added the big shapes. So let's bring them here. And I'm going to disconnect
them from here as well. Excuse me for inconvenience. I'm only taking them. Just disconnect these so that I can take them in
peace and bring them back. Okay, I'm bringing them here before these soda,
these common taught. So I'm taking this one
and bringing it here. This one as well.
Now we have this. I'm going to now add
the blend. Excuse me. I should add blend in here. And now I'm going to
add this one on top and bring it so much down,
something like this. So that all of the
surfaces have something. Now, these finer noises
come before these, and these are stay untouched. Okay, Now let's again
do something like this. And this one again,
it's going to add really high-quality
final details. So again, blend. And I'm going to copy
this and this one now. Again, I'm going
to multiply that. By this, let's do a multiply. And let's compare
before and after. You see it all starts to add even more finer details.
Let's leave it. I'm going to bring this one
in and connect this one after another blend so that I can control that
separately from that. Okay? This one is also
doing a great job. I'm taking these add a frame
and call them micro details, and do a color that
you're happy with. Now, the bricks
are good for view, but a bit too much in close ups. So let's go in here. And I'm going to make
the blend weaker a bit. This one is too much. Let's 0.1. And let's see that disabled.
Actually this is better. So let me take this
one and remove it. And I'm going to remove
these two as well. This is actually
starting to look better. Now. They are looking good
in three levels. Peak. You see, we have a
lot of randomness. In medium, we have this details. And in small as well, we have a lot of
these finer details which are doing
their job perfectly. So up until now
we have been only doing the work for the bricks. It's now time to go and start to work on
these blackboards, which is the mortar that
is going to hold these up. And the mortar is not taking
a lot of space from us. And in fact, let me bring
in invert gray scale. And the mortar is
taking only so much. We really do not need to add
a lot of details into it. We only need to have
something to look at. A lot of cool details. So let's go and create
a motor or the mortar, just like the model. I'm going to use this one again. And let's do something. For example, slope
blur gray scale against this Voronoi effect. Samples of intensity down. And I'm only going to add some really random
shapes because this really doesn't matter if you do not add a lot
of details into it. So I'm going to add blend
and add some of these that are C are great
for having a mortar. So something direction
or like this one. This is good. You see the directionality. And now let's again blend. Then I'm going to bring
in this fractal some, these are good nodes
to use for detailing. So let's add this one. Of course. Let's bring in the black and white
masks and scale it up and bring it down so that we have some
details on the motor. So again, blend with
a lower opacity. And then after this
one I'm going to add a directional work and work this one against something
like this, this. Okay? Now let's
bring the intensity up to something like a 100. No. Let's make it down a bit. And actually let's
find something else to warp that against the alerts. Use these clouds. This one is better. Now again, after this one, I'm going to add some details. Let's bring in the black and
white with a lower opacity, only to add some details. Okay, or mortar is done. And we really do not need to
add a lot of details into that because this is not
going to be seen anyway. Okay, let's go and
try to add a blend. Again. I'm going to
take this one from here instead and select this one and bring the mortar
in the mix from here. Okay, This is it. And as you see, it
has a lot of detail. And now let's connect this one. And so all of the places where
we do not have the break, we have the mortar coming in. It's too noisy. Let me
take this, remove it, and start to remove some of those finer noises
that we have there. Now the mortar is better. Let's see that. Yeah, it's good. It's actually starting
to look better. So we took this one, inverted that to add
the place for mortar. And after that, we added
these and mix them together. And if you are going to
customize that even more, he can add a level after this one to add
more contrast into that. So that we have the moles
are only on these parts, not on some of the inner parts
as well, to separate them. So I believe this is good enough or this breaks that we want
to create an after this one, I'm going to do something and
bring in a histogram range. And this is the ground range is good for leveling things out. And in here you see
that the brakes are no longer so intense. We have these the
mortar on the bottom. I'm taking this one. Let's
bring the range on and just bring the something like this to have the mortal
line in between those. Okay. Now I believe that I
do finally created building the height
of the bricks. And of course there's
a bargain here. These two bricks are
connected to each other. Let's go back to the route
to see where they belong to. So I'm just looking
to find that. Let's take this and bring
the size down just a bit. Or use this, which
doesn't really matter. Let's go in here and
mess with the Hawaii. Or just a bit. Or we can actually use the offset that in
working as well. This one looks better. This is the break
that you created. One more thing.
I'm going to go in here and bring the
position of soda. We see those breakups
and more breaks. And by that I mean, this edge
carvings that we created. Okay, this is the height
of the brick material. And in the next one,
we will start to add the roughness and
albedo information. Okay. See you there where
we finalize this one.
19. Brick Mat Base Color Big: Hey, we're basically done with the height map of
the great material. And we're technically going for base color and roughness and take this one to the next level. Of course, it can take more time and start to
refine this even more. But for time constraints, we are going to leave that
here and go for base color and roughness and throw that into the kits that we are
going to create. Now for base color as well, I always start from big
go-to medium and small. And by big I mean, I start to lay over some
uniform colors from the menu. For example, upbringing
uniform colors and give it a color. Let me find that. I'm going to go and make
it into the base color. I'm going to give
it a uniform color. And then after that,
start to add variations. And this is the method that
I'm going to be doing. I always start with uniform
colors, add oranges, and then these all
look just like random grungy has thrown
on top of the material. Lastly, in order to
make that really customized and make it
belong to the same material, we're going to use this
height information as well to derive some of the information into
the base color. For example, bringing
in ambient occlusion. This is one thing that I
always do and bring it here and I start to mix it on top of what
we have created, for example, to see that, let's add a blend
on top of this one. I'm bringing this n.
Let say, for example, a multiply and see
how it starts to add into the texture and it makes it really belong to the same
one you see before that one. It's only a random color, brown on top of material. But after that, it really
belongs to the same material. It's using the same information
that we created and really makes it more beautiful
and authentic to look at. Okay, let's go and I'm going to pick the
colors from the references. So I'm going to bring
the pure rough on. Let's go and start to the
color from this area. Actually, I love this ranges. So let me bring
it uniform color. And then this color picker is going to pick the color for us. And it did a good one. Let's actually make it darker, but this one is going
to be the base. And you see it already. Give that look of a wall that you are
looking from far away. You can tell that
this is a wall. But for close-up views as well, we're going to do something. And even after doing the blend, for example, I blend this
one who's another color. Let me bring in another
color or copy that and try to add some
variation to the color. For example, picking from here, bring it here and combine
them using random grunge. And this is not the end of it. We can also go back and start to refine these colors
themselves as well. For example, we have
this blend in here. We can add another blend
before that and do an HSL. And I start to refine
this color as well. Now we're only mixing this
single color on top of that. But now if you bring in
HSL and try to change the color a bit and apply
a grunge mapping here. You see now instead of mixing
in only a single color, we are mixing multiple
colors on top of this, which gives us a better result. Now I'm going to delete everything and only
keep the original one. And I start to do the
base color phase. And always make
sure that you have a good reference board that
you can pick the colors from. This is very important. As important as when you create the actual material
to be able to look at their references and pick the right height details
that you want to create. So this is the base
color, the, I mean, the color that is the big
shapes, the main color. And then we go and start to
add more variations to that. Let's bring in a blend. And I'm going to bring in HSL applied here and bring
in a random color from here. So let's bring in this one. I'm assigning this
into the opacity. And right now we're
not saying anything because the colors are the same. I'm going to click
on this plant and after that single click on this HSL so that we are able to change the setting but see
the result on the splint. Okay, Let's change the color, change the lightness a bit
to get something desired. Rarely, you see not so visible, but some, something subtle. Then I'm doing a
lot of blends and using different branches to
really make the color which, but these ones are going
to be subtle changes. I'm not going to make
that really obvious. And I do that on a
lower opacity as well. So let's bring in this one. And now again after
this one on bringing another adjust L applied
here and see the results. So now I'm going and
make it brighter a bit. Of course they are going to stay procedural until
you start to bring in those high data from
the material itself. So let's go in here
and bring this one. This one is a grayscale and it means that
it's a grayscale. You see it says
random grayscale, but this one is colored data. We need to convert
either this one to gray scale or either
this one to a color data. So I'm selecting this and added a gradient map so that it converts that to
color information. And I select it and
make it a multiply. And you see now it starts to really separate that
per color fabric in something like this
to make it really customized and belong to
the bricks themselves. So removing this for
now, because I now, I'm only adding these
individual colors. Again, another blend. And the more you do this, the richer the base color you are going to
have an after that, we're going to use these
the roughness map as well. So again, another HSL, HSL and remove that, excuse me, change that
color is slightly. Or you can bring in the
references and assert to pick a whole new
color. This is it. And now let's change
it to a color. That is better to look at. Something like this is awesome. But you need to manipulate
this one as well, because this is really
gray scale and are starting to mix those
colors together. And I do not love
something like this. And invert that. And
this is a good one, adding only small bits of color
information on the books. So let's go and start to make
this one not so visible. So something like this, really subtle color changes
that you see in here. So again, I'm going to
the color and starting to add a bit more saturation to that color to make
it more pronounced. You see this color variation is something that happens
in the bricks a lot. And always make sure
that you hit Spacebar in here to see that there's
not visible tiling, which in this case we have some. So let's go to see
where the problem is. When a problem is, I
believe with this cc, this information is
getting tiled over. So let's bring the
contrast down or up. Or we can do
something like this, bring the contrast down. And now you see the
tiling is lesser obvious, but it's still there. And you can not
really do a lot of things about it
because after all, this is a tiling texture and you're not going to be able to do a lot of things with it. Now, let's start to blend more grand jurors with
the material that we have. And I'm bringing this one, and this one proves to be great. And if you're going
to add a lot of colors instead of this
single uniform color. This is the way to do it, bringing a grunge and
add a gradient map. And using this one, we're
going to pick a gradient. So let's bring this one up. And I'm going to pick from here. So instead of a single color, we have an array of
colors to use from. Okay, you see now we have a
lot more ranges to play with. So I'm going to add
this to the mix. Let's use the same grunge. It's good, but we need
to add a level in here. So let's bring in a level and I'm going to separate a lot of
the data from this. I'm not going to make that
really all over the place. So this is it. Let's start to remove
some of the color because these black bars
are going to be ignored if they get fed into the opacity. And now we're only seeing the
information on these parts. And if you go here, you see the color laid on top of this. And always come back and
make sure that you see, to see is visible toiling. You have and you are
going to cover these all inside Unreal Engine. So again, let's do a blend. And it can take this
to infinity and I start to add even
a lot of Granges. But the more time you put in a richer the color
is going to be. So let's see about this one, and this is great. So let's bring in a
gradient map as well. Then again, I'm going
to pick something from here. This one is good. So let's go and start to pick
this one and procession. If you drag it so high, it's going to give
you more values. Let's applied here and
apply the mask in here. So you see the random spots
being present in here. But instead of making
the mask weaker, I'm going to the blend
and bring the opacity down so that we do not see
a lot of those information. This is fully opaque than
this is lesser opaque. I want some of the
values will be shown. Now, these are all our
beak shapes and you say, this is the first layer of
color that we are adding later on who will add
tiny colors as well. So this dirt is good as well. But I'm going to make
it not really obvious. So let's do the blend again and make this one
a gradient map. And the square root Aid Map
is a really powerful tool to start to pick up the
colors from images. Under more calibrated
colors source be, the better you're going to have inflammation. Procession up. And again, start
to pick the color. And a lot of information. Let's apply that on top of here. And this one into the opacity. Now, it really starts to
give it a lot of detail. But again, I'm
going to the color, I mean, the blend, start to bring it down. And let's see, we have gone from this single color all into this using only
these procedurals, masking them and
giving them details. So I feel like this is good for the first layer of colors. So I'm adding a frame and
just call it color pick k. This is going to be the
first layer of color, and we're going to be adding
colors on top of this one. For example. Now it's the
same all over the place. And now we're going
to use these colors from the material itself to add more information and richness and deepness
into the base color. So for the first one, I'm going to use
these gradients. Note, let me bring
this one again. I'm going to copy another
one and apply that. And another one.
On a gradient map. This gradient maps are
not doing anything. These are just dummy
nodes that I'm selecting to bring here and apply
to the base color. So let's bring in the blend. And I'm going to bring it down. And I'm only adding
these on top of the base color with a very,
very minimum opacity. Or instead of that, let's go for a multiply so
that it blends with the color. So something like this, and you see this becomes darker than the neighboring piece. Again. Another blend, this
time I'm adding this. Let's this time use AD starts to lighten some of them up and darken some
of the others. And again, do another blend. I'm adding this one. And let's cycle through the
multiple nodes to see what we have been darken. None or very, very low opacity. Now you see it has taken some of the information
from the material which makes it so authentic. And this is the tiling, and I can tell that the
tiling is already good. We have no tiling in here. Of course there are some, but you are going to hi
term in Unreal Engine. In here you see that each brick has its
own different color. But if you're going to
make that really obvious, we're going to add another
layer of changing colors. So I'm using this information. So let's again, instead
of gradient now, let's bring in the level, because this level acts
as a dummy node as well. I'm bringing these textures
that have separated bricks so that we can add different colors on top
of individual bricks. So I'm bringing all of these
and use these as a mask. Okay, let's bring
this on top of here. And by the way, this one has a lot of breaks and this one, this one, and this one. Okay, Now I'm adding
this on top of that. And in here you can
either bring in different colors or use HSL. And I'm using this
one as a mask. So let's make it lighter a bit. Now you see we get some
separation between the bricks, which is a good thing though. Let's change the heel as well. Something like this. And make sure that you look
for the tiling as well. So I'm going to
add another blend. And this time I'm going to add
this mask and another HSL, or let's this time
use a uniform color. I'm going to use
this uniform color. And it has separated
those for us. So this is the color that
we're going to change. First. Let's set it to
multiply and bring it down so that we have some darker breaks
in the mix as well. And you can take this one and make it lighter a bit so
that it's not so dark. So let's look at this. And now we have a good amount of separation in
between the bricks. Another blend, and this time
I'm going to use this one as a mask and bring in a uniform
color on top of these. And I'm going to pick
the color from one of these references this time
I'm going for this one. Let's pick this. Start to look at that. And we see a lot of tiling. So I'm going to the blend and bring the
inflammation down a bit. Not so obvious,
something like this. Now, it's telling
us that each and every brick is different
from the neighboring piece. And the next one, let me go and bring
in another blend. This time I'm going to
use this in the mask and bring in another uniform
color to see what we get. So this is the mix, and let's go pick the
color from here instead, I want an information from here. So let's pick from here. And let's make it a cell
and make it darker bit. And change the tone of
the texture just a bit. And let's look at that. It looks like that, But do not need this last one. So I'm deleting those. This is a good amount of
variation that we need, okay? Now you see each step
that we take further, the base color is going
to get richer and richer. I'm taking this one, adding a frame and just call
it color from formation. And you saw that we took
these formations and added them on top of the base color to
make it more richer. And the more we go further, the more information from the height map you're
going to add and Richard, texture is going to be. So now it's a good
time to start to add some information from the
height map on top of this. So this is the first
layer that we created. This one, this is the edge
damage that we created. Let's bring in a blend. And I'm going to
subtract this one from the main information
from this one, which is untouched bricks. And I'm going to
produce a mask from it. So let's take it and
go for multiply. Let's take both nodes together, hit X, and let's use
subtract instead. You can use this
mode or this mode. So this one is more intense. Let's go and use this one to add some color
information you see on these black parts
were able to do something on this white
parts, excuse me. So I'm adding another level and bring this over
to use it in the mix. So land again. And I can either drag this on top of this one
and use a multiplier, or I can bring this one into the opacity map and bring in something
else on top of that. So a good way is
to use an HSM no, because it's going to use all of this information as well. So I'm bringing another
HSL, drag it here. And to see how it affects, let's make it dark and see
where it has affected. You see it as a fact
that these parts, well, let's make it fully white. Although it's not so
prominent in the texture, but it's going to give
us a good information. So I'm taking that and
make it less saturated. And something towards the white to separate
the edges a bit. And if you want more, you can take the mask and
it starts to increase the whites to get increased
information in here. This is the good edge effect that we can take
from the map itself. Or I can take this
one and bring in the ambient occlusion and use both of the ambient
occlusion to see, which gives me the best result. So another ambient occlusion, one is HB A0 and one is RT. This is it and this is, it looks like arteriole
is doing a better job. So let's go and invert it. Now this is too intense. Let's add a blend and see
what we come up with. This one is going
to be the mask. So this is the before,
this is after. Not so much information. Cycling between different modes. And this one is better than
giving us a better result. So let's go and watch here. We added some white parts
to the texture itself, and it has been
connected to the result. Let's go and see. The reason that we're not
seeing those is because this ambient occlusion
is too intense. So let's come in here and
bring the height scale down. Now you are able to see
more of those colors because the more ambient
occlusion you add, the darker these crevasses
are going to be. So something like this
is going to be alright. Okay, now, this is the first level of the
color that we added. And in the next one, we will continue to add more color
information into this. And after we
finished the colors, we go for roughness and
roughness is going to make this one a really
true PBR materials. And before adding the roughness, it looks really dummy. It looks dull and
without any sense of depth and information
and realistic minus. So now I'm going to stop this
lesson and the next one, we go and do the rest of the
coloring. See you there.
20. Brick Mat Base Color Medium: Okay everybody, this is where we left off in the
previous lesson. And now we're going
to add medium details and some tiny small details
into the base color. We have a really good, strong base that we can rely on to move on
to the next lesson. Let's see what we have here. We have this blurred gray scale paying laid on top of this one. So let's bring it out a gradient map or let me see what I can do with
it using a blend. Just dragging node
and bring in a blend. And actually let's
first use this one. This is the first
thing that we added. One method that I
found that gives you a good result for
selecting the changes that you make using this is
using this blend and the previous blend and
subtract them from each other to get
the information that you get from this one. So I'm going to
bring in a blend, this one. And this one. It's comparing these two plants. This is a blend. And this is a blend after we fit this information into it. So I'm going to subtract it. And now you see this is the, more or less the effect that this particular node is
having on the texture. So I'm bringing in a level and bringing this here to start to either make it a mask
or use on top of this. So let's go for blend. And I'm going to set
this one for math. Let's go here. Use an intense noise, something like this,
black and white spots. And use a gradient
map and I start to pick a color from this image. I'm going to drag the color. We have lots of information. Let me add it to the mix. This is before and
this is after. That is so slight. Let me take this and I start to bring in more of that
color into the mix. This adds a slight color
variation, not so obvious, but definitely
something to consider. This is so intense. And I do not want
that to be like this. Just something
really so slightly. Let me take the mask itself. This is the information that it's laying on top of that,
which is a great one. So let's make it
something like this. And this is really
these tiny details that make your material
go to the next level. So I'm adding another
blend and this is a good method for adding your custom details
into the mix. So I'm going to now
again use another blend. I'm comparing this to the previous blend and always
set the mat to subtract. And if you see pure black, it means that you need
to take these two nodes, hit X to invert that
to see the results. So this is comparing this blend between
the previous one to see what has been added. And we added this
one on top of that. Of course, you can
bring in that we see what hints
histogram scan does. Bring the position up. And you can do contrast as well. You can use this one or
he can use the levels. You are free to use
whatever you want. K Again, this one in here. And after this, I'm
going to bring in HSL node and apply it on here. And to see the results fully, I'm going to add really contrasted color
to see the result. Then I go make it
customized to what we need. Let's make it more desaturated. Something like this. And he knew something
like this is fine. And I'm going here, bring the opacity down. Only a slight color and now go back and start to remove some
of those information. This is it and now let's
increase it in here. Either we can do mask or bring the intensity
down to see your result. Now we are going somewhere. Again, another blend. This time, I'm going for the next
blend that happens here, which is comparing this
one against this one. Another blend. And after that, this
one is going to be subtracted. So we see black. It means that we
need to invert that. And again, I'm going
to bring in levels, hit auto levels to
see the full results. This is what you get. So I'm bringing this here
and apply it to the mask. And actually I'm going to use a gradient map on
top of this one. So I bring the
gradient map up and let's pick up a color from one of these
images that we have. Let's pick from here. It has some cool information. Not so rich, but now let's go and start
to freak from this. And actually that is
happening because we only have a small
bits of information. Let's go in here and start
to pick from somewhere else that has more
color information in it, including this one. Okay. Now let's apply
it on top of the color. Now you see in here we have
some information that is really a special to some bricks. And I'm going to bring
that slightly down. And you see some of the bricks
get a special treatment. Now let's see what we have next. The next one is
when we add these. So actually I'm going to see what we have
here as the mask. This has been separated to be
used only on these bricks. So I'm going to
bring in a blend, excuse me not by selecting that. I'm only adding a blend and
bring this one into opacity, excuse me, into that land. And this one again in here. And let's see what we
can get from that. This is the subtract, but I'm going to
have the inverted. So this is the inverted. This is the result that
we can get from it. So let's use other modes. Actually this one
is a lot better. So let me take this one. And I'm going to add a levels again and bring this
one in here and take all of these and drag them over so that we have more
room to add the information. So going to blend and
add this one as a mask, I'm taking this
black and white spot and other gradients
path and I need to pick up a lot of information. So let me increase the
tiling so that we have more information and go in here and it starts to
pick a darker color. Let's actually go
and pick from here, because these are
curved parts that get occluded a lot more
than other parts. So now let's apply
this color in here. Now you see we get a
bit more separation into these colors.
Let's compare that. Before we see we have no
color information in here. Now these get more
pronounced as well. So I'm going to bring
in HSL and bring the lightness down even more to make these
pronounced better. I'm telling you that before adding the roughness
inflammation, this really has no
feelings into it. And everything is so shiny. But the moment that you
add the roughness map, it's really going to make
a lot of difference. So let's take this one. Let's see if we can make it darker to add more
depth into it. One of the ways into cheating the engine to make it
look darker is the adding a darker so
that it doesn't bounce a lot of light around
and it makes it darker. This is good. Now
let's look at that. And you see we have now
a lot of good colors. Again, let's go and see
what we have there. We have this one. And let's again the blend. And I'm going to
subtract this from the next one to see what
we have added there. And that's inverted
and nothing actually, let's use the same one. At a level. I'm going to bring in this one. This is going to add a lot of cool color information
that looks good in the close-up
view as well. So excuse me, I should
have added a blend. And this one has a mask. And now let's use this as a gradient map and pick some
colors from the references. And I'm going to pick from here a lot of information in there. So hide it. And I'm going to connect this one to base color. Now you see it has added a
lot of cool colors in there. But let's go. And I do not want that
to be so intense. I only want some bits of information's
just like this one. So every tiny little
bits of information. Now we have something that
looks good in barbecue, in close up view, having these cracks and things
and even close up view, we have a lot of cool details. You see a lot of separation
in-between the colors. But we're not finished yet. Going to add more and more to
make this really finalized. So let's see what's the
next one that we added. This is it. And now let's
go add another levels. Now we're going to
go for these things that has happened to the bricks,
this height information. So on bringing this in here, adding that as a
mask and to test, I'm only bringing
a uniform color to see what effect it has
on the diffuse color. Say it starts to pronounce
those carved areas. And I'm going to make
this one litre a bit. Looks and make them look
like really their new. Now let's go see this
before and after. But I'm not going to use that
really. A uniform color. I'm going to bring in a grunge. No, not this one. Let's go find something
that has a lot of cool details like
this one or this one. So let me take it and
make it a gradient panel. Again, we're going to pick colors from these
references this time, let's pick up from this. They have cool colors in them. The more you drink, the more colors you're
going to pick up. Okay? Now, assign it in here. And this time instead of
having only a single value, we have multiple values. But this is not
going to be seen. So I'm going to add an
HSL, HSL unsaturation. I'm going to make it
more saturated and more pronounced. Something like this. And even the lightness
could come up a bit. You have seen these parts on the brakes where they have
a lot of carving in them. But now this is too intense. Let's go in here. And I start to remove some of the information and
only keep some of that. So this is before, this is after, before,
after, before. That made it really is stronger compared to
what it was before. Actually. Again,
I'm adding a blend. And let's see what we can add. Now I feel like we have some more information
to be treated in there. And yeah, these are these ones. Let's bring in the level. And these masks are great for adding roughness
information as well. Later on, we might use these for adding roughness information
into their color. So let's bring in an HSL. Let's make it darker. And to see what information we get from that, if these parts, of course, first, let's remove
some of the information. Start to give this
one a better color. Something that is different
from the brick itself. And you have seen that when some carvings happen
in the break, normally lighter in
terms of saturation, but over the time, when they get dirty,
they become darker. And now we have some new
ones, an older ones. So let's see what effects we
get from that. This is it. Let's bring it down
just a bit now. It's a great thing to add. Okay. Now the next thing is
the mortar actually. Let's select it again, make it a gradient map. I'm going to pick the more
torque color from here. Okay? This is going to be the
base of the mortar. Let me bring it up. Add a blend. And this one is going to
be added on top of this. But we're going to add
the mortar mask as well, which is this one. So let's add it in
here to separate that. And you see that we have added this more dark
color successfully. In here. It added really a cool
thing into the texture. So let's go for HSL again. And this one needs to be
darker a bit because this looks very new and
really unnatural, distinctly contrasting to the
information that we have. Okay. Now darker. Let's make it a little
bit less saturated. Darker, a bit more. Now, it looks more used
than it actually is. Okay. Now, let's give them
more dark color, a bit of more information
from adding a blend. And now, from now on, everything that you add
is going to be added in these sports and not on
the brakes actually. So that's bringing these colors. And actually this one
on the base color and this one as a gradient map. Start to mix colors to get more definition and
variation in there. Okay, another blend, this one. Another HSL, using
other grantees to add more color
variation in there. So let's, this is not
natural. This is better. And of course, the mortar itself is not going to be seeing a lot. But let's just add
some information to it so that it looks cool from
the close-up view as well. This one has a
mask and this one, Let's make it HSL again. So let's add it and
see more variation. This one actually looks cool. Let's color is contrasting
against the bricks. But let's not make that so much. Okay, this is better. I feel like that we are going to good direction and we have some good amount
of variation in here. But one thing that is a bit annoying is the amount of
color that we're getting from. Not these, but these. You see the mask is so intense. So let's remove some
of that information. That is better now, not so much, but let's keep it so subtle. We created the medium
parts as well. And some are small,
tiny parts as well. Now it's time to go and
make this one localized. Until now, we have some colors that have been
laid on top of each other, although it's using some masks. But you see that
it's really flat. And to give it more depth, we're going to use some of the information from the height, normal and things like that. Okay, Let's take the height map, which is this one, or this one. So I'm going to bring in
a normal map from that. Okay, let's make
it a normal map, OpenGL and I'm going
to make it 20. See that we now we have a
lot of cool information. So let's take it here. And we can use generators
to use this information to be laid on top of this one to make it
really cool looking. Couple of notes study can use is curvature and curvature smooth? Let me just search for smooth, and this is the
curvature smooth. Of course, these are
now two Direct X, but since we are
using OpenGL in here, we need to set them
to OpenGL as well. So now you see we get
some black and data, black and white data to
use in the coloring phase. And let's bring in the
ambient occlusion as well. This one, this is
HP A0 and let's bring in that ambient occlusion
as well, that is RTA. And this is the height. Let's plug them in here. And in here also
we have some masks that can help us during
the texturing project. We have this. And now there are some
generators that you can use. For example, you
can go just search for generator and all of
cool generators are here. And one for example, damage. This is a generator, it
needs the ambient occlusion. Let's pick. And it needs the
curvature as well. So it gives us some data based on the masks
that we fit there. Let's use this one to
see that one is better. So let's bring in another blend. This one is going to
act as a mask and I'm dragging HSL and make
that lighter a bit. To put some information on these masking on this
edge parts as well. Make it so high. And see the result. Let me make it pure white. And check before. And after you see some of the edges are getting
some information. It's not too much, but it's
something to consider. And we can bringing the levels of password,
something like this. Really put more concentrates
on these edges. So let me take this one, I'm bring it down. We need only some
bits of information. You see how cool we can
get information from that. Now, let's blend
again another HSL. And this time let's bring in the curvature at a level
and make this one the mask. And apply this one
and again give this a pure white color
to see what we get. So this is what we get. And now I'm going to
separate some of the colors, make it darker and
add some contrast. And this is what we get. This is before that, and this is after that. Let's make it
something like this. Not so radical,
but only a slice, a small bits of
color, another blend. And this time let's connect this one directly into
what we have here. This one is the gray-scale. Just select the wire and
use the gradient map. We have this. And now let's multiply that
on top of the texture. You see it has added
a lot of details, but it's very dark looking. So let's go in here, copy and add only a small bits. This add sub is a good one. You see in the parts where the brick and mortar
or being connected, we are getting some darkness, which is great. Okay, this one. And now let's add another blend. This time let's use
Ambien, so collusion. Let's bring in a levels. And we're going to add some
darker colors in these parts. So now we have a separated mask. We need to separate
these darker parts. Let's select the node
and this is invert. This one is inverse. And now we can manipulate these parts. I can select it added here. For example, let's bring in HSL to add some darker
coil into these crevices. So I'm taking that, add more lightness and
you see it adds more, even more depths
into the texture. Now you see before
adding those colors, really flat, and after
using generators, you see it starts
to come together. This one is looking
cool as well. Now, another blend. This time let's use
that map as well. Let's see what we have. We need to select one of
these crevices parts. Again, I'm adding levels
and that's inverted. And we're getting a
lot of those parts. So this time let
me add it on top of that and convert
it to a gradient map. Excuse me. And this is before, this is after, this is before. Let's make it a multiply to
darken these parts a bit. So let's start to add some contrast to only
have these parts. Okay, Now you see in the
surfaces of the bricks, we're not getting anything. All we get is in these parts. So this is before, this is after that, we'll see we're getting a lot
of cool color information. And now we finally reach
to the end of this lesson. There are still
some parts that we can make better on the color. And we're going to finalize
the color in the next lesson. And after that move to
the roughness part. Okay, see you in the next one.
21. Brick Mat Roughness: Okay, This is where we left
off in the previous lesson. And now we're going to add
more color information to make this really go
to the next level. Again, let's add the blend. And now let's go for the
main height that we have. And there's a node
that is called shadow. This can generate a really
great map that we can use. This is going to, based on
these values that you get, is going to produce a
shadow map on these parts, which is a cool one for adding some darkening parts and making the texture come
together pretty fast. So I'm connecting this
and converting that to a gradient so that
it's color information. And now let's go for multiply. Multiply is going too
dark in the texture. And let's only use some
of it. Not too much. And you see it has adding
a lot of cool information. Let's compare that
before and after. It's adding a lot of cool
depths in the texture. Now you see we have a good one that is looking cool
from all sides. Okay, now let's go
and start to add really some medium
details in our texture. So I feel like we should go here because we have a lot of cool parts that can be changed. Okay, I'm adding a blend, again, another black
and white spots. And then this one converted
into Gradient Map. And I'm going to
pick some colors. Let's go and pick from here. And add lots of procession. Let's connect it here. And you see it has added
a lot of cool parts. Let's compare before and after. And we only need some
of it, not a lot of it. So let's add levels, start to add some
contrast into this. Okay? This is before and
this is after, but you need to bring
in some information. And I feel like this
makes it a bit darker. So let's take this one
and totally ignore that. Now we have a good texture. You see we have a lot
of cool information. And there's a secret
note that it can use and that is called sharpen. This Sharpen is going to add a lot more detail on that book. Be sure that you really
do not overuse that. It's only going to add a bit
of sharpness into the color. Do not use that so often. Let's use that before and after. This is before, this is after adding some
sharpness in here. And we have a lot of
white parts in here, which I know that
they're going to create some problems
inside Unreal Engine. So let's go in here and start
to bring this down a bit. Now we have more
natural selection of colors and you see how realistic
the texture has become. Now, It's time to finally
go to create roughness. And the roughness is one of the most important maps in PBR. You see, even though we have created a cool
color information, everything looks
shiny and we do not have anything to
concentrate the player on. So we're going to create
the roughness based on the map that we have created on bringing this one and
make it a gray scale. So you know that roughness
is a gray scale map. That black means less rough and white
means higher roughness. So now let's connect this
one into the roughness. Let me see. Yeah, this
one is the roughness. But now we're not seeing
actually a lot of difference. But although you are getting
a lot of difference, that's shine some light in here if you want to shine
the light on the material, just Control and Shift and
right-click drag in here. So let's go in here
and try to add here, you see a bit of light
gray cub that happens. And it's a lot better
than this single value. So I'm going to add a levels. Again. Make this one white
or a bit because we do not want a lot of
shininess on this, though. Let's increase the values and you see more breakup
that is happening here, but there is something
wrong in that. And that is these
broken parts are black, which means no roughness. And if you shine
a light in here, we are getting a lot
of shininess in here, which is not something
that happens in reality. So let's go and find the
mask, which is this one. And this is the mask that
we produced by that. So again, I'm
bringing in a levels. Start to add this one on
top of the roughness map. Bring in a blend. Now you see we do not have a lot of light
shininess in there. So this is now copy and
we have only these parts to be rough and all of
these parts are not rough. Fix that I'm going to add. Now you see these are white and I'm not
going to make that to white only something to
separate some of the light. Now you see a lot of more
light breakup in the texture. Now, again, let's go to see what we can add
to improve this one. We have a lot of masks
that we can use. One of them is this mortar mask. Let's add a levels. Again. I'm going to
make this one really rough because the mortar proves to be rougher than
the brick itself, because the brake on the surface is a little bit less
rougher than the mortar. So I'm adding that again. And now you see we have more separation
in-between the colors. Let's make it something
like this or the roughness. Now I believe we have
done a great job, but we need to add
these parts as well. These needs to be
whiter or refer. Let's go and find them. This is it, this is one of it. This is one of it. And let's see what masks
we have created from them. Actually, let's look
at the base color. This is a mask that we can use. Let's bring out a levels. And this is another mask. This another mask. I'm separating the
mask so that we can use them in the roughness. And now let's bring them to the roughness mix on blending. And since these are
only curved parts, I'm only adding the
positive roughness to them. So now again brown because
now everything is shiny. I need to add that so that these parts get some
roughness as well. This is before and this
is after a cool breakup. Let's move these out of the way. And again, I'm blending to
see what we have here more. Let's add that again. And let's look at the roughness. Let's make it
something like this. Okay? Now there's a little bit of work that needs to be done. And that is the artistic touch that you can add on top of that. So again, this one with ADD and make some of these bricks randomly
rougher than others. Okay? This is it. Now. This one is really dangerous one to
use because if you add it, it's going to add
a lot of breakup in the texture,
roughness, texture. So let's add blend again. Now you see a lot of contrast, but I'm going to
bring it down more. This is the roughness
map that we created. Pretty good. After all of that, I can bring in the levels. And if you want, you can add even more roughness
to the bricks. It can make it totally above. Or you can add contrast. You can make it less rough, which is not
something realistic. Or you can use something
like this, okay? Now, this is the material
that we created. It has some color breakup. The bricks are shinier than the mortar and it has a lot of cool color
breakup in here, you see a lot of color break-up. We created this material
and now we have some maps that are called
PBR maps that we can use. In the texturing process. We have this base color, we have this normal. We have roughness, height. And Ambien. So
collusion, of course, we do not need the metallic map because this is not
a metallic material. Okay? I'm going to use these
and export them as the tiling material to be
used whenever he wanted. So I'm using these
two maps directly. These three maps which are gray scale maps on
using them directly, just like these ones because
these are RGB masks. This has three
channels, RG and B, but this one has only
a single channel, is a black and white texture. So I'm going to mix
the roughness, height, and ambient occlusion map on the same texture to
save a bit of a space. And that is called
the channel packing. And you can do that
using RGB Mixer, or it has RGB merge in here. You can feed three
different textures. And normally I put
roughness to be the first one in our red channel. And height in the green. Simply hold down control
to bring it there. And I'm being so
collusion in the B cell, we have a colorful map that we can use in their
texturing process. It's going to give derived
a PBR information for us. And after that one, I'm
going to add an output. This output simply I'm
going to call it our HA, a standing for roughness, height, and ambient occlusion. Now the texturing
process is done. We have created a
fairly complex material and not so complex, but something
really to consider. And now we're ready
to export these maps. We need to have
the names normal. This one is our HA. So to export the textures, you can go to File, excuse me, you can go
to introduce Explorer and you see the different
maps that we have here. You can right-click on this
and export output as bitmaps. And in here you can select different outputs that
you want to output. Basically, I'm needing our
HA, base color normal. And for roughness,
metallic height, and ambient occlusion. I do not need them
because I have packed them all in this RFA. And for the pattern, I need to add underscore before anything and just
specify a folder for it. And for texture.
P and G is good. But if you're going to
have the maximum quality, target is the best, but it's the heaviest one. The PNG also is a good option, but this time I'm
using Target and just hit Export outputs
to see the results. These are the inputs that it has exported for us, Base Color, normal and RHIO, I believe there's
something wrong with it. And that is because we do not have an alpha channel in here. The alpha channel,
if it's default, is black, it means that it's not going to export properly. You need to bring
in a uniform color, change it to gray
scale and make it white so that the
Alpha is white. And you can see
the information in here and in here as well, that fixed as well. So now what I'm going to do is selecting something somewhere or in this resolution tab, I'm going to set the
resolution to be one by one, so that the textures change to four k and we have more
resolution to work with. And it's going to make
the texture look really cooler. Okay, it's done. And now let's go again and hit Export bitmaps and export
again to see the results. And this is the
base color normal and now the RHS is
working properly. If finally created
this material, congratulations on finishing. And in the next one,
we're going to apply this material on the
building that we have. And we're going to create
some modular kits as well. Okay, see you in the next ones.
22. Brick Kit Modularity: Okay, everybody,
congratulations on finishing your first material
and now we're ready to start fleshing this environment. And we're going to start
with this building. And because this
predicate is common, I'm going to start
with this brick Kate. And desperate kit includes these windows and this tiling
walls and things like that. Okay, Now here we're
going to go back to Blender and I start to turn
these into real measures. Of course, we're
not going to export all wants or complete
them all by one step. We are going to make them
in steps, in iterations. And by that I mean, for example, we take this one,
bring it further step, export it to unreal tested, and then further ado
steps on top of that. Now, I'm bringing all of these and I'm going
to bring them back and make sure that you always save your scene
to not lose anything. And I wanted to
convert this into nano eight measures and make
them really high-quality. But because Nana it for now doesn't support
vertex blending, I'm not going to do that
now because I'm going to use vertex blending for
this course very heavily. So I'm not going to convert
these into nitrates. I'm going to make them
into a static measures. Okay? I'm going to start with this one because it has a window as well. These two pieces are very
similar to each other in terms of having the same boundaries. Both of them are four by three. So I can start with either one. So I'm going to take this
and bring it in the center. And now I'm going
to make a mesh that is exactly the size of this one. So I'm going to create a plane, and this plane is going
to get the same material. And to make sure that we
get the better quality, Let's go to Material Editor
so that we can see this. So now I'm going to make this
place in this direction. And I'm going to place
the pivot in here, okay? Now I'm going to
bring it right to here and I start to resize it. Now I need to change the size. This one should
be four by three, or actually let's make it
reversed three by four. So now they exactly match up. Now because we have recites, this pixel density
has gone wrong. Let's talk about
the textile density a bit and takes all densities are low that you have to obey in order to make
everything consistent. And textile density says
that a specific amount of geometry should have a specific amount of
texture information. And when you obey the
textile density law here, always getting the
perfect result. So now I have resized this
and one thing that you always need to do is going
into the object properties. And in here, because we have re-scaled this one and
rotate it as well, the transformations
are messed up a bit and if you're going
to apply modifiers, apply anything to this, you need to make sure that
you reset transformations, including the scale and rotation in order to be able to
do your things better. And in order to
see that I'm going to chamfer this edge
to use bevel and hit V. And you see
that it creates an oval shape because we have not visited
transformations. But if you hit control and a, apply the scale and rotation. And now if I go to
start to chamfer this, the shape becomes rounder
and this is why it's always good to reset transformations
before doing anything. Now to give this
enough tessellation for letter on vertex blending, I'm going to go in
here and start to give this a segment in
every centimeter. And you see in these
lines actually are matching the segment
lines that I have added here. I have three meter
geometry in here, and these are three meters. And in here, I'll
have four meters. I'm going to add
three segments to turn that into a four by
three piece of geometry. And now I'm my own
worst thing that you can do in order to make
that really better. You can go and apply the
subdivision surface only once and turn off the optimal display so that
you're able to see this. And this is going to later on her palpalis
in the process of vertex blending and
vertex blending and vertex painting works
actually with vertices. And the more amount
of vertices you have, the more smoother
your experience is going to be in Unreal Engine. So this is enough actually. And now I'm going to
collapse the geometry by hitting Control and
a Modifier Tab. Now we need to make
the textual density consistent across. So I'm going to the
UV tab and start to fix this first so that this is a template for
textile density for us. And now if I select
this, you see, although this is something
like a rectangle, but in here we have
a square shape. And if we are going to make
this really obey the rules, we need to have a better
connection between the pieces. In the geometry level and
in the UV level as well. Now if you select this one, you see that it's
a perfect square. Although in this one
we have a rectangle and it's telling us that
the texture is a stretched. And if you see the texture
information in here, in here, it's very stretched. So there's a plug-in that
is called UV toolkit. And it's here and I
have provided a link in the resources folder so that you can go and download
it and use it. Of course, the installation
is just the same as the plugin that
we used before. So now I'm going to
select all of them. And there's an option
called Quadrant wrap. And if you set it,
sometimes it may not work. Just select one of them. It could unwrap, excuse me, it needs to disable the UV sink. So I'm going to disable the UV sync, but
you're hitting Tab. And now the UVs
sink is turned off. So I'm going to set
this one codon wrap. And now you see that it
turned it into a quad, which is this one exactly. And that is why before
doing anything, we turn these ones into quad so that we can turn these into
quotes in here as well. So I'm going to go step back, select all of them,
and hit chord. And now you see this is a quote in here and according
here as well. And it means that the
texts textile density across the mesh and
the UV is the same. Okay, Now I'm going to bring this one and a snap it to
the 0 to one UV space. So I'm going to
bring it up in here. And if it, if it doesn't snap, just try to match it manually, then if you are going
to disable the snap, just disable it in here. And there are two modes, which one is increments, which is going to
use the increments, just like the method
that we used here. And one is vertices, and that one is good. When you have something in here, you snap it to the
vertex in here. I'm going to select it. And while having
that deactivated, I'm going to bring it right in here so that when I
try to tile this, I'm not going to see
any obvious problems. So I'm going to
disable the wireframe. And now I need to turn
the snap on in here. So now when I'll title this, you see there is no problem. The measures are actually
tiling perfectly. Okay? This is done. Now. This is a good place to
start to work with, for example, carving the
windows just like this one, or creating other
pieces as well. So now let's talk about
the textual density. So I'm going to create a plane. On this plane, I'm going to
apply the same material. So we should have the
bricks all the same size. So I'm going to resize this and rotated
in this direction. And I'm going to place it right beside this object that we have. Now if you look at it, the textual information in
here is not the same as here. But if I go in here
and try to give them a checkered pattern
to see how it works. And you see, again
using the UV toolkit, which you have the link in the project files and you can
go download and install it. I'm going to give them
a checkered pattern. And in here you see there's a lot more
resolution in here, although we have not as
much resolution in here. So if you create something
like this in game, it is not so preferable. Because if you apply couple
of textures on them, one that is having more resolution and smaller
squares is going to have better resolution compared to the geometry that
is neighboring. So we wanna make sure that the textile density
is across equally. So I'm going to step back. And if you make the textile
density equal to the size of the bricks is going to
be consistent as well. So this is now a
two-by-two piece. I'm going to convert it into a three-by-three piece so that it shares the same
ground with this one. And I'm going to place
the pivot in here and bring it
side-by-side in here. And now you see the amount of
textual density is alright. And that is because this is a three-by-three and this
is a three by four. And in this direction we
do not have any problem. But let's say that we
have a smaller geometry, that we need to have the
same pixel density as this. So there's another
plugin which is called textile density,
and that is it. You can access it
in here as well. And I've provided the
link so that you can take it and download
it and start using it. When you go in here you see a textual density tab in here. And you need a template. And since this one is
a perfect template, I'm going to select it and go
into this textual density. And you want to set
calculate textile density. When you hit this, it's
going to give you a value. And that value is here. And this is the amount of texts
of density that you have. So I'm going to
again go in here. And now instead of calculating
a textile density on this, I want to set the textile
density on this one. So you will paste that value in here and hit
set pixel density. Of course, you need to select geometry and hit Set
textile density. And although now this is a very a smaller
portion of the surface, the brick size is
across equally. And this is a great thing, no matter how big your
surface you create. If you follow the
textile density rule, you're always getting
the best results. And I'm going to compare
these two side-by-side. And you say, This
is what happens. Based on the amount of geometry. There should be an amount of UV space assigned to a geometry. This is as simple
as it could be. And now I'm going to
bring in a bigger mesh. For example, instead
of two-by-two, Let's make it eight by eight. And I'm giving the
same material. And again, I'm going to set
the pivot to be in here. And I'm going to
do the rotation. I'm going to just rotate it so that we can compare
that side-by-side with this. Okay, I'm going to
bring that here. And now, since we have the same pixel density from
this, which is this value, I can go ahead in here and
make sure that always apply a scale rotation as well
to get the best results. But since this is a square,
it's going to be easier. So I'm going to select it. And you saw that we didn't do anything in here in
terms of changing the scale and rotation because this is the same proportions
that we created. You see, if you create a plane, it's two-by-two and you really do not need
to change the scale. But since this one, we have
made that bigger four times. We need to change the scale
and rotation already. It's still that these are all ones and rotation
is all zeros. You see in this one,
it's by default one. So I'm going to go in here, select whatever I have in here, and just select them and
set my textile density. And now you see it has made this 14 times bigger than the
size of the actual UV. And using this method, you can always get the
best texts pixel density. Okay, Now this is the piece. I have this one ready. Of course we are going to create a second uv channel
for them as well. But for now, since I'm only
creating the geometry, I'm not going to do anything for the second year we channel. And when I created the break-it, those ones that use brick, we're going to use that as well. This is the first
piece that is done. And looks like I have
a couple of them. Another problem or deleted. So now we're ready to
curve the window in this. And for the window, I'm going to have
a reference size. So let's bring this one in here. And I'm going to
bring in a cube. I'm going to place the cube right in the center of this one. So let's go back. And since this is
actually a snapping, I'm going to make
it a snap two here. So I'm going to bring it
five increments in here. So 12345. And now it's actually
in the center of the object. This is it. Okay? Now this cube is two-by-two, and I'm going to make it 2.5. I believe that is a good
one for the window. So I'm going to make it actually
the size of the window. So I'm going to take both of them go to this mode so
that I can see that better. And now I'm going to here
and I'm going to start to curve the window
using this references. I'm going to place one in
here and place one in here. And actually, I can take these ones that are present in here and try to delete them. So simple as this one. So this deleted, let's see, and we need to delete
these ones as well. So now we have the place
for window as well. And this is how
easy you start to iterate and create new pieces. So let's say that this
one is good as well. I'm going to bring that right beside the previous one
and start to compare them. And now you see since everything is the
same on these two, they are perfectly toiling
without any problem. And this is, it went in
the material preview. Now you see they are side-by-side
each other and even not a single pixel is missing
in here, which is perfect. So I'm going to go back
and delete this one, and maybe this one as well. So now let's go and see
what else we can create. I have this piece
that I created. I can bring it back. And I have this window as well, and I can bring it back as well. So now I have this wall, this three-by-three wall
which I can create. Now, I'm going to
bring in a plane, and this plane needs
to be three by three. Let me give it the
same material. And it should, by default
have the same pixel density. The first thing that
I need to do is creating the pivot for that and the period is
very important. You need to make sure that PV is always staying
the same throughout. Just this one. Make it a stand-up. I'm going to bring
a copy from this, bring it into the center
of the world to make sure that the pivot and everything
is overlapping each other. Okay, So perfect. Now I'm going to bring this back and compare
that using this. And now you see,
since this one is also three by three,
it's perfect. So now what I'm going to
do is actually give us, give this one the proper
amount of geometry as well for the vertex
blending parts too. And two, because this is a three-by-three and two segment in each side makes
it three by three. And now I'm going to
go and tessellate it once so that we have enough geometry for
the vertex blending. Now, I'm going to take this
one and bring it back. And the next thing
that we want to do is, let me take this one. This is three by three, and this is
three-by-three as well. So I'm going to take
a copy from this. These are two identical
pieces and I'm going to make one that is actually
three by one. I'm going to take this
one, bring it here. And you see that on all of them, the texture starts from here. And that is because the
creator perfect tiling. So I'm going to bring
it up top here. And actually I can
really take this one and delete it and use
geometry from this. I'm going to take
this one and bring it up and remove the top portion. That's so simple. Now we created that
three by one piece and it shares the
same period as well. So now let me delete that
and turn off the wireframe. And now you see the tiling
in here is perfect as well. Because these are all
using the shared UVs. You see, this is
using the shared UEs. This one is also using
this here as well. If I go select all of them and select these,
and select these, you see they have the same UVs and a U visa is laid up on top of each other
so that we can, we can have toiling
in this direction. I'm going to delete this one because this is a
temporary really piece. And I'm going to bring
it in the mix in here. So let's bring it here, and now you see it
tiles perfectly. So now the next thing
that I'm going to do is taking these and
bring them back. Now, let's see what else we have from the brake kit
that we can create. That is this one. This actually belongs
to this third floor. This is a three-by-three piece that is tiling in
all directions. It's easy to create. Instead of creating
new geometry, I'm going to again use this one. But before that, let's
take all of them and hit Control a on a on them
to apply the modifier. I'm going to bring it
here and now you see everything is the
way that we want it. Now, I'm going to create a
window on this one as well. But I'm going to make the window smaller than
this one because in here we had more amount
of geometry to work with. Okay, now I'm going to bring
this annoying piece in here, and I'm going to
bring in simple cube. This is two-by-two and looks like a two-by-two window
is good for this one. And maybe let's try 1.551
window, 1.5 to two. So I'm going to select these to actually go in here
and I start to add vertices so that I
can delete from here. So I can take this one. And now the only thing
that I need to do is take the geometry from here, delete. This is two by 1.5. I'm
going to delete it. And if I go into the UV, is it respects the changes
that we have made. Okay, I'm going to
go a step back. And let's see the tiling
and see how it works. It's not tiling in here. And that is actually not
supposed to tie because this three by four piece is a piece that only tiles
in this direction. It only tiles horizontally,
not vertically. If I take this one
and bring it up, you see that even it doesn't tie with itself in
this direction. You see we have harsh line of seams in here and that is not a problem when you are going
to create modular pieces. Some pieces that are mainly a square are going to tie
in all of the directions. And the example is this piece. We have created
this one in a way that it ties in all
of the directions. And it's required because
when we are going to make this walls with it, we need to make sure
that it fills in all of the directions
because we have used it in all other directions. But since this one is
only tiling horizontally, we really do not need to bother ourselves to make that
tile in all of directions. It only needs to tile
in one direction. So you need to
have that in mind. Okay. This is the first part of the brake kit
that we created. And in the next
one, we're going to create these ones as well, because I believe that these ones are going
to use brackets here. They're going to use
actually the brake material. And make sure that
these use the same rule as well so that they
get totaling perfectly. So. See you there.
23. Brick Kit in UE5: Okay everybody, Now we're
ready to move on and start to create these geometries as well because they
belong to the break-it. And I wanted to make
these pillars as well and make them bricks. But I'm thinking even
to include them or not. Again, this is the piece. This is another piece that is going to belong
to the bracket. So I'm going to take this
one and bring it back. And now what we have left is these two special pieces
that get used only once. And mainly these are some pieces that we can call
hero piece because these are very special and not totally not available
in any direction. And next things are these roof and guard and trim pieces that we're going
to later on create. But now it's time to take these, to take a copy and
bring them here. Now, I want to make sure that these are having
great geometry, as well as having pivots and
whatever you can think of, the texture resolution
and things like that. And this three-by-three piece as well, I'm going to delete it. So now let's go in
here to make sure that the geometry is a
healthy geometry as well. So I'm going to take this, hit Alt and a and align them. It looks like the aligning
is not working and that is because we have no
transformation changed. Let's go in here
and you see that there are a lot of bad
things happening in here. So I'm going to hit Control
a on a scale and rotation. And now if I take these two
and hit alt a and bottom, you see that they perfectly
align on the bottom line. Now, if I go in here, this is actually on
the bottom line. And if I take these
two, for example, for experiments, I can
take hold Alt and a, and they can be
aligned on the right, on the left, on
top and anything. And this is the power of
correcting the transformations. You want to make sure that
the new transformations have been well-defined and you
have no problem in them. So again, let me go in here and we have a lot of bad
geometry in here. Let me take these, and I'm going to take them
and bring them here somehow. And I'm going to add some more geometry
in here so that we have in every meter a segment. Okay? I'm going to go hit K to
bring in the knife tool, execute and hit Enter to do it. I'm going to do
horizontally as well. Excuse me, I did it
horizontally and now I'm doing, I'm going to do
vertically as well. And if you are
going to align it, you hit C to align it to certain degrees that
they didn't hear. Done. Since this piece
is a bit costume, it needs a bit more work. It z again, doesn't matter. Let's put vertice
in here as well. It doesn't actually
matter that much. So again, I'm going to
go for this vertices, hit Z always to align it
to a certain direction so that it's having the
straight vertices. So it Z again. And this is the last one. K go on the vertices
that you want, hit Z to align it and execute. Now we have this one,
and it looks like that the rotation
needs to be re-scaled. It controlling a rotation
and a scale doesn't matter. I did. And now I need to go and
apply the trans excuse me, subdivision surface
on this and simple. And it doesn't matter
if you get something like this because the shape of the geometry is a bit special and doesn't
matter actually. Let's go for this one. And in here, I'm
going to actually add this amount of vertices. And in here also, I want to make sure that I have a segment in
every one meter. So we did this one as well. It's okay. And now let's give it
the subdivision surface, simple and optimal display. Okay, now I'm going to
apply the transformations, applied modifiers, excuse me. And now I'm going to go
select vertices in here. And I need to align them down the bottom so that they
are on the same line. Now, what we need to do is
apply this material on them. Now you see it doesn't
actually do anything because the UVs are really
actually messed up. So in order to test, I'm going to bring in this
tiling piece and this one. And actually let's
bring this one, because when we are in here, down the bottom in here
we have this piece. We have the tiling piece, which is this one. And then we have this
one that is on top of the tiling piece,
which is this one. And then on top of
that we have this. So in here as well. We have the same rule as well. So we need to make
sure that it's tiling. So we need to make sure that we follow the same rule on this. So I'm going to bring this here. And let me bring this up. I'm going to rotate them in
this direction, 90 degrees. Okay. Let me go and bring
this one in here, just like what happens in here, we have a bit of extra
wasted space in here. You see there that
this one ends in here, but this goes half a meter, which is exactly what
happens in here. So now I'm going to select this. You'll see that these
are the UV information. And to actually make sure that
we get the perfect tiling, we need to make sure
that the use of this one start from here. So first, Let's go in here, select all of them. Looks like actually we
do not have any UV, right-click and unwrap so
that it creates that for us. And now we need to bring
in the textile density, just the same pixel
density that we had there. So it doesn't matter if
this one goes beyond the 0 to one UV space because it
needs more texts of density. Now if you go in here, we have a bit of problem. So let's take these two, and I'm going to take this
one and bring it on top. So now there's a bit of
problem that we need to fix. That is taking this one
and bring it just in here. We need a bit of manual
work up to do that. So I'm going to disable
that and move this. Now, there's not great amount of difference in
here, I believe. Let's bring this one on. They are working
side-by-side each other. If you're seeing a bad shading, It's because the
UVs are flipped. Faces are flipped. Go and
see their face orientation. You see in here we
have flipped faces. Go in here, select all of them, shift N and recalculate the normals so that all of them are facing
the same direction. And for this one as well, I'm going to recalculate them. Now let's go and disable
the recalculated normals. Now in here you see that the tiling is
doing a lot better. Okay? This is it and actually
you're happy with it. And since the player is not
going to be seeing this, we're not going to waste
a lot of time on this. The same thing is going to
go for this one as well. Let's go back. And I start to see this one. And this is actually
coming on top of that. And half meter is
wasted in here as well. You see, we have a wasted amount that we have covered with this. So I need to take these two
and bring them over in here. This is that amount of
difference that we had there. So I'm going to select
this, select all. And only hit right-click
and unwrap to do that. Okay, I'm going to make it facing this direction
and bring that to top. And to make sure that we have
the better textile density, I'm going to calculate the textile density that
is different a bit. So I'm going to go back in here, calculate the pixel density. Again, went and
took it from here. It's this value. Okay? Now let's go and put the same
pixel density in here, 1.707 and select anything, set my calculate
textile density. And now you see the brick
size or equal together again. So I'm going to bring this one, actually bring these
two and this one again. And I'm going to select
this one and bring it here to make
sure that the text, the brakes are actually tiling. So let me take this
one and again, I'm going to disable
that snapping so that I have free form a
snapping available to me. It looks like we did the
wrong value in here. And now it's better. I did a mistake, excuse me. I should have entered
the better value. So I'm going to bring it up
in here to make sure that I'm actually doing the right
thing. This is it. Let me bring it in
here just a bit. Okay. This is it. And now we do
not have any major issues. And as I said again, since these two are really far from the player
and not going to be seen, I'm not going to do a lot
of efforts on them, only. Something that makes sense. I'm taking these three
and now you'll learn that in order to make the
pieces tiled together, we need to have consistency
across the UVs and anything. So now I'm going to bring
these over in here. And now the only
thing that I need to do is taking them from here, bring them back so that we know that we have done this piece. And now I'm going to take these pieces and export
them into Unreal Engine. But before that we need
to make sure that the naming on this is
the same as well. But because we have copied them, there's a bit of bad naming. And here we need to make
sure that we take this one. For example, I want to take
the name of this one, hit F2, select it, and I'm going to
delete this and come in here. Make sure that I take this one and delete
the rest of the name, or simply take everything and
copy the name of that one. Okay, So that when we
export this one too bad X, it's going to get overwrites it overwritten on top of
this one that we have. They should have the same name and the same period as well, so that nothing changes. Okay, on this one, Let's find peace in here. F2 to copy the name and then
delete it. That's so simple. I'm taking this one and
hit F2 and copy that name. I have this piece as well, which I need to rename. Let me take this one. This is the actual name
that I'm going to use. I'm going to delete this and
give the name to this one. And this is the
tiling wall piece. This is three-by-three. And I need to give it to this. And of course you see that it has the name of four by four. And that is because we
created them four by four and resize them
to three by three. That doesn't matter. They wanted to make that a bit faster. We have this one as well. I'm going to copy the
name and then delete it and give the name to this. Okay, now we have this
window piece as well. Copy the name, remove it, and make it here. So after renaming, I need
to take all of these. Are, you know that I
didn't use this in the construction nowhere in the construction
or use this piece. And I just kept this
one as a extra piece. So I'm going to
rename that to 0 too, so that this is 01
and this is 02. In case, for example, we wanted to bring in wall
instead of having a window. So it's cool to keep
up, keep it there. I'm going to select all
of them and hit Export. Now, one thing that I'm going to do is selecting these pieces and re-import to
reflect the changes. And now you say it
has changed that. But if I go in here, you see this is here. This is the UV that it has created and it has
changed that for us. So now to make that
shorter on us, I'm going to go select
all of the pieces from this kid and select them and hit re-import so that the pieces that we have changed
get replaced perfectly. So every change that we do
now is going to take place. Now you see these
have been changed. And this is the power
of this method. Actually, you can change things only using
a single click. And now to make this one a bit more attractive to look at, I'm going to create a
blackout material again. I'm going to make
it really simple. And I'm dragging those tiling
materials that we created. I'm going to the
Content Browser, create a folder in here
and call it textures. Now I'm going to
import these textures, but I'm going to import
only base color, normal and the
channel paper texture and leave these alone. So I brought them in. And now the first thing
that you need to do is going in here and go in here and make sure that
the sRGB is turned off and a compression setting
has been set to masks so that you can use this. And if I start to
separate these two, are is roughness,
G is the height, and B is ambient occlusion. Okay, make sure that
you do this for all of the mask textures
that you bring. One thing for the
normal map as well, which we're going to fix later. So first, let me go bring in this new material and I'm
going to grab these textures, or later on we'll create a sophisticated
material for this. But for now we need to make sure that we have
something to look at to make sure that we
get motivated for that. So this is a channel
pack texture. I'm going to bring in the
rough into roughness, G into height which we
do not use for now, and be into ambient occlusion. And this to normal. We created a very
simple PBR material that we are going to lay on
top of what we have here. So let me go back and
start to use these. Use that material. Hit Shift a to select all of them again,
hit, select this, hit Shift E. Select
everything that uses that and hit Shift a to select everything
that has that geometry. So this is it. Now, everything that uses that has been selected
except for this one. Now everything has
been selected. So in here I'm going
to the details panel. And in here I'm going to select this new material
and apply that here. It looks like that we have
done something wrong. Now we need to fix them. One is taking this one
because this is now inverted. So I'm going to rotate it. And this is because the normal
problem that we created, I'm going to bring it
back in its own place. This is our right. This one is alright as well. And these need to be
corrected as well. Not a huge problem. I'm going to take all of
these and delete them. And this is an easy fix. I'm taking this
and make sure that the rotation is correct on this. Okay? Just something like this and make sure that you take it
and I start to bring it up. That is as simple as that. I'm going to select these as well and try to bring them over. Now in here you see that we have a perfect tiling
texture in these pieces. You see we have actually no problem in
the tiling texture. Of course, there's a bit of problem in here which
actually doesn't matter. It's not really visible. And we can actually
call this one done. It's only of some pixels, but since the player is
in this level of view, they're not, they're never going to be seeing
something like that. Okay? But we have a bit
of toiling in here, which we're going to fix later. But for now, everything is cool. It's looking alright, okay, or this one as well. We need to go and make
sure that we select all of these pieces and
I start to rotate them. I'm going to stop and
select all of these pieces. And the problem was
that we created a two-sided material that
hit some of these problems. If I go in here and try to
make this one two-sided, we're not getting any problem. You see that it just
hit the problem. But it's only
hiding the problem, not solving it because
we have created some planes and these planes
are really one-sided. So it's better to turn
off the two-sided to make sure that geometry is
facing the right direction. Okay? Now, 180 degrees. And I'm going to do
something like this. And now all of them are
facing the right direction. But I need to take these and simply delete
them and instead create an extra row in here. This is it. And now I'm
going to select these, these ones as well. And simply delete them. And take these ones and
delete these as well. And now, I believe
this is the end of it. Now only these are remaining. And it's good to make sure
that you apply a texture, not word aligned
texture, that world, the line texture really
tricked us into some problems. No matter we are going to take
this and just rotate them. Okay, this one is alright. Now I'm going to take these, select them and bring them out, starts to duplicate them. Very simple fix. Brought it in here. And now we have no
problem actually. And everything is working. Alright. Now I'm going to select everything
in this back wall and I'm going to duplicate them. Duplicate them 90
degrees and start to place them in here. We have an extra row which
we are going to fix. But before that, let me
bring them in here as well. And we need to rotate a 180
degrees and bring them back. And only delete this
extra row of geometry. This is the brake kit. Now the only thing that we want to take a look at is taking a look at the normals to see if the normal map
is right or wrong. And we're going to do a
test to make sure that normal map is actually
looking correct or not. So let me bring in something in here and make sure that we take a look at
the sun's direction. You see the direction of the
sun is going from the top. Let me rotate it so that it's perfectly being
affected by the sun. And it should be in a way that it should follow the
direction of the sun. Let me bring up the material. This is the normal map. And now we need to go in
here in this Details panel and make sure that all advanced
detail is pink showing. And after that, just
go and here there's an option called
flip green channel. And that is going to
convert that from OpenGL to Direct X normal
map, which is this one. So hit it. It's going to take a bit
of time to calculate. Now you see the shadows are
being rendered correctly. The shadows are in this
part because the sun is shining from the above and the shadows appear
on these parts. And now the normal map
is doing well as well. If I take the Sun and start
to experiment with it a bit, let me search in here for directional light.
And this is it. And if I bring the, excuse me, if I bring the sun up, you see that the shadows
are appearing in here. Unlike the previous one, which we were getting
different paths, shadows as the sun
is shining from here and the shadows are
happening in here as well, which is really on naturalistic. So the only thing that you need to do is flipping the
green channels when you're bringing OpenGL into Unreal Engine to convert
that into Direct X. Since a lot of the programs
that are used yield OpenGL, I'm always importing
OpenGL to make sure that the creation process
is consistent throughout an after I made sure that everything is OpenGL, I simply convert that to Unreal Engine with
an only one click. Okay, now this is the first part of the modular kit
that we created. Of course later on, we will
create vertex blending material to lay a lot of
dirt on top of these, we will add a lot of details
and things like that. But this is the first row of the modular kits
that we created. And after this, we will continue to make other pieces,
correct as well. Okay? Now we made sure that the tiling is working
here perfectly. The normals are correct. We will go and start to
do other parts as well. And I'm going to leave these two for the end of the process because these two are custom pieces and need a
bit of care and attention. And you see in here, these
parts are getting repeated. A lot of times. This brick kid is getting
repeated hundreds of times. These are more important to get done early so that
you create them. And the bare bones of
your project get created. And pieces like this one, although they are going
to be so effective, I leave them for the
end of the project because they get used only once. Okay. This part of the tutorial
has been done as well. And see you in the next one.
24. Roof Kit Base in Blender: Okay everybody, this is
where we left off in previous lesson and
now we're going to really create this woof Kate. And this is the second most common thing in
this environment. I have used this tool kit for all of the roofs
that we have here. And it means that it's a
pretty important piece. And since this has a separate
material from the break-it, the first thing
that we're going to do is create a material for it. And I have decided to make it. Terracotta has some kind
of a material to create. This is the reference
port and this is the main reference boards
that we are going for. And these are some
close-up shots to see how this is created.
And this one as well. You see that we
have some domains that are located
close to each other, some of them pointing upwards and some of them
pointing downwards. So we're going to
create this material, but instead of going into Substance Designer and try
to recreate these shapes, we're going to create
a base in Blender. Of course, you can go inside substance and try to
mimic that shape, but that is going to take a lot. And you have to deal
with a lot of notes. Of course they can do that, but for something like
environment, art, the total composition and
lighting material setup and things like
that are important. Really nobody is
going to look at your substance file and see
how hundreds of nodes you have mixed together
to create a shape that you could have created
in Blender in two seconds. So we're going to
be as efficient as possible and use
the best resources. And yes, you can go inside
substance and try to recreate the shape and there's no shame in
it, you can do that. But since you are
going to be so fast, we're going to do the
base inside Blender because that is a lot faster. And by a lot, I mean, a lot of wasted time
you can really prevent. Now, I'm going to create
a new blender file so that we can go in and
start creating material. Create a simple scene. And I'm going to make the plane. And this plane is going to be the base of what we
are going to create. I'm going to make this
planes three-by-three. And I'm going to make the
material square three-by-three. I'm going to create
a tiling material. I want to first create a
tiling geometry in here and then take that in Substance Designer and
use that as a height map. And how that is work. Working is, for example, you have a lot of geometry,
something like this. And you bring some of them up. For example, this
one, you bring it up, it's going to be
represented as white, and you bring something down, it's going to be represented as a black inside
substance designer when, later on when we bake this, so this is what we
are going to do. We're going to create a
tiling geometry in here, make it high poly, and then export it to substance and do the
detailing there. And this is going to prevent us from a lot of timing waste. So I'm going to apply
the scale on this one. Now we're going to
create the shape. And this has been composed of a simple shape
that is repeating. It has this cylindrical shape and the cylindrical
shape that is backwards. So that is very, very easy to create
inside Blender. We're going for
cylindrical piece. First, I'm going to go in here. And in the normal stuff
in the object data, I'm going to make
it 30 degrees and right-click and shade smooth so that we have no
problem in here. So I'm going to
compare the size of the cylinder to the
plane that we have. So I'm going to make it really, really smaller,
something like this. Now I'm going to compare that. Looks like we need to make it a larger just a bit and in
this direction as well. So this is a pretty base that
we can use for our work. But before doing
anything, let me go. Now it looks like we
need two steps back and resize it in here and re-scale it in x as
well just a bit. Okay, now this is a good base. And now we're going to
make this geometry tiling. And in order to make that soil, we need to make sure that the
edges sing well together. So I'm going to apply the
scale on this so that now I'm going in and bring
in a vertex in the center. And in here as
well, I'm going to select this one and
this one as well, so that the pivot is
right in the center of this one and I'm going to make
this one the pivot. Okay? Now I'm going to
make this one a snap really to the edge
of the surface. So what we're going to
do is going into here, and instead of increments, make it vertex and
select this one. And now I'm going to move this and it now snaps
to this vertices. It looks like we need to
change the mode to active, so that it snaps to
the active vertices, which is now in
order to make sure that this slide is
reading with this side, we need to duplicate this three meters away to
make this tiling. So we're going to in the
Modifier Tab and use an array. This array now is in x,
which we don't want. We want the array
to happen in y. So we're going to disable that. And in y just hit one and
you see it moves in here. So now we're going to press
it in here until we get here. So looks like you need to enter value that these lay
on top of each other. So let's go in here
and try to bring in the value down to
something like this. This is a relative offset, it. And that is doing
the work based on the relative bounding box
and things like that. And it's not going
to be so perfect. So I'm going to turn this
one off and use constant, upsetting status constant is going to give us Perfect values. So I'm going to activate it, and now it's again going
in the wrong direction. And if you're going to
get the perfect result, in this case, we want to
forget about relative offset. Now I'm going to use
constant offset and int y. Let's put one,
this is one meter. This is two meters. Now, this is three
meters away from that. And now if you look at here, you see that this
center vertices and laid on top of each
other perfectly. And in here as well. It's doing the same thing. Now, if I go and I start
to manipulate this shape, I'm going to remove this, or let me go from here and
Control select until here. Remove the vertices. Excuse me, I shouldn't have
removed that one. So I'm going in here
and remove this. And join these two
vertices together. And join these two center
ones together as well. I'm going to join them and now select everything
that is in here. Okay? Now we have deleted everything and I'm going
to bring them back. And now if we look at it, you see it's doing the same thing in here and it means that these are instances. So I'm going to bring them back. Now we have a tiling
piece in here. So let me bring them
all back and show them. So this is three meters. And for this coordinate is, it's especially important
to have them toiled in all corners because these
vertices shared the same thing. But for pieces like
this one in here, you only need to tie
them in one direction. But for a corner
piece like this, you need to tell them
in multiple directions. So I'm going to bring
in another array. This time. Again, this
direction is alright. And I'm going to, excuse me, I should have gone
for constant again. And in here, I need to
copy that once more. Now we have a tiling
piece perfectly around. And if I'm going to create
tiling from here to here, I'm going to take this one, for example as an example. And I do not need
this one exactly. Let me see what that one is. You only need this one to
tile in this direction. And if I had a piece that
is going to be in here, for example, let me
turn off the snapping. If I had a piece that is in here and I need to
tell it I need to only toilet in this direction. So these need to be told in one direction and these
need to be tiled in all of the divergence because
this is a corner piece and these vertices are common
among the four corners. So now I'm going to
delete these and delete all of these
in this as well. Now I need to isolate this and
select these to join them. And select these two
and join them as well. And now I'm going for the bottom part and try
to remove everything. Okay? Let me select
everything in here. Delete. This extra phase needs
to be deleted as well. So again, this one as well, and this one as well. So we have a pretty good place to start with to work with. But this one doesn't
have any geometry. Now. It has geometry, but the geometry is still, so say community to
give it a bit of depth. So go in the modifiers and bringing the solidify to
give it a bit of depth. So this is it. And
make sure that you make the offset to go
negative so that it goes in. And if you make that
something like this. To go in this direction, it's going to ruin
some of the parts, so make sure that you go in. It's better. So let's make
it something like this. Now this is too much.
If this is good. Now after this one I need
to add a bubble as well. So, but we'll just
to give it a bit of more geometry to work with and make that look
more high poly. So I'm going to bring in a lot of segments to make
this one really smooths out. Something like this. And you go to Shading
and to harden normals to give it a bit of
more edge definition. So now we're done with this. And before applying
the modifiers, I'm going to the shape, selecting all of these. And let's go back and
select these ones as well. I'm going to make this one
a smaller, just a bit. Or let's look at the references
to see what is going on. Here. We understand that the shape is a thicker
down the bottom. And when it goes up,
it tapers down a bit. So we're going to
do that in here. I'm going to select all of these edges and
simply hit Remove. And I'm going to select these top vertices and
re-scale them just a bit. Okay? Now we have something like
this, which is perfect. It too much. Let me bring it up.
And now we have the base shape to
start working with. If you are seeing shading
artifacts like this one, try to make the double
amount a smaller, a bit, something like this. And I'm going to make
sure that we have the edges as well as
good shading in here. So I'm only going to bring that down to something like this so that we have a bit
of edge highlight. And then the good shading
in this part as well. Now, if you're going to
take this one further, he can go and apply a subdivision surface to make
this one really high poly. Couple of ones is
enough for that. So now I need to
toggle this over. So the same thing, you can keep these
modifiers if you want them. And now I'm going
to bring an array. And this array needs to be in y. So make it three, excuse me. I've gone to the relative again. And now I'm going to 0 this
one out, this one in three. Now I'm going to
bring another array, this time constant again. But in X, now we have a tiling piece
across. This is good. And now I'm going to
copy this one and bring this one over just a bit. For now I'm going to disable this modifier because I need to only work in this direction. So I'm going to 0 this one out and make it go in
this direction. And you shouldn't
make, you should make sure that the pivot
is in the center. So that when you
try to rotate this, you get something like this. This is it. Now we have the rotation
in here as well. So I'm going to make
sure that This is hidden under the surface,
something like this. And I'm going to go in here and select this
one, select everything. And I'm going to rotate
in this direction, 90 degrees so that everything
is hidden underneath. So I can take this
one and bring it down just a bit to make sure that no
intersection happens. Okay, this is it. And now I'm going to
bring this plane down so that we can see
things a lot better. Now I need to make
sure that our create this row first before
doing a lot of things. So I'm going to copy this one, bring it over until we
have something like this. And it's doing the
job perfectly. And I need to go and
disable this one. This one is needs to be deleted. Now we're getting the shape of the roof tiles that we
are going to create. If you're going to do
in this direction, has simply take this one, bring it down, and
bring it down more. Or instead of bringing down, I'm going to hit Alt and D this time to make sure that this
one is an instance from that. So I'm bringing this
one in this direction, select these vertices
and bring them down to make sure that we do
not have that bad geometry. And now this is a bit
of awkward geometry. I need to take this one
and bring it down more. Okay? Now we have created
that part that is required to create
this type of roof. And instead of tiling
in this direction, I'm going to 0 this one out
and make this one instead, excuse me, 0 this one out. It looks like this
needs to go to negative three to
make that tile. I'm going to take this
one, delete this, and now this is tiling
perfectly in here as well. So now I'm going
to take this one because we altered
the geometry on this. And I'm going to remove this one as well because I
have altered the geometry. So I'm going to take this one, bring it here and rotate it something like 90
degrees and bring it here. Now I feel like I need to take this one and rotate it again in this direction.
And this is alright. Because I have rotated
this one negatively, we need to reset the
rotation as well, Control a. And we set the rotation so that the modifiers start to
work properly again. So I do not need that in y. So let me turn
this one off here. I'm going to delete that one. Now. We are ready
to start creating. We have created a logic. Now we're ready, ready to
create a tiling geometry. And trust me, this would
have taken a lot of times to create insights
Substance Designer. So now we need to take this
one and bring it over again. This time we want to
disabled why again, so that this one tiles
in this direction. And another thing
to make the kid perfect is to bring this one in. And I'm going to make that tile in this
direction instead. One thing, because this
has no corners and edges, this one really doesn't need
to tie these centerpieces. They do not need to tie. So I'm going to
disable that and make the tiling only for
the edge pieces, the pieces that have shared edge between these
pieces like this one, for example, this has
a shared edge in here. We need to tie that. Now, I'm going to
really fast take this one and I start to
fill this space with it. So I'm going to drag it down until I'm happy with
the results. Okay? Now this is going
to look too uniform because we have not done any rotations
and things like that. I want to make sure that I
have the geometry setup. And then after that, I
start to work on that. Later on, when made
sure that you are happy with the geometry, you make sure that we bring this into substance and
start to work there. Okay? This is the first row. And now I need to make sure peas is going in here to make the tiling in here
perfect as well. So I'm going to take this
one and bring it over such a distance because
we need to make sure that this comes in with that as well. So I'm going to do this
and make sure that you do a lot of
randomization to make sure that is not so
procedurally created. I'm going to copy that some more times to make sure that
this tiling is working. And then we have a lot
of space to work with. And we're going to do a lot
of randomization there. Okay? This one is good
for the last one, and now this piece needs
to be copied over as well. And when we bring this here, the piece that is in here
is going to work as well. So this is it. I'm going to do some customization
in between the spaces. Okay, this one, and
just some more copies. And move some of them more, move some of them less to create that bit of randomization
that is required. Okay, this one is finished. Now we created the piece
that we need for the tiling. And now everything you
put in here doesn't need to have that
tiling because it's not going to try only these that are on top of the edge
are going to be tiling. And if I take this one and
try to rotate it just a bit, you see that we have
some problems there. And if you are
going to fix that, you need to make sure that
you turn off the, excuse me, are applied array
modifier and go in and hit P and by loose parts so that these
become two separate objects. Now, what I'm selecting these, you need to make sure
that the pivot is two individual origins
so that when I select this one and this
one, these are counterparts. Of course before that sense this one is sharing
the period of this. I need to select
this one and center the pivot on this one as well. Because this one also
has the center pivot. Now they're going
to work perfectly. So I'm going to take this, you see that they start to work with each
other perfectly. So this is good. Let's
go back and again apply. Go back until I see that. This one. Now we have a lot of
space to work with. And another way without applying the array
modify modifier and ruining that is taking this and instead
of in object mode, rotate, trying to rotate this to create
something like this. You can go in the polygon
mode and select everything. And now in here you
can take this one and rotate it to make sure that
the tiling works perfectly. So this is another way that
is actually a lot better. So I'm going to take this
one and do an array. Of course this array is not four tiling and
things like that. I'm going to make sure that I use some modifiers to create the base geometry and then use some randomization
techniques to give this one lots of randomization. So I assign the amount of space that are
needed for tiling. And now I'm going
to add somewhere. So you see simply we
created this and now I need to bring this
one in as well. I'm going to bring this. But in here we have a tiling
that we need to disable. I need to bring in
another array and fix the air space to such a value
just like previous one. This one uses this value. And now I'm going to put
the same value in here. So I'm going to increase the
count until we reach here. We created the first row. Now I need to take this one and create another array modifier. But this time instead
of going in x, I'm going to go in y, going to 0, this one
out and try to increase the space in this direction. Something like this. And now I'm going to
increase the numbers. And I need to decrease one. Okay? This is it. And now I need to take
this one as well and try to add the array modifier. And this time again, I'm not going for
x, I'm going for y. Let's put the number to be 11. Not in this direction,
but in this direction. Let's disable this one. I don't need to copy the
exact value from this. This is the exact
value from this. And now I'm going
to bring it here. We created a tiling system
and it looks like we need to take this value
and reduce it a bit. So let's bring it down. Now let's bring it up. Let's use the same value. But instead I'm going
to take these pieces, take these ones, remove them. And take one piece from here. And I'm going to make
that something like this. Okay? Now I'm going to
disable the tiling. On this side. I need two tiling to be in here. Instead. This time I'm
going for relative styling. I'm going to disable this
and do something like this. Let's copy the exact
value from here. The amount is 1.3
and the count is 11. So let me take this one
and put the same in here, 11, so that we have the perfect
tiling happening in here. So it's not working. Let's bring this one down a bit because these are two
overlapping pieces and really doing the tiling. So let's go for another value
for something like this. And use the same numbers
on these ones as well. Though. I'm going for ten. In here again, I'm going for
ten and put the same value. We have these pieces, so we fixed that. Now, the thing that we need
to do is taking this one. Or instead of taking that, let's take it and
start to toilets. So I'm going to bring
in the array again, and I'm going to
set it to relative. And let's copy the
exact value from this. I'm going to take this and
we need ten instances. So let's go in here, put the instance to be tell. But I'm going to make that
happen in y instead of x. Now we have that.
And now I'm going to first delete this one because
this is a bit distracting. And remove this one as well
and increase the count once. Okay, I'm going
to take this one, take a duplicate
and bring it here. Something like this. And I only want to
disable the tiling. Okay, I'm going to remove that. Now. We did it. We need to go in here
and do one more in x. And once more. Now, let's go back. And I need to fix the
tiling in here as well. So I'm going to drag a copy and make sure to
remove all of the tiling. So I'm bringing that
one right in here. And to fix the tiling in here, I need to make sure
that I select this one, and I need to use
this one exactly down the bottom because
these share the same age. So I'm going to again bring the array modifier and used to. And instead of relative, I'm going for constant. And instead of one,
let's make it. Okay, Now, these exactly come in here and fix
the tiling issue. Now, we need to make sure that this one is going down as
well to create a tiling. So I need to make sure to follow the same
direction in the x. Let's go find the x here. This is the value and
this is the number. I'm going to take this one
in the relative in here. Let's put the number in here and try to
increase the numbers. Soda, this washers. What do we have created? Some more. Only one more. Okay, now we have a perfect tiling piece
that is tiling across. And this is the plane that we're going to bake
this one on top of. Okay? Now you see that we have some more information
outside of the surfaces. And in the next one, we're
gonna make sure that we add a bit of randomness
in these tiles as well. Then we export that to substance designer to make
sure that we create this. Okay? See you in the next one. And we create
randomness in here. Okay? See you there.
25. Bake The Roof in Substance: This is the result that we
created in previous piece. And now you see we have
created a solid base. But the one problem
is that this is a bit too CG locking and we really
have no randomization, unlike these ones that have a good amount
of randomization. And we're going to do
that randomization. Then the trick is to leave
these tiling pieces alone. For now, I'm not really going to have any work with
these tiling pieces. And the only thing that I'm
going to do is these ones. These are the ones
that are in here. And if I change them, it
doesn't hurt to toiling. Okay, I'm going to
hide the others. And in this one I'm going
to apply the modifiers, any modifier that I
have in here, okay? Array and this one atlas. And I need to make sure to apply all of the modifiers
in here as well. And the shortcut for
that is controlling a, this one done as well. And now I need to go in and make sure that I hit P and
separate them by loose parts. Now we have a lot
of pieces in here. So let's take this
one as well and go in and hit P and by loose parts. And it separates any
individual piece into its own. But one problem is that they
share the same pivot is if, whenever I select
something from here, it starts to use this pivot. And the same goes for
this one as well. So I need to select all of them. Hit Alt and S, soda, the pivot goes in the
center of all of them. If I select one of them, I have control to
move them from here. Now, there's a very handy option in Blender to be able
to randomize this. Just bringing the option
and just search for random. And it can bring you
randomize transformation. You need to expand the options. And in here you have a lot of
options to randomize this. So let's mess with
randomization just a bit. So now you see it
starts already add a good amount of randomization
in here. In here. Now, let's do some in here. And in z, I really do not want that because
it doesn't matter if Z is height and it's going
to randomize them like this. And I do not want that. Again, I'm going
to bring in that randomized and disable this one. Let's go for rotation. And I'm going to add a
bit of rotation as well. Let me see. What does the
rotation do? It's very subtle. This one as well. And in z also. Let's rotate them just a bit. For a scale. I'm not really going
to do that much because it's going
to hurt the tiling. Okay? Now we created tiling piece that has some amount
of randomization, but it's so chaotic. But he's seeing how much good results we can
take from that. Okay, I'm going to go back and again take them and use them. So I'm going to take
these and exclude these from the selection,
just like this one. And now let's bring in the
randomization as well. And I'm going to
0 everything out. This one needs to be one. Okay? Now let's go and try
to randomize this one a bit. First-line for location
and for location in y, I'm not going to make
it very intense, only a small value. And in z as well,
I'm not going to do anything and rotation. Let's do a very, very low amount. Okay? Now you see we created a
bit of randomness in here. If you're not happy,
you can take further try to increase
these values to get something that looks
more randomized, but not something like this. Let's bring this one back. And I feel like something
like this is good. It has a good amount
of variation. And in substance as well, we can further introduce some noise to make
that work better. Now for these corner pieces, if you are going to change
them, you can take them. And instead of doing
the changes in object, which results in
something like this, it can go into the Edit mode, select this one, and try to do something
like this, for example. Which is just to make them a bit more
beautiful to look at, I'm going to go and add a bit of rotation into these tiles. So that they're not so
procedurally looking. So I'm going to leave
these to take this one. And this one needs to
be rotated as well. And make sure that you do the
changes in the edit mode. Okay, Now, this one as well, that's rotated a bit. And I can take these. Now let's leave this one B. And if you need
further customization, you can go in here and try to introduce more
randomness by hand. It really makes them
go to the new level and try to add multiple
selections from everywhere. And instead of using this pivot, go in here and make
individual origins so that they rotate around their
respective periods. And if you do
something like this, you see they start to rotate in a direction
based on their periods. So start to randomly select from these and
try to rotate them. They give this one the
best randomization possible and make sure that
you do not select from these, from these outside ones. Just try to pick up from
these that are in, okay? This one as well to give
it more randomization. Okay, Now, this is about the randomization and
I'm happy with it. Let's do something
like this, okay. That will need to take this unexplored as an FBX
alongside with this plane. And I'm going to
bake this on top of this plane to create
the height map. Okay? Now, I'm going to
take everything, take this one and bring it to the ground level and take everything excluding this plane. And bring them up just a bit so that I can bake the
geometry onto that plane. And you should not have something
like this, for example, it should not have the
geometry to be lower than the plane that you
want it to be higher a bit. Something like this. And I need to export
this as FBX. Go for FBX. And you want to make
sure that you limit the export to selected objects. And I'm going to make
this one, or you Polly. And one thing before that, you need to make
sure that everything has the same material
applied on that. So you see that I have selected everything including
this plane and give them this material so that all of them
share the same material. They can be baked on top of
each other in substance, this is very important. So let's exclude this
one and go and export. And this is it limited to selected objects and
I'm going to export. And since we have
a lot of polygons, it's going to take maybe
a minute to export. Okay? Now we need to
export this plane, but this one, in, in order to make the baker
a little bit better, I'm going to add some
geometry to this one as well. Subdivision surface and simple. We have this. And
you need to make sure that the UVs
are correct as well. Let's go in here and go to
UV editor and select it. The UE is going from 0 to one. And if you're creating
a simple play, make sure that you do
not change the UVs because we need that wants
to be perfect tiling. So I'm going to export this one. And again limit to select it, and I'm going to name this LP. The next step is
to bring these in substance and start
to bake them there. We created a new file in here. We need to make sure
to set the material to tessellation displacement
in metallic roughness. And these are the settings
and make sure that you change this one to false
and make the normal OpenGL. And you say this one
is OpenGL as well. Now in order to bake them, we need to drag them in here
to be able to bake them. These are the files that I have, the LP and hyperbolic. I'm going to bring
them and drag them in here until I see this link. Okay, now they have been linked and it's
telling us to use UTM. I'm not going to use UDM. And now it's going to load
this 200 megabyte file. Now it brought them. And now
I need to select this LP, which includes my low poly and go opaque model information. And in here you need to
define a high poly first. In here, just go from resources because these are the resources
that we have in here. And if you're going
to bring an external from outside of substance,
you can go for file. But now we are going for resources and use
this high poly. And in here we need
to add a baker. And for the testers, let's go and bring
in the normal map, normal map from mesh. Let's make it OpenGL and do a baked us to see
if everything works. You hit Start Render. And it's going to do
some calculations and gives you the
result in here. This is it and it is working, but we need to make sure
that we extend the cage Baker bit and substance use as a cage that has these values. And if I'm going to
explain that to you, it's something like this that starts from the low poly
and start to shoot rays. Catch the high-quality
details and it works with
something like this. If you have the low poly, it's going to create a cage. So it's just like
something like this extruding from the normals. And now we have
something like this. And it here captures only
these parts that are in. If you're going to really
capture all of it, you go and extend the cage so that all of the details in
here get captured as well. So this is what we
are going to do. We're going to go in substance and make sure that we extend this frontal value and hit Rebecca again until we
get the perfect result. So now we have more values. It looks like we need to
extend this one so far. Okay, now you see we have
all of the values in here. And let's extend this
one just a bit to make sure that we capture
all of the details. So we captured this one
and now it's working, but do not need the normal map. I need the high poly map, excuse me, height map. So we go in, we go in
here and two from map. Because normal map
can be created from high polyandry are going
to alter database as well. So we go in here and make
the resolution for k to get the best result
and anti-aliasing to four and hit Start Render. It's going to calculate a bit. This is the height map
that it has created, just like what we have
created in substance. And if I go in here and
start the tiling, you see, we really have no tiding
issues in here because the tiling WE said was
perfect inside Blender. And now this is going to
create a very good material, but this is facing
towards this way. I want to make sure
that it's facing the direction that I want
to first make it grayscale. And bringing a
transformation node. And this node, let me
hit a space and I'm going to make that
face this direction. Now let's hit a space again and try to
look in these areas. You see there is actually no tiling issues and this is a perfect
starting point for now. So let's select it. I'm right-clicking
and add a frame. And I'm going to call this one, the base is c. Now we were able to create
something that would have taken a lot of times to
create insights substance. Now, I'm going to drag
this one into the normal. Let's make it a stronger a bit. For example, something like ten. Now you see it's so
much more intense. Bring this one into height, which is this one, and bring it into this
ambient occlusion as well. But before that, let me bring in the RTO ambient occlusion. Then connect this
one into the output. This is the base that we have
created for the material. And you see a tiling
and everything is okay. And to make sure that we
are using the full range, I'm going to add the
O2 level after this, so that it uses the full range
from the black and white. Now this is the base
for our material. And we can go in here, the material tessellation
and displacement. And in here I can bring
in the tessellation up just a bit to preview what is
happening actually in here. And I need to bring in the
tessellation factor up a bit to make sure that the transition
between these is alright. So this is how simple
we created that one and the tiling and
everything is okay. And we can do a lot
of things using this. And from this point on, we're only going to add a
lot of details into this. And we're going to
add the medium and a small details in
substance and start to add the coloring and
roughness phase in here as well. One great thing
that you can do is adding a flood fill load. And you know what this
flood will note already. It's going to take the
black and white data and give you some masks. But you see that if I print this one into here, for
example, flood fill, we're not getting a result
because this is now has been seen in only one piece
and it's not going to do that randomization
for us to, in order to make sure that we separate these values
from each other, it's good to bring
in an edge detect. And in here you see that it can separate all of these
from each other, just like what we
have created before using title samplers
and things like that. And it makes sure that it
reads them altogether. So let's bring this
down and you see, this is what we get and
now bring it into that. And you see this is really something that we
could have created inside tile sampler
and get something like this only by using
this edge detect. We were able to create that
really without problem. So let's bring in the
roundness up a bit. We're going to add
various small value num1. Let's go for something smaller. Looks like this is
the smallest that it can go after this one. We have this. And now let's see
what we have here. I'm going to bring in landfill and in here
random grayscale. And this is something that
we can use in order to randomize the selection
and things like that. For example, let's bring in the histogram scan in order
to select some of them. For example, select these
to give them a color. This is going to
be very good later on down the creation process. So I believe this is
enough for this lesson. And in the next one
we will actually start the creation process. And I start to give
some medium details, edge breakups and
things like that to this one. Okay, See you there.
26. Roof Mat Height: Okay, In previous lesson, we bake the height
map and now we're ready to move on
and start creating. So before this also level, I'm going to drag a node. And this one is already doing a good randomization that
we created in Blender, but we can do more a bit. And I'm going to make sure that I do that in here so that it applies to all of the things
that we have created. So let's bring in a random gray scale as well to check the
progress on this one. So after this one, I'm going to bring in a space. I'm going to bring in
the directional warp. Although we have some
randomization in here, but it's only a bit. So using a directional word, we want to bring in
a gray scale to work this even more on
these directions. So let me drag this one out. And this is what
we're going for. Let's bring that out, bring the contrast down. Something like this so that
it works the texture for us. So let's select this one. And you see now we have
a lot of warp in here, which is really
not that natural. So let's go back. Start to only add a small bits. I'm going for very small bits, not really too much. And in order to make
that really subtle, I'm going for this one. And you see I have removed
any contrast from that because the contrast is going to shift them vary too much. So after this one, I'm going to add a blur as well, blur high-quality gray
scale to make sure that there's not really a
huge amount of shifting. And using something like this, for example, if I may
bring the contrast up, you see the shifting is
non-existent in here, a 100 per cent in here. But in here we're going to add some bits of details
to make sure that there is a transition from the absolute whites
to absolute black. So I'm going to
bring in the quality up and this one down. Now, if I go in here and start
to shift this even more, you see that the shift
is already subtle. So this is before that, and this is after that. I need to increase
this one as well. Let's make it five. And now you see there's a
bit of shifting happening. But I do not want
the five actually. Let's make it
something like two. Okay, now let's add another
directional work to work them in another direction
using another gray scale map. Just like this one. And I'm going to add
that distance note to it so that I can bring it up. And this starts to
give us some values. So I'm going to invert this, something like this and adding auto level to
have the full value. And after that I'm going to add the color quality up an intensity to something like this and bring
it up in here. Now this is too much. Let me go and make
it too instead. Okay, now, you see that we
have a better one in here. And the good news is
that because we are using procedurals and
the substance system, this is telling us well, and we have no problem
in their belief, this is good for what
we have created. And now let's look at that one. And you see the blur and all other things have been
happening to this one as well. So this is our base here. You can use this one
either or this one. Let's use this one again. It's becoming a bit flatter and starting to introduce
these values as well. But if I introduce
the outer levels, you see that a lot of
these values get lost. But let's go and start
to use this one instead. So that we have these values. Again. In here, we have
not a lot of values. So I'm taking this
one and deleting it. Now the first thing
that we need to do is adding some edge
breakups in here. And it's not going to
be very good if you go. And I start to apply
on all of them. And by that I mean,
if I bringing the slope blur gray scale
just like the previous one, and it starts to bring
in a noise, for example, this noise. And apply that. Let's see the result. Bringing the samples
all the way to study to mean is it's going to hit
everything that we have here. We do not want that. We
want to create a method. So isolate the edges, for example, the edges in here. So there's a node that
is called shadows, and we have used that
node previously. So I'm going to bring in the shadows and
real-time shadows. And you see it creates a shadow based on the height map
that we have created. So let's make it a
gradient instead, so that we have a pure
black and white mask. You can go and try to change the shadow position to
see if we get something. And then this is going
to be something good. This has used this one
and separated the edges. But let's go and try to
make this not so harsh. Let's use another type. This is the best that
they can do it using this value and using
them to create shadows. And let's go and
manipulate that more, separate more from the mask. This one is going to be better. And now it's separating
the edges for us. But let's do something to
subtract more from the edges. Let's add the ultimate level. And instead of that, let's use alter level and compare them. Now doesn't make difference. And after this one I'm
going to add a levels. See if I can use the levels
to separate some of that out. And we did that, but not so fully. So let's take this one and I'm going to use
this one as a mask. In here. Let's bring in the
slope blur, gray scale. This one, we're going to hit that using some of these
branches, for example, these clouds to that we
have been working with, both this one hits them all. Let's add just a tiny bit. And not a lot of headed to men. Now we're going to blend this
one with the previous one. We're not going to change
the blending mode, but we're going to
use the opacity. So I'm going to again
bring in a blend in here and use this mask. Bringing histogram scan so that I'm able to
drag a mask out, bringing the contrast up. And I can either use this one as the mask or use that
one or mix them both. So now let's go to see
what we have created. Of course, we need to
apply the chain in here. This is the change,
of course reversed. So I need to take these. And now you see the
algebraic curves are happening in here, which is a great thing. But since we have a lot
of contrast in there, we're getting some problems. So let's bring that here. Or let me go and use
other shadow map, this one instead and
plug this in here. It looks like we're getting
a better one in here. I'm going to change the light to see which direction
I need to have it. We'll leave that be. I'm going to use this one. But instead, I'm going
to blur that a bit. Bringing the blur
high-quality grayscale. Now it is spreads the mask on everything and I do not want
to bring the quality up and bring the
intensity down just a bit so that we have a
stronger mask in here. You see now, the mask is more prominent and we do not have those type of art artifacts
which we had there. And if you're going
to separate that so that some of them
have only these. You can go and blend this one with this and use
multiply or something. Let me take this one
and bring it here. And we can use multiply. So let me see why this is
not getting what I wanted. So I'm going to bring in the gray scale conversion from bringing Gradient Map and convert this one
into a gray scale. And because we have this node being
connected here wrongly, we need to take this
one and bring it here instead to select
from these masks. Now, this can simply be
connected into this plant. Let's convert that to here and add a multiplier so that we
have only some selections, some edges are hit and some not. So it's absolutely obvious
that we need to plug this one instead after hitting the edges. So that one works. Let's not bother using
this one instead. Use an hate all of the edges. It's better. Now, it's time to
go and start to add some surface
breakoffs as well, because these look really
just like mirrors. So now let's go
bring in this cell. And I'm going to add. Blur after that. So I'm going to bring the
intensity down and quality up because I need
to have something to be able to undulate
the surfaces. These white parts are coming out and these black
parts are going in. So let's add directional warp as well to work them just a bit. So I'm going to
use the clouds and then try to work them like this. This is too much. And this is a better
value in this direction. And I'm adding a blur
after this cloud. To make that one soft as well. I will do not want it to
be so harsh. This is it. And now I'm going to add a blend after this one and
add it to the mix. So let's bring this one. And you see, we have a
total chaos in here. And that is because the
intensity is too much. So let's go make it subtract and make that
really subtle, not so much. And let's bring it up. So now you see it tries to
hurt the surface a bit. Adding some things in here. So let's scroll
through the modes to see which one gives
us the better result. So copies, Alright. Subtract is alright as well. And multiply is a good one. So let's bring it
up. And you see it starts to add some
surface breakups in here. But this is too much, so I'm going to bring that down until something like this. Now to add a bit of
more surface details, let's bring in the slope blur, gray scale and try to work this one against itself to
see what results we get. This is it and we do not
want that samples out. This one down and use men to get something
more pronounced. This is now starting
to look better. Of course, now it's procedurally all over the
place and I do not want that. Let's go and make
that per brick, instead of being
procedurally generated, you see, it's just like a
procedural generated over that. So I'm going to bring in
directional warp again. And I'm going to warp it against the data that we have here. Now you see it as
separate that per brick, but we need to take this and make it more
separated so that it separates them based on the brake and not so
procedurally all over the place. So let's make this one
something like this. This is too much. And something like this
is going to be alright. This is before that. Excuse me, this is after that. And this is before that. This is laid up On top of that. And now this is it.
This is what we get. Let me bring up the multiply
again to give it more. No, this is too much. Let's go. For the previous 1.1 is the
best value that we have. A lot of surface
area copying here. So let's go in here and try to use different mode instead. This is not. Let's use max. The max isn't going
to be good as well. Of course, it's good
for adding these. It looks like this
is a happy accident. I'm liking this one. I'm keeping this for later
use and I'm going to right-click and
call it carvings. But for this one I'm going
to use another method. Let's bring in clouds one
and then start to hit that against the clouds
one. This one. And this is too noisy. So let's go put
that one using Min. It starts to add some
subtle surface undulation. And after that it goes through this and after that in here. So let's use other modes as well to see if there's a mode that we can use. Believed that subtract and
multiply are the best ones. Subtract is going
to be more harsher, but multiplier is
going to be better. So ended up using
subtract instead. It's giving me the
better result. So after this one as well, to give it more details, Let's add a slope blur grayscale to add some more finer details. Now, I'm going to bring in
the black and white spots. Intensity down, samples up. You see it starts to add
some finer details in here, which I do not want
to be so harsh. Min and max. Doesn't matter. Both of them are
doing the same thing. Let's just add tiny details. And this is going to be better. Okay? Now we can go and start laying a whole slope blur gray
scale on top of this. But before that, let me take all of the chain and
we'll move it back. And I'm going to add
slope blur, grayscale. This one, I'm going to
really make it settle. We'll do not want to
have a lot of noise. So I'm going to bring
in this Perlin noise, this, if it works or not. So now we're getting
a true mass in here. So I'm going to make it men, then intensity very, very low. And the samples all the way to up to get the best quality. And now let's go in here and we need to make it
really smaller. And actually very
small chunk of noise. Let me put something bigger and compare
that before and after. Okay, let me introduce
it into the chain. Starts to give these
a bit of more detail, but let's go and give it
a bit of more details. So I'm going to blend, and I'm going to
blend it with one of these fractal sums to add some finer noises
in the mix as well. So I'm going to bring it really slower so that we have a
bit of fine detail in here. And you can see that happening. Now we have a good
amount of undulation. Now I'm dragging this one down, and now it's actually time to
go for these medium shapes. We created some big
shapes in here. I'm selecting them out of frame and just call
them big shapes. And now we're going for medium
and small shapes as well. Again, we're starting with this for these godliness parts. Some grunge, maybe some
directional noise as well. Just like this one. This will start a lot of
Wiener noise in here, which we're going to use. So first, let's just start
with the directional noise. I'm going to work this against the height map so that we have
this one localized. And I'm going to make it
go in this direction. And I'm going to take
this one as well and change the angle to
something like this. Okay, perfectly balanced. Now in here, Let's make them
work in this direction. And I'm going to make
it a stronger, just. This value is good. And now let's test that. And actually I do not
want to use this one. Instead, I'm going to create a blend and make this
one the actual blend. Then connect this one in here
and connect this one here. And I'm going to go
for a very low value. So I'm selecting these
inverted to get what we want. So I'm going to
bring this really, really down until we have something really
less pronounced. So this is something. But let's go and
start to introduce more contrast in here to make
more separation happening. But of course we need to
bring this one in here. Okay? Now we're getting something like wood grains and I
do not want that. Let's go for something lower. Okay? I do not want this
to happen all over. I'm only needing some
parts of itself. I'm bringing this
crystal and applied on the mask so that in some parts we have it and in
some parts not. Okay. This is the first step of
adding those medium parts. And now the next one, I'm going to use this
Gaussian noises. Hum, blending this
Gaussian noise as well. I'm going to put it, but
this is too large now. I'm going to tile it very much until we have
some finer noises. And again, on this one as well, I'm going to warp it against the height map to
separate them per brick. Now you see a lot of
noise happening in here and I need to
go and make this one subtract that we have
something like this, but we need to bring
this down even more. To a very low value. Now this starts to
introduce more of them. So these are some spots
that are present in here. And I can go, and instead of using that all
over the place, I can take this
one and inverted. So that on places that we
do not have these noise, we apply this Gaussian noise. Okay? This is now happening. And now we're going
to add some more, smaller noises as well. So again, I'm going
to use this for, but I'm going to make them randomize as much as
possible and do the scaling. And this is good. Okay? Now I'm going to bring the level two, separate some of the
data or do not want all of them to be present
because this is too intense. Something like this. Now I need to a slope blur
this one against loud noise. Since I want this one
to be subtractive, instead of making it main, I'm going to make it
max because I'm going to subtract and I need
this one to be bigger. Okay? This is something that we get, but let's go and bring
the tiling down. So instead of that, let's use clouds to as lesser
amount of finer noise. So I'm going to
warp this one using the directional work against the same noise and
applied onto the mix. I'm going to make it
subtract as well. This is going to take a lot of information from this.
This is too much. Let's go down. And of course the amount of the noises that we get is okay, but the size isn't alright, so let's scale it so that
you have a smaller ones. So in here I'm adding just
a little bit of them. And you see this is happening
in here, which is okay. So again, I'm going to add
another noise like this, Perlin noise and add it in here so that it's not
all over the place. Okay, let's go in here and
I start to introduce more. It looks like we
need to introduce more details so that
they are more visible. Something like this,
but this is too harsh. I'm going to select
this one and give it also levels so that it's
using the full range. And I'm going to bring it down so that we have better
separation between these. This is it. Now we're seeing a lot of the scratches happening in
here, which is a good thing. And now I'm going to
add another blend. And this time I'm going
to add these spots. So let's make the scale bigger. And I'm going to simply subtract
this one from the mics. Okay, Let's put it to subtract so that we have
some noises in here. So I'm going to make it very, very smaller than all of those. Something like this. And now we have a good amount of noise that we can work with. And I can go in the levels in here and start to remove
some of those are scratches, case, something like this. Now this is a lot better. Okay? I believe this is
enough for the height. In the next one,
we're going to cover the roughness and
color information as well to finish this off. And because we're not going
to see this very often, I'm not going to put a lot of concentration on this
because this is going to be a piece that the player
is not going to be see very often and
even very closely. It's a roof piece. And we need some
information to hold out, not a lot of fancy information. And we leave the
time that we can put on this on another place
in the production. This is enough for
the height piece. And in the next one, we will do the color under worthless.
Okay, see you there.
27. Roof Mat Base Color: In previous lesson, we created the height information
for this one. And now we're going to
go for the color panel. If we could, we
finished the color and the roughness
in the same lesson. If we couldn't, we
simply put the color in one lesson and the
roughness in another. Now, we're going to define
the base color for this. And as always, I'm
going to bring in uniform color and start to drag from these
references that we have. The main node that I'm
going to use is this one. It has a lot of cool colors. So let's go and pick from here. I'm going to pick one
of the darker ones. So I'm going to copy that. And I start to pick from here
to bring in a darker one. I'm going to create
a blend, excuse me. I'm going to blend these two
based on a grunge. This one. And now we have a bit of color information
present in here. And now I'm going to
make it as rich as I can using HSL and introducing
different ground just as masks. So this is it. Now, for example, I add
this and see the result. And in here I'm going to change it to
something like this. Okay? And now I'm going to drag a node and connect it
to the base color. So we're seeing the color
information in here. And for this one, I feel like
I need to make it darker, a bit saturated, a bit more. Let's check four
different colors. This one is alright. Now I'm adding a lot of color
nodes after each other. And laying a lot of procedurals make the color
as rich as possible. And then this is going
to be the first layer. And then we use this height information to drag in a lot of cool
things in here, okay? I'm going to bring this one in. This one is going to be
connected into the HSL node. And the good thing
about this HSL, notice that it takes the
previous mix into account, and it's not using
only a uniform color, it has a lot of
information in it. Okay? Now, let's try to make it a bit
saturated and darker. Now you see that we're
getting somewhere. And this is going to
be a lot dirtier than the brick color because it
gathers a lot more noise. Okay, now let's bring in
this Voronoi connected. And before that, let me bring in a slope blur gray scale
using this Voronoi fractal. And this is going
to be noisy. Again. Use min and I'm going
to bring the scale up. Okay, we have
something like this. And now I'm going
to drag HSL and drag it in here and do some color changes
to see the results. Okay, you see this one
adds some grunge in here. Let's select this
one adult to level, to bring in more
separation into the mask. And let's select it
to see the results. You see a lot of general noise
that is happening in here. So let's go and make this one darker just a bit to
make it sturdier. Now you see it has added a
lot of cool information. Another blend. And this time I'm going for this because it has a lot
of cool directionality happening in the same format as the height information
that we have. Now, HSL, HSL node is very powerful in terms of
giving you a color information. So let's select this one and
you see how it's affecting that and make it more saturated and bring it out. And instead of using this, Let's go and mix some
of these challenges together to create a
black and white mask. And then we color pick
from the references. Okay, let's put this one to have and blend this one together
and put it into half as well. So we have a black
and white mask now that I can convert
to a gradient map. And I'm going to bring
this one up and I start to pick a
gradient from here. Let's pick up from here. Now we have a stronger color
pickup that we can use. So instead of this HSL, I'm dragging this one out. And now you see it has added to start introducing
lots of cool colors. But let's take this one and
bring it down so that it's not so prominent. Okay. Now this is the base
color information that we have and we can continue
to add even more details. And now I'm going for some
smaller details as well. I'm going to use these
black and white spots. They are very tiny and they
add a lot of cool details. Okay, let me bring in
this and I'm going to connect that. This one as well. Let me copy that and
connect this one in. Now I have three more gradients to start laying on top of this. And I'm going to
bring in a blend. I'm going to connect this and drag the color select in here. So let's go for this area. Now you see it has added a
lot of cool colors in there. I'm going to go
bring the scales up so that we even
have intense color. So in here, I'm going to
bring it down really. How you see this is
before and this is after. Now is that the color is
a lot cooler and richer. Another blend. And I'm going to scale this one more connected. And now this is also going to get a color
information from here. For this one, Let's go
and select. From here. Pick gradient and I'm going
to pick some of these noises. And you can bring
in the procession up to get more colors. Now, I'm going to bring
this one down more. Okay? Now you see even
in close up view, we have a lot of cool
colors to look at. Okay, now I'm adding
another blend. And this time I'm
using this one. So let's at this, and I'm going to pick
another color from here. Okay. This one is cool as well. But instead of having
that all over the place, I'm going to separate
that by a mask. Let's bring this down. Something like this. And in here I'm going to plug this mask into there to separate
some of the colors out. Okay, now you see we have more color definition
happening in here. Okay? This is the first
layer of the color. I'm going to select it
and rename it color big. Now what I'm going to do is
bringing in these values. And I start to introduce some
color variation in here. So I'm going to do a blend. Instead of that. Let
me bring this one. I'm going to bring this
one and select it here. But we need to convert this
one into a gradient map. Now, I can make this one multiply to darken some
of the roof tiles. And I'm dragging that down so that we have more
color variation in here, which is a cool thing. Now you see the brakes have been separated from each other. And one more thing
that you can do, instead of adding this, you can go and then start
to pick color from here. And this is what
I'm going to do. Let's go and test that. Okay, and now we have a
cool selection of colors. And you see we already have a
lot of cool colors in here. So this is the result. And now I'm going
to make that more intense so that we have
more colors in here. Okay, This is good
as well to introduce more different Briggs
separations as well. But if you're going
to add even more, you can go and bring in another histogram scan and try to pick up from here at a lot of contrast so that
you have these informations. And I'm going to
copy this one and change the seed on that so that we do not have
the same information. So I plug it here. And now this is the selection
that we have, okay? Now we have these
bricks that I can take a gradient map from
and bring them here. For example, I'm going to blend. I'm going to pick a color
from the references. So let's go and find a good one. This one has some
intense colors. So I'm going for a gradient
and try to pick colors. And instead of this one, I can take the mask. Directly from here. So let's add a
gradient mask on here, convert that to a
selection so that this is one that we use
the gradient map on. Okay? Now these are the
colors that we have. Let's go bringing the
gradient. It's alright. And now we should bring
in the mask instead. So I'm going to
connect this one, which is the mask into this. So that I convert
that to a gray scale. And now this is a mask. Now I'm going to connect
this one in here. And now you see we have
a lot of cool colors, but I'm going to
separate that there. Okay. Now we have some lighter breaks and some darker Briggs
present in here, which is a good thing. But of course I'm going
to make it add or something else that we do not have only a single
color on top of it. So either the screen or soft
light is going to be okay. So that you see we have these
information after that. Or even we can go for copy. Now. Copy isn't going
to be that good. Ad is okay as well because it keeps the color
information behind it. This is already good. And now let's add,
after this blend, I'm going to add another
HSL so that I can bring up the saturation just a bit and bring up the
lightness as well. This is too dark for my taste. So now these are better colors. Now let's toilet. And okay, this is fine. If you're going to have different colors separated,
just like this one. You can go and create different flood fields
with histograms scan. And just, you need to change the seed to a value that
you haven't used before. So this one, this one, and this one are different. So in here I'm going to bring
in just a single value, and this is it only a selection. Let's make this one gradient but gray scale and after this one a gradient
but color information. So I'm going to pick
up the color and use that one as the
separation mask in here. So I'm going to put
this one into the mask. This one is going to be the
mask, make it grayscale. And this one is going to
have the color information. So let me go in here, and this time, let's pick up
one of these lighter colors. So let's go pick colors. And this one is grayscale. Let's change it to a color. So now, let's see. Now we have some more
breaks that we can use. Let's bring it down just a bit to see these color
information behind it. Not subtract, let's go for ad. But this one is
already too intense. I'm going to bring
it down just a bit. Now, this is the medium
information that we have. And now we're going to
right-click on this, Add a frame and call
this color meet. Now it's time to go and actually bringing this height
information in and start to use that in the coloring
process because now we have a texture that is
laid on top of that. But if you're going to
make it cooler and make it belong to the same geometry
with all of the details, we want to use these as well. So let's go and see
what we have in here. And I can use this mask to start to add some
cooler colors in here. So let's make it a gradient. I'm going to bring it
in the mix in here. Blend. I'm going to use
this one as a mask. So it's not selecting that because this is
a color information. So I'm going to
make it grayscale. And I'm going to bring in
these directional ones and combine some of the black and white data
together to create a mask. And I'm going to combine
these using just a value half in-between and use them as a gradient to bring in
some color information. Well, let's try this
one in here as well. So I'm going to bring
in the Gradient Map, and now we have the mask. Let's see how it does. You see. It starts to add some color information in
these parts, which is cool. So now I'm going to bring in a lighter version
to simulate that. So I'm going to go for here and look for such a
color, something like that. Okay, let's go for here. And bring in some of the color information from
here, which is great. Now you see that we
have added a lot of cool colors from here, but this one is already too intense and
having a lot of values. And to make sure that we take
something out from this, I'm going to bring in the blend and start to subtract
these manually from that. Okay. I'm going to subtract. It took away some of that
information. This is before. This is after. I'm going to bring
another blend Just to only take some of
the parts from that. Subtract. Again blend. And this time I'm
bringing this one L. And I'm going to do
another subtract to add, to subtract from that k. You see that now we have a lot subtler color
that we can add. But I need to make this one a bit more lighter
and more saturated as well. Okay. This is good as well. But I'm going to go in here and bring the color down a bit. We really do not want
it to be so intense. This is another color, and now let's go
for another blend. I'm going to bring it back, bring all of this
information back. Now, the next thing should
be one of these actually, which I'm going to use
again as a gradient map. Bring here and use it as
a mask or as the color. And use another gray scale
version of that using gradients scale conversion
and connect that to the mask. And now I can take this one, connect it to here. And that's connected
directly there. So I do not need this. Now I need to drag a
color from these areas. For example, from these make
the color a lot richer. So this is it. Now let's
see what we need to do. The first thing is bringing
a lot of the value down. Something like this.
And you see we have a subtle color changing
in there, which is great. So I'm going to
bring this down even more and start to
introduce more colors. So let's do another blend. And this time I'm going to bring in the values from
these small shapes. For example, this one. We have this, I'm
going to bring in a blend and add this one
as well, and use subtract. Let's do that the other way. Something like this. And
now we have this one. And I can drag and
drag it onto the hair. Use a gradient map to
convert that to a color. And now I'm going to
subtract that from the color so that on these parts that we have these scratches, we have some subtracting
information that looks darker. Just something like this. This is great. Okay, now, let's see what multiply does. And actually I need to take this one and inverted,
inverted color. And then multiply that, we get darker color in there. Now, let's do another blend. And I'm going to bring in
from these color information. The next one is this. Then I'm going to combine a lot of these masks
together, okay? This is going to
be the first land, and this is going
to be the mask. And let's use subtract to take away some
of the information. And let's take this and
do something like this. And I believe this
is not that good. Let's do the reverse
and bring in a level to start to pronounce more from this,
something like this. And now I'm going to blend this one with the
information that I'm taking from these k. This is it. I'm bringing this directional work that has been conferred to the surface and add this
one to the mix as well. I'm going to add them
and create the mask. Now, all of these
are going to be subtracted from
the color to make the darker colors really
appear darker in these. A scratch areas,
okay, another blend. And this time I'm
going to bring from this k and this is going
to be added on top. Let's make that
weaker just a bit. Okay, now we have a
mask that we can take, convert that to a gradient
map and bring it in here and start to connect that here
and subtract from the color. You see on a lot of
these a scratch areas, we are now getting darker color. Now. It looks a lot
dirtier than it. Then it should be okay. Now we have created a base, and now to make this one
really belong to the surface, I'm going to add another blend. And I'm going to
do something for these crevices areas as well. And I can take the
mask from here. This edge detector is already having the
information that we want. I'm going to take that and just inverted that we have
these areas to work with. So let's go and this one already has these parts that
we have colored in here. And I'm going to subtract
that information from this to make that perfect. Okay, let's see. I'm using this mask and
I'm going to blend and subtract this mask from
this so that we do not affect those areas. Okay. Looks like we're wrong. This is it. This is the information
that you're getting. It looks like this
one is better. Now I can take this and use another HSL because we
have a rich color information. And I'm going to
connect this one into the base and this one in here. And try to change
the color a bit to see what happens on the texture. You see, we get a lot of cool color information
in these crevices areas. Okay, Let's go and make
it lighter instead. Let's see. I feel like darker is better
because on these parts, a lot of dirt and
rust and things like that gather and make
that really darker. And something some color like
most is going to be okay. Okay. We have this and now let's
bring that down more. Okay, This one is better. Now, we need to bring in the
height ambient occlusion, normal and those kinds
of things in here. And we created a fairly
complex material. So this is the height. Let me find the actual height, which is this one. And now I'm going to bring in a normal going to make it OpenGL, make it 15, so that we
have a lot of information. And now I'm going to go
bring in the curvature, smooth curvature, just
the normal curvature out. And since they are OpenGL, I'm going to convert
them to OpenGL. Okay? Now, another
note that I need is ambiance or collusion. And I'm going to
use RTA and plug the height in here to get the ambient
occlusion happening. So I'm going to bring it
down something like this. This is alright. So now I can create a lot of masks
using these values. I'm going to go for generator, just search for generator. And this dirt is a good one. So it needs a curvature. Let's give it the curvature. And this is the
value that we get. So let's go for another third
and use this one instead. So this one needs
ambient occlusion, which we are going to give
curvature and normal. Okay, Let's see what we
can do using this one. It's going to give us this. Let's combine that
with the color. See what we get. I'm going
to use this one as a mask. Again, use HSL and
bring it in here. Try to change the color to see what effect it
has in these parts. So it's going to give us some
light information in here, which is cool. Just
like this one. Since this white is too strong, I'm going to bring
it down just a bit. Okay. Now I'm going to
do another blend and lay this ambient occlusion
in here and convert that to a gradient map
and start to multiply. Now you see we get a lot of cool color details in
here, which is great. So we can either bringing the copy or even use this
ambient occlusion as the mask. So let's convert this
one to a gray scale. And again, you use
HSL connected. And I'm going to make
this one darker already. And you see, we get a richer
color, which is great. So instead of multiply, I'm going to copy and this HSL, I'm going to make it darker. It looks like I need to bring in a level before this.
Let me take that. And I'm going to bring
in a level to start to manipulate this
mask just a bit. And I can invert that as well. That's inverted to
something like this. Now let's see the
actual result in here. So it's going to affect this
bottom part, which is good. Of course, let me
make this 1.5 as well to disabled that and add
a bit of saturation, just like this one, and a bit of darker color to make
it really contrasty. Now we have the color
information that you need. And the next step to
make it even better, It's to add one of these curvatures like
this one on top of that. And make it a gradient map. Added with the very, very end, Let's use different
blending modes to see which one gives
us the best result. Looks like mean Darton is good. But let's do only a bit. Well, this one is going to
make it so contrasty sound. Let's not use this one and
instead add another blend. This time, use the curvature with a little bit of level link. So make sure that we separate a lot of
the data from there. And let's invert it. And it's going to give us
a cool color information to add on top of that. I'm going to make
this one a mask. And this one again, HSL. Let's manipulate the
color to see what we get. A bit of desaturation on those
colors is a great thing. Okay? Now this is the color information
and now we need to add sharpen to make
sure that we have a lot of cool contrast
in the texture. Now we're done basically with the texturing and base
color creation of this. In the next one, we will
actually create the roughness. We have a cool color and we can start to create the
roughness from that. There is a node that
is called emboss. You can take that. And it needs a black
and white that are. So I'm going to use
this one and use a grayscale conversion
and connect that to here. And it's going to give you
a lot of cool contrast, just like the sharpen. And you can give it color
information as well. But since we do not need it, it's good to know that it's
there in the next one who will go and tackle the
roughness information as well. Okay. See you there.
28. Roof Mat Roughness: Okay, In previous
lesson we created the base color and now it's time to go and tackle
the roughness as well. And as always, I'm going to
use the gray scale version of this one as a base so that we can start working
on the roughness. So now this is too shiny. I'm going to connect that
to the roughness input. And you see that
it's shiny a bit. And I do not want
that to be like this. So I'm going to take
it and add a blend. And I'm going to bring in one of these images that have a lot of white in them to make that
very subtle. This one is good. I'm going to select that
and bring it halfway up so that you see
there's a lot of more broken things inside that. Okay, now it's already
starting to look a lot better. But there are a lot
of places which we need more treatment and including these places that we have created damage
and things like that. And you can see them here. So for the first one, I'm going to go for this and I'm going to
grab something from here. So let's make it, Let's bring only a level. And I'm going to lay this
one on top of the roughness that we have already to make those areas a little
bit more rougher. Well, just added in here. And I'm going to drag it down. Or let's use ad so that it adds on the
roughness information. Let's make it
something like this. I really do not want
that to be so rough. Okay. This is good. Now, these parts also need
to have some treatment and I'm using let me
see what I can get. I can take this
ambient occlusion or this mask instead
and bring in, make it a level so that
I can bring it there. So I'm bringing this here and do a blend and
make this one a mask. And I'm going to bring in this, for example, and add it to here. Now you see we have a lot of more color breakup that
is happening in there. And I'm going to make
it something like this. And make it at so that we are
adding info on top of that, making it so rough. Okay, this is good. And now for these crevices areas which we have a lot of dirt, I'm going to bring
in another value, so let's go and find it. And actually I can go in here and I'm looking for
a mask that can help me. So let's bring in
the edge detect in here and bring everything down so that I can
use the edge detect. So let's make this one really
low and lower as well. Looks like this is the
value to work with. Now I can take this one and inverted so that
we have a mask. And now I can take, for example, this same mask and start to subtract
these from each other. So let's use subtract
or do the reverse. So now you see we have
selected these parts. So I'm going to bring this, make it a level
so that I can use more values from
here, okay, in here. But I'm going to really exclude those parts that are
higher in the height map. So this is the map
that I'm using. And I'm going to
bring it right here. Just bringing a gradient
map, make it grayscale. And I'm going to add a blend. And again, I'm going
to make this one add to something like this so that we have some dirt and scratches in this grid
overseas as well. Now if I move the light around DC and these smoother areas, we have less roughness. And in this corner areas
which there's a lot of dirt, we have lesser roughness. But let me take this one
and I can take the level. Start to increase it a bit. Something like this. And now
you see in here we really do not have a roughness
information. And it's totally scattering
the light around. Okay, and this is the material. And we created a roughness
successfully as well. But as I said, since
this one is going to be used in a area that is not
so close to the player. We're not going to add
a lot of details and let the detailing to be
done in Unreal Engine. And let's bring this one down just a bit to
something like this. I'm not really making
that so rough. We need only a bit. Now we have the base color. Which is here, we
have the normal, we have these as well. So now I'm going to
bring in an RGB, a merge, and bring in a uniform
color and make it white. Let's make it pure white so that the Alpha
is white in this one. Okay, I'm going
to bring it here. And for our new node
that we're going to create an RH, a map, which is a standing
for roughness in our channel height AND channel ambient
occlusion in p-channel. So this is the roughness. I'm going to bring it to R. And this is the height
that I'm bringing. Excuse me. I'm bringing
in G and this is the ambient occlusion that I'm bringing in our excuse me, in B. Okay. Now this is the result. And now to be able
to export this one, I'm going to drag a node
and bringing the output. And on this one I'm
going to call it HA. And it can here at
item, make it RGBA. Or you can totally disabled,
that, doesn't matter. So now we're ready to
move on and export these maps out to create
the kid inside Blender. These are the outputs
that we have. Now I'm going to the
graph domain graph right-click and export
bit output as bitmaps. And before that, you want
to go there and make sure that your normal
is to OpenGL as well. And if you're going to
have more normal data, he can take this more intense if you actually wanted excuse me, I had to restart it so
lost some of the settings. I'm going again in here, displacement and just make sure that the Direct X normal is off, disable it on, turn it off, and bring him some scales and isolation as well to
see how it works. Okay? And if you are going
to make this a stronger, he can go and bring in a
higher value, for example, this to make the normal so really pronounced
and actually it's working. Let's go for 20. And since this is
a rough surface, we are getting a
pretty good value. So let's go for 15. Okay? This is alright. That
is really your choice. If you're going to
have something, okay, now the math is two k. I
need to go in here and hit 11 to make sure that it converts everything
into four K. Now, after turning them into four K, I found out that some of
these colors are too intense. So I'm going to find the
color looks like this is it. And I'm going to bring
it down just a bit. Something like this so that
it's not so pronounced. Now that everything is for K, I'm ready to go in here, right-click and start
to export them. And I'm going to export
them just in case. These are the maps
that I'm getting. Ambient occlusion,
the base color, this is the height, normal, the mask and roughness. Okay, in the next lesson, we're going to create
the roof kit as well. And we're gonna do
that in Blender. Okay, this lesson was a short one and we did only the roughness
and the exporting. Okay. Now, see you
in the lender.
29. Roof Kit In Creation: Okay, everybody in
previous lesson we created and finalize
the roof material. And now it's about time. We bring that in blender and
start to do the detailing. Just like the previous one. I'm going to create
a new material. And I'm going in here. And this shading tab in this
matter, we are properties. I'm going to bring in an
image as the base color, and I'm going to bring
the base color in here. We need to correct a UVs
for this one. No problem. I'm going to go open
the shading tab, which is in here, shader editor. And I'm going to
bring in texture. Go for inputs. Or in this texture tab, there should be an
image texture, okay, hit Open and you want to come in here and bring the
normal map as well. So I'm going to take this, bring a no doubt that
is called normal map. I'm going to convert
the color to this and convert a
normal into normal. Now we have a normal
map going on in here. And you can set this
one to linear so that you see the
normal map going on. Okay? This is foreign it, and now I need to bring
in the UV editor as well as the modelling
tap to be able to work. But this one doesn't
need a lot of manual work because we have
this one already done. And all we need to do is
adding details to make this one really high
resolution piece instead of using a flat plane. And you see that even in
here we have a flat plane. I need to give this one
a bit of more detail. So we're going in here and I'm going to take
this one, bring it over. This is the main piece
that we are working with. It doesn't have any odd number. And it means that
whenever I export this, it's going to be
overwritten there. So good thing. So I'm going to
go in the UV tab, select all of this. And it's showing the normal
map. And I don't want that. You can expand this one
here instead of normal map, you can go for base color
instead. Excuse me. Okay, this is it. And now I'm
going to select everything, Right-click and unwrap so that
the unwraps that in here. Now, I need to take this
and make sure that by bringing the vertices in every one meter and
in here as well. And now I'm going to
the subdivision surface and start to give that a bit of detail, Simple and optimize. Okay, now, in this
particular case, I really need this one to have more geometry because I need to offset some of
the geometry to get some of these details
captured in here. So this is done.
And now I'm going to bring the shading
back, hide this. And you see that
now this is really stretched and we don't
want something like this. Okay? I'm going in here, select everything that
looks like this is not. Let's apply the
modifier on that. Now in here, we
should have quotes. So it doesn't matter, I'm
going to select these. And because this one
needs to be inverted, I'm going to invert that so
that it starts from here. You see that? Now I'm
going to start with scaling until I see my
perfect texture resolution. And it's good in this direction. I'm happy with the
horizontal one, but I need to scale that in y. So I'm going to change the
pivot to be into the cursor. Which means that when
I'm going to change it, it's going to change from here. Okay? This is good. And now I'm
going to take an a scale in y so that I get perfect
texture resolution. And to test that to see if
everything is working or not, I'm going to take
this and again, using the UV toolkit, I'm going to bring
that from here. I'm going to give it a texture. And whenever these
became a squares, we know that
everything is working. Okay. I'm going to again, a scale in y to make
sure that these become squares cell
something like this. Now, let's test this one. We have perfect squares. So now I'm going to go and assign my material
to this one as well Before remove
all checker patterns and assign this one. And now you see we have this one in here
which is perfect. And now let's change
the tiling. Excuse me. Check the tiling on this
one to see how it works. So I'm going to make that increments and make sure
that we check the tiling. This is the result and we have some pixels of that is
because we need to, we need to scale this one
horizontally a bit because I saw that there was a bit
of empty space in here. So now I'm going to scale, but this time in eggs
to make sure that we get perfectly
to this direction. Okay, a scale and an x. And I'm going to re-scale
it until we get here. Now, it's perfectly done. Now, let's talk about the
tiling to see how it works. Okay? Now we really do not have any problem and it's
working alright? And the tiling
looks okay as well. So I'm going to take this
one as a finished piece. I'm going to go in and I'm going to slide these vertices
on these parts. I want to make sure that I have the vertices on
these higher bricks. So I'm going to
slide this just a bit and make sure that turn off snapping to have no problem. So I want to make sure
that these are in the center of this and make
sure that you go for slight, if you prefer going
to use the movement, you see that it's
going to change a lot of things that
were very badly. So go for slides so that you
have minimum is stretching. This one is good as well. Let's go for this one. I'm gonna make sure that a
place these vertices in here so that I can give some
depth to the texture. Okay, let me bring
this one here. And this one in the center. I want to make sure that I give this enough
resolution to work with. Okay, now, this is cool. I'm going to select all of the
segments that are in here. And there's extra
segment in here which I can take and remove
perfectly without problem. So now I'm taking all of
these and I'm going to make sure that I bring them to the top to give
this a bit of detail. Something like this. Now if you take a look at that, you see there's a lot of detail. Actually not. Let me bring this back. Looks like we have a
bad geometry in here. Let's select all of them. Let's select this plane. And you see we have
a bad geometry. This is a very bad geometry. So I'm going in here, we have these and I'm going
to double down just a bit. We have this pebble now. Now I'm going to rise this. So let's raise them
in this direction. And just, let's go back again. And I'm going to simply go back a step until I remove those. Now I'm left with these
vertices that I can work with. And I'm going to put
some vertices in here so that these parts a stay in
place and do not change. Since we have done
that previously. When I select something, it automatically puts that in here, which is a great thing. Okay, now let's go and
place one in here as well. And I'm going to
take these top ones. Now they should come up pretty
quickly without problem. I'm taking this, hope
that this time it works. Okay, now let's start
to look at them. And now you see it has a
lot of details to look at. Now the only thing
that I need to do is a smooth this and make it. Let's see. Something like this is good and we have some
extra shape to work with. And now we have
this one as well, which we need to take care of. So I'm going to
bring this in here. And this one can be
simply taken from this. So I can go duplicate this. Now I'm taking these two
and bringing them over. So I need to make sure that I
take these vertices on top, take these faces, I'm
going to delete them. And take these ones as
well. On the bottom. I'm going to delete
them as well. And take this one as well, delete this one and delete them. Now we have that piece. I can take that
start to give that the proper material and bring
that back from that piece. Okay, now we have this extra pieces which
we need to clear. Now let's bring it over and
it's working alright as well. Let's bring this
one back as well. And now it'll make sure that this one has a PID
of silhouettes. I'm going to bring
this into place first. Let me bring this one in here. And I'm going to bring
these in the center in order to make sure that we
have a bill of silhouette, because we're going to add
this extra piece later on. We will create extra
piece for that. So I'm going to make
sure that I take this and Control I to
invert the selection. Excuse me, I shouldn't
have done that. I should take this one, this one instead and select this and invert the
selection and remove that. Okay? Now, this one could
be called a piece. So I'm taking this
one and this one, Control and J to
join them together. And doesn't matter
if this one has wrong UVs because we are
going to change them. This one is done as well. And I'm going to
take the name from this because I copied that. I'm going to paste the name
in here, remove this one. And this one should
be good as well. Okay? Now, there's this piece
that we need to take care of k. And I'm going to
take that from here. So bring this here,
bring this here. And because this one
has some pieces, we need to make sure that we follow the same
in here as well. One good idea is taking this, of course take a
duplicate, bring it over. And I'm going to remove this bottom piece
that is underground. And these ones as well. There are some pieces
that need to be removed. Okay, Done. And now I can take this one and start to replace it with this. Let's bring it here. And I'm going to make
this one in here. So now I'm going to place
the period temporarily in here and hide these
two together. And I'm going to turn
on the snapping. Okay, now I can take this
one and drag it out and start to snap it
to here so that I can continue this
piece from here. So I'm going to
snap that to this, and I'm going to
hide this for now. So I'm going to take these two, this one on, this
one, isolate them. I can take all of it,
merge by distance. Of course I need to join
them first, Control and J. Go in there, select everything, isolate and you see how many amounts of vertices
have been clear. Okay? Now I'm going to go and go a step back until we
see the previous one. And I need to cut it from here. So that's easy. I'm going to go in this mode. I need to drag in a
vertices right in here. Now, I can take everything
plus one and delete them. Now we have this piece. I'm going to take its name. And first I need to change
the pivot of this one. So again, I'm going to take this one and bring the
world origin to select it. And now I'm going
to select this. Now, this one, you
have this one and make the pivot to cursor so that it shared the same
pivot as that one. And I'm going to bring
the same thing to origin. Now, I'm taking this, it has the same pivot and I
can take this one easily, copy the name and remove it. Okay? Now, I can take this
one and we name as that. So it's done as well. If we have some extra
pieces in here, it doesn't matter actually. I can take this and start to snap these
vertices together. So I'm going to turn
on the snapping, but this time using n vertices
instead of increments. So I'm going to snap this
to here using this method. These are all going to snap together when we import
them in Unreal Engine. Led me a snap them altogether so that you have
no real gap in Unreal Engine. Okay? Now, it's a continuous
piece without any problem. And we have the same thing that needs to be in
that side as well. And by that I mean, for example, in such a scenario, which is this one we are now
manipulating this piece. We need to correct
this side as well, because we're going to do
that on those side as well. So let's take this one. I'm going to bring it. And this time is
snappy to increment, start to re-scale it or
rotate it and bring it here. I need to make sure that these
are snapping here as well. So let's start snapping. I'm going to take the
vertices and bring it here. Of course, I need to
make sure that it's now set to vertices. Vertices. And I'm going to take
this one and then snap down to there. Okay. It's now working in
all of the directions. Now, if I bring this in, inside Unreal Engine
and we're going to have a piece that is
going to snap perfectly. I'm going to take a bit of time, but the result is
going to be worth it when you start to
visualize that in engine. Just more. And this is done. Now I can take this one
and simply delete it. Let's look from here. And the piece is a snapping
in all of the directions. And I'm very happy
with the result that we are getting a now the next piece that we
need to do is this one. And now let's see what is
happening with this one. This is this one
that comes in here. And actually let's do something. I'm going to take this one and export
it on its own place. Excuse me. This is it that
needs to be exported. I'm going to take it, rename it to this and
I'm going to export it. And then I'm going to find
this piece and reimport it. Now you see the amount of
the detail that it added. Now we need to make sure that
this piece a snaps as well. So we need to make
sure that we create enough geometry for this one
to snap in this direction. So let me bring this piece over. And let's bring these as well. I'm going to take
this one, exports, take this one as well, export, and we replace
them eventually. So now I'm going to take this one and bring
it in the center. Now I'm giving it the material
and it doesn't have a UV, so I'm going to
select an unwrap. Okay? Now it has a good unwrap. Now, let's add the
amount of geometry that it needs to go in vertex mode. Now let's see how
many we have in here. Looks like a total
amount of 21 is okay. But we need to make
sure that we bring this slide term and place
them in their places. Gonna take a bit of work, but it's worth the
job that you do. Okay? I'm going to say this and
I'm going to make sure that one stays in the center
and one goes into top. Now let's add some
vertices in here as well. One in here to make sure that
it's snapping is correct. And one in here as
well, one in here. And when in here, I want a snapping to only
affect this area, not the areas in between. So this is, alright. This is our right as well. It needs to come out. And this one as well. Since
you have seen the process, I'm going to stop the
video and make sure that I place the edges on their places. Okay, this is more or less done. And now I'm going to
take the vertices, snap them in their own places. So for example, this one
could be snapped to here. And this one to here. Luckily, we're getting a
good result out of this. This one. And some
extra vertices need to be manipulated as well. Just make sure that you snap them so that no light comes in. This is good for this part. And now I need to make
sure that I select all of these vertices that are belonging to these
pieces that come on top, just like the previous one. And I'm going to raise them to give that a bit
of silhouette. So I'm going to exclude these. I'm going to
deselect these ones. And then I'm going
to raise them up. Something like this. We have good
silhouettes in here. So to make that site
working as well, I'm going to take this one
and using the increments, I'm going to bring it. Until here, rotated the face it to the direction
that we want. And I'm going to
bring that here. So these vertices as well
needs to be snapped. And that's easy process. Just take them and snap them
on vertices, not increment. The good thing is that
it's going to snap to the nearest
surface that it sees. There might be some stretching, but that is a very
minor problem. Okay. Let's take all of them and I snapped
onto their places. This is very important
to make sure that no lighting comes
inside of the building. You should avoid these areas that allow for light bleeding. You should cover a lot of gaps to make sure that
no light comes in. Especially for interior
lighting when you're creating interior
lighting for your games. As I said, a bit of a
stretching in the texture, but not something really
to break the game. And nobody is really
going to see that. We're going to make sure that we have a good
experience in here. Now we deleted
that and that one. And I'm going to take this
one again and export it. Okay? Now, we're going to unreal and make sure to select
everything from this kid. No matter what it is. I'm going to right-click and
width. Really important. It's going to
re-import all of them. And when it sees a change, it's telling you to change, it. Just hit that and they
are going to be good. Okay, now you see
that we created the perfect transition
and it's working in this side and on
this side as well. And we added a bit
of silhouette. And now the next thing
that we're going to do is actually
adding the texture. But instead of
creating new material, I'm going to this here. And in here, I'm
going to right-click on these and convert
them into a parameter. And this parameter
make sure that instead of using and
creating a new material, we change things in
here inside the editor. So this one is going
to be RHIO as well, and this one is
going to be normal. Now I'm going to
save this one out. Now if you go out, I'll right-click and create
a material instance. I call it my 100 score roof. Now when I bring it, you see I have the ability
to change these textures, create a new
material on the fly. Okay, now I'm going to import those textures that we created
right now. Okay, import. And these are the ones that
we're going for, the rough, excuse me, base color
or HA, and normal. And you know that the normal is already in OpenGL and
we need to fix that. And this one as
well needs to be in mask to turn off the
sRGB color correction. And this one you need
to go and show all at once details and make sure that you flip
the green channel. Okay? Now I'm going to
save everything. And I'm going to go to
texture and replace the materials normal
for normal base color, for base color,
and mask for mask. This is it. And now I need to select all of these parts that use
the same material, including, excuse
me, not this one. I should deselect this. And this. Okay. Everything has been selected. Let's double-check to see
everything is working. All right. And now I'm
going to the details panel and a need to bring in
the proper material. So I underscore
roof. That is it. And I'm going to bring
another material copy this. Or instead in here, I underscore roof as well. Okay. Now you see
that we created that. And everything in here is
now using the same kit. And for this one as well, we're going to fix
that later on. But right now, it created a
very, very good material. And I'm happy really. It doesn't have an invisible, excuse me, it doesn't
have a visible tiling. And this one also needs to
change the material as well. Let me see here. This one needs to get the material as well. So I underscore proof. And it's done. The snapping in here works
perfectly in here as well. And the color and
everything in this is good. Now we brought this
environment that a step further and we created
this roof kid, except for this one, which is a custom piece that we're going to create later on. So now the next thing
that we're going to do is create something for this. These materials that
we apply on top of these are really
placeholder materials, rarely blog called materials. When made sure that we create enough geometry
and enough scene, we will go and create
sophisticated materials too, really add a lot of
more features in here. So hit Play. You see that in the
eyes of the player. You're not really going
to see a lot of things. And that is why we
didn't put a lot of time and effort on these wolf pieces. And the trick is that the
closer and repetitive the PSP, the more attention you
want to put in that. Okay, now we're done. And in the next one, we're going to create these pieces as well. Looks like we need to alter the brake material and create
a new one to support this. Okay. See you in the next one.
30. Alter The Red Brick Mat: Okay, everybody,
now it's time to go and start to create
these ones as well. For this one as well,
I'm going to use a break and I'm going to
use the same material. But in order to make that
a bit more interesting, to look at and learn
something new as well. I'm going to go and create a variation from this
inside Substance Designer. And by that I mean,
we're going to change the brakes than to give them a new look and
bring them here. And this is the kit that
we're going to create. These two are pretty identical. And I don't know that
I'm going to create one and then duplicate
it to others because I'm going to create
couple of windows instead of creating couple
of special pieces, I'm going to create
one and then create two Windows console and I can drag them on
top of each other. So now I'm going to bring
up the substance designer. And now this is the brake
material that we created. And the good thing
about substance is that it's very procedural. And if you come in
here, for example, change something,
it's going to change it all the way across as well. Now I'm going to
copy the contents of this one and create
a new graph instead of being able to change
this one because I want to keep this one
as a default one. So I'm going to right-click
in here new substance graph. And let's call this one red
brick alternates, okay? Now I'm going to create one. Now I'm going to take
everything in here and delete. And it's giving us an error, and it needs some outputs. So I'm going to go in here and Control a to select
everything I'm going to copy. And then I'm going to bring everything in here, paste them. Now we have a duplicate of that. Now it's going to
take just a bit of time to calculate them. And if you're not
seeing the result, just right-click
and outputs in 3D, and it starts to
calculate the outputs. And now we have a new
variation from that, which is independent
from the top one. So now I'm going to create a more interesting
brick pattern. And I'm going to
do in this route so that every change
that I make is going to take effect to all the way into the
end of the project. And we convert it to four k, and then we're good to go. And everything has
been set up for us. So I'm going to bring in
again a tile sampler. And in here instead of square, Let's bring in the brick. And it's the same as a
squared, doesn't matter. Really, didn't change anything. So let's see how many pieces
we have here. We have 17. We have 7717 in here, and 517 in here as well. So now I'm going to create
some brick formations. Let me go and make
this 17 and this 117. Now I'm going to make
this one more break like I'm going to add all sorts of
randomizations into that. Though. Let's go for scale x. I need
to scale it by 1.11.2, okay? Alright. And a scale y as well. Let's scale it to 1.1 as well. Now we have a good break. And for size random as well, let's give it something
I always love to randomize what I'm creating
as much as possible. And for scale random as well, just give it something. It's going to scale
them both randomly. So for position, I'm not going to do
anything but for upset. Yes. Let's make this 1.5 so that we have this brick
formation, which is alright. So now for rotation, I'm going to to
something like this. I'm going to make this
one go in this direction. So let's change the
direction to 45. No, Let's go 435. Okay. This is our right now. Now this is the first row of
the bricks that we created. And I'm going to bring the scale down a bit so that we have a
separation between them. Okay? This is now the bridge
formation that we created. And let's do the Y as well. Okay, something like this. Let's go in here and
disabled offset. Actually. A lot more happier
with the officer turned off. Okay, now we have
this diagonal bricks. I'm changing them just
the way that they are. Okay? Now, there's nothing more that I'm going to
change about this one, but I'm going to
again copy this. And this time I'm going to
rotate the other way around. So let's go for rotation. And instead of that, put 45. And now I'm going to
mix these two together. This one and this one. And I'm going to make it ad. So now I'm going to take this and this really needs
to have a bit of upset. So I'm going to go in here
and introduce my offset. Let's offset first
in y and then z. Now we have this pattern
that we can use, or of course we can go and
use any pattern that we want. So let's use this one. And I'll be like this one is going to
give us a good result. So let's go and start to
reduce the size of the bricks. Bring the scale down just a bit. Or bring this down. And in here as well, I need to bring it down so that I separate the bricks
from each other. Okay, now we have this pattern that is
actually a cool one. So let's see what more
we can do about this. This is alright, now, let's go for this one. Now we have something
that you can use, okay, now I'm going to bring this one in the mix and
instead of this one, use this. So let's bring this one back. And I'm going to put this
one in the mask map input. This one as well
to mask map input. And I'm going to remove
anything from the mask. This is a mass MAP
threshold, and this is it. And this one as well
is going to do that. So we have this only
in these bricks. Okay, now I'm going to take this one and let's bring it
in here to see what we get. Okay? Now we're getting a design that is
worthy to look at. But I'm not going to
keep that in this way. I'm going to change the
design to something else. But this one we have made
that disappeared totally. So let's go back. Mask random needs to come down. Instead. Let's use
mask MAP threshold. So now you see that we have a more interesting
pattern going on. Now that I have this, I can go, I start to refine
this even more, but I'm going to add a blend. And right now we're
getting nothing in here because the
blend is pure black. So I'm going to take
these three, excuse me. I'm going to copy
these and paste them so that I can manipulate
the mask even more. So I'm going to blend these
two together again using ad. Okay, let's go for Add. Now, I'm going to make this one into the mix and make
this one as well. So nothing is changing
because we have a lot of pieces that are laying
on top of each other. So now for this one, I'm going to make the size
bigger or smaller, excuse me. This one to 14 and this
one to 38, for example. This is looking good. Now let's go on
this one as well. Make it 14 by 38. Now we're getting one problem. And that problem is that this doesn't separate the
edges from each other. And that is why, because we are getting these bad
coloration in here. So let's go and see
where the problem is. You see the problem is in here. We have no separation in here. And that is because in here
I need to add edge detect. Let me bring just edge detect
applied here. Edge width. I'm going to bring it
down so that we get the basic thing
and tolerance up. Now I'm going to plug
this one into the fluid-filled so that we
get separations again. Okay? Now you see we have the colors and everything
back together. But now let's go back and start to refine this a bit more. I'm gonna go and offset
this just a bit. And global outset. Let's look at this to see
the work that we're doing. Okay? I'm going
to go for offset. This is alright. Let's see if I can
do another one. Okay, This is good. I'm happy with what we
have created right now. Now instead of having
this as a mask, I'm going to add two
on top and the bottom. So I'm going to manipulate
the mask so that I'm able to see these large brakes on
top and the bottom as well. So I'm going to blend
this one right away. I'm going to make it at, let's make it add. And I'm going to
bring in a shape. This shape is now a square. Let's reduce the size in here. And I'm going to cheat,
ringing. Excuse me. I'm going to bring in
the transformation to D, and I'm going to bring
this one up top. So upset in y, I'm going to bring this one in here so that it's Thailand. Now, let's go in here and
start to make this bigger. So I'm going to take this
one and bring it here. Add that we have this one
in here, which is great. Now, let's increase the size until we get that separation. So there's a visual bug in
here which we'll need to fix. And that should be in this area. Let's take this
mask and bring it into that to separate the Rix. Let's see, Before that, I need to fill this
with this mask again. Now there's no visual bug because I have subtracted
this mask from here. This turned into this one,
which is a cool thing. Now we create a
experimental type of a break and logic
that we created. There is still present in here. And I can go even in here
after the sharpness. And I'm going to bring
in HSL between this one and the base color. And now I'm going to go and try to change the
color just a bit so that it's not totally
identical to previous one. This one is looking
good as well. It's great, but it's
looking a stylized a bit. This one is better. We have some good
bricks in here. And I can take this one
and bring it down to create something like
this. You see it? From that brick. We went to something like this, which is totally a new identity. And that's to
something like this. In couple of seconds, we created a new brick type
from what we had previously. And this is really the power of proceduralism
inside substance. We were able to alter
the material very, very simple without
any extra effort. But now let's go in here
and try to make the size. We're a bit. And let's go make the size
bigger on this one as well. And we should have this
one bigger as well. You see the bricks
start to get bigger. And in here, this one
is now a good pattern. Now, let's go to see what
more we can create from this. So there's a node that
is called contrast. Contrast and luminosity colour, it needs a color and it has
a contrast and luminosity. So bring the contrast
up and luminosity know. And it added also a bit
of contrast on top of that with everything that
we previously created. Okay. I'm happy with this color. Let's check the previous one. No, this one has a lot
more definition to it. So I'm going to double-click on everywhere and
change this to one and this one to one as well so that everything converts to
four k. And now I'm ready to export this
one into blender and start to lay that
kid and create it. So as always, I'm
going to right-click in here export
outputs as bitmap. Now since we have altered
the name of the graph, everything that we do here
is going to take effect. So I'm going to add
a t underscore. And after that everything
is going to be alright. And I'm going to export that
to the red brick folder. So I'm going to export outputs. And now these are the
outputs that we created, the ambient occlusion,
base color, height. And this is metallic,
that is nonexistent. And this is the normal
that we need to convert the mask and roughness. Ambient occlusion. This belongs to this one. Okay, Now we need to go in blender and start
to create that kid. And I'm going to close
out Substance Designer. And in here I'm going
to bring in simple plain and apply a
default material on it. And now in here I'm going
to convert this one into an image texture and open. And I'm going here and
from this alternate, I'm going to pick
up the base color. Let's go to material preview, and this is our texture. And now I need to bring
in the shader editor, again, applied a
normal map on it. So I'm going to shift
the duplicated, hit Open and again select
something from here. I should have selected Norma, make it linear and bring in a new node that
is called normal map. It's going to convert
what you have into a normal map, color into color. And this one in here. Okay? Now we have
something good to look at. Okay, now that the
material is set up, I'm going to call
this lesson done. And in the next
one we will start to create this one as well. Okay, see you in
creation process.
31. Create The Alley Kit: Okay, everybody in
previous lesson, we altered the red brick
to create something new insights Substance
Designer very fast, and it only took some minutes. And now we're ready to create these pieces and plus
this one as well. So we have this here. I'm going to bring
this one in here. I'm going to delete this one, create a new plane. And let's see the
dimensions of this one. This is four by three. Now I'm going to
convert this one to four by three as well. Okay? Now, let's
give it the pivot. I'm going to make it a standard. And because we have changed
the size and anything, I'm going to apply the
scale and rotation as well. And now let's give
it the material. I'm going to give
it that material. In order to find that material, you need to go in here and change that to unnamed material. We created that, but
this one is inverted. So no problem, we're
going to fix that. The first thing that we're
going to do is adding those segments and
this one as well. Now I'm going in here and start
that subdivision surface, simple disabled to
optimize display. And now this is basically
what we have applied a modifier and now
we're ready to move on to UV in process, which is an important one. So I'm going to select all, and now it's showing the normal map and I
do not want that. And if you're going
to change that, going this texture menu and
just select a base color. Okay, Now we should have
everything as cool. What I'm going to select all, I'm going to go to polygon mode, select all and using
this UV toolkit, who hadn't wrap, it didn't work. Let's select one of them and
choose cool at codon wrap. So I'm going to select the
UVs and bring them in here. So just hit pack
with textile with this UV packer or
anything to make sure that it comes in here perfectly. So let me bring
it right in here. Now this one needs to be
re-scaled because we need to have more texture resolution
in here, a scale. But we need to make sure
that we scale from here on. So go in here and
make the pivot to, to the cursor so that
you're able to change it. Okay? Now, we need to re-scale this until we get perfectly
to this area so that our piece becomes tiling the wireframe and I'm going
to duplicate it once. Now let's take a look at it. And it's doing perfect without
even a pixel of, okay. Now we created the piece. It's time to go back and start
to curve the window in it. But before that
I'm going to keep this one in case
something happens. I'm going to create a window. And just like the previous one, I'm going to make it 2.5 by 1.5 because this
supports that size. Okay, go in here, create a cube. And this one is going
to be 1.5 by 2.5. I'm going to bring it right
in the middle of the object. So in here, I'm going in here and do this to
create the window size. So I'm going to delete that one. Now this is the
size that we have. I'm going to select
all from here. And then after making sure
that we have enough selection, I'm going to delete them right away from
the center of that. So I'm going to take this one, copy the name from that, remove it, and paste it. Now, I'm going to copy once more and take the
name from this, remove it, and paste the name in here so that
we have these two pieces. And now I need to
take both of them biotechs and I'm
going to export now, go to unreal and take
a look at these two. They need to be reimported. Okay, Now they're
working properly. So now let's bring
in the textures, those red brick that we altered. I'm going to go to
Import and we have them, their base color,
normal and the mask. I need to bring the mask and normal up to change
some settings. This one needs to be
converted, excuse me, this one needs to be
converted into Direct X by converting the green
channel and inverting it. And this one also
needs to be set to mask so that it turns
off the sRGB as well. Okay, I'm going to hit Save. And now I'm going
to the material. And in here I need to
right-click from here, treatment Korea
equatorial instance, and just call it m
underscore alley. Of course, looks like
that we have one. We are going to add
underscore two after that. So now it's a good
time to bring in the textures to make sure that everything is
going to be okay. So go for textures, diffuse for diffuse,
normal for normal, and mask for mast as well. So I'm going to select these
and these ones as well. Now in the Details panel
we have this one I'm going to underscore Ally, and I'm going to bring
what we have created now. You see how we alter that. They get a new result that is totally different from that. And we're getting a good result. And later on, when we add those windows and pillars
and things like that, this is going to
go to a new level. It's not going to always
status floodplain. We will add details eventually. And you see that things are starting to work
together pretty nice. So now it's time to
go for this piece. And right now, I found out that this piece is not
really that interesting. I'm going to change it and
make it a real tunnel. So I'm going back in here and I need to
take these to bring them out just a bit to make the space for
this one to work. The only thing that
matters about this one is the dimensions and proportions
and a period as well, the most important thing. So I'm going to
take all of these. I'm going to go in this view and try to align them on the bottom. So it's not working
and looks like we need to apply the
transformations on it. And rotation and again go. And it looks like
we need to take this one only. These
are our right. Now. I'm going to do
something like this. And now the only thing
that I'm going to do is adding a Boolean
piece in here. And instead of doing Boolean, I'm going to bring in cylinder. And this cylinder is going to be the tunnel that
we're going to create. In this direction. I'm going to rotate it. And now I'm going to
make that as big. I can make this, this really
perfect circle shape, or I can make it
something like this. So let's go for the circle, or let's go for this one. Let's only in one direction. Okay, something like this. Now, I'm going to apply the
scale and rotation as well. And take this one and
this one and hit control minus to apply the Boolean and to apply the Boolean
using this method, you need to have
the bool tools on. And if you do not have it, go into preference
and an add-on, just search for bu tool. You need to activate
this so that by that controller and minus
you can do a subtraction. This is done, and
now I'm going to upload it like this
one and delete it. And now we're left with this, which we need to fix. So I'm going to make it Shade Smooth and give it 30 degrees to make
it really smooths. Okay, Now let's go
again into material. And I'm going to give that
the same material that we have in here. Shift Q to bring up the
material utilities. And this one is, again is a free add-on that
you can search for, just search for material
utilities for Blender, and it has a lot
of good options. So I'm going to give that, this material and looks like
we need to do some UV work. Now, let's go in here and check the textile
density on this one. So I'm going to go for
this textile density. And it calculates
the textile density and this is the
amount that we have. Okay? Now, I'm
going for this one. I'm going to select this
right-click and unwrap. And I need to make them
face the right direction. And this one as well, this backside needs
to be done as well. That is simple as doing that. Right-click and unwrap and make that face the
same direction. Now for this part,
again, unwrap. And this part isn't as important as to previous ones because
this is not going to be seen. The same goes for
this one as well. You should put the
concentration on the places that the player
is going to be seeing. But in order to make that
happen, we unwrap this. Okay? Now I'm going to take this, hit Alt G to select this. And I need to set the textile
density on that so that the brick size gets as large
as this one. Okay, perfect. This one as well. Set the textile density. And all of these as well
need to be set to that one. Okay, I'm going to
select all of them, set the pixel density, and now we have consistent
textual density across. Okay? This is now done. Let's look to see how it works. And I'm loving this one that is flowing in
this direction. And if you are going to
make some adjustments, I'm going to take this one and make sure that I bring this alongside with it so that
the texture continues. And this is one trick
about visa as well. Let's take this one and
this one, excuse me. And I'm going to,
instead of increments, I'm going to make it
a snack to vertex. Just turn it on and make active. So I'm going to snap two vertices and
just look at it. And it's not following
the direction. And that is because
I need to take this one and rotate it. So select it and
go in here and hit bounding box centers so that
this spins around itself, go in this direction. And now you see we have a continuous piece of
UV perfectly going. And this one as well. So let's go for this piece. Now, this one, and
this belongs to here. We need to make sure that
we fix this one as well. So I'm going to bring this here and just deactivate
the snapping, bring it here and make sure that you get it as close as possible. And if you are one, if
you're going to do that, just select this one
and then snap it. And if you see that
it's not continuous, just selected and
rotate it around itself so that it becomes a continuous
piece of UV work. Okay? Now you see it's very natural
and very good creator. I'm going to take this 11 thing actually that I can create
to make this one more interesting is taking these
because I want to create a tunnel and I want to make sure that tunnel is long enough. So I'm going to take this
and turn off the snapping. And I'm going to extrude this. It's going to give us
some some Australia UVs, but no problem, we're
going to fix that. So hit export. And in here I'm going to go to the actual file,
right-click and re-import. It created this
for us perfectly. So now what I'm
going to do is take this one and apply that
alle material to that. Okay, let's go in here to
see if we get any tiling. Now, it's good. It's great actually a
now we need to make sure that we stretch this long
enough to cover the sport. So let's go in here. And I'm going to take this one
and actually a stretch it. A couple of meters. Hit Export. And in
here I'm going to re-import that to see the
changes that we have done. Okay, It's perfectly there. But we have a bit of UV problem in here which
will need to solve. I'm going to go in
Blender bringing the UVs, and I'm going to take this one. And this is the texture
information that it has. But before doing anything, I'm going to apply the scale
and the rotation as well. And this one now needs that
pixel density applied. This is not the textual
density that we expected. So it looks like we need to
do a bit of manual work and this isn't going to be
seen by the player anyway. So let's bring in a checker pattern
material on top of that. We need to make sure that
everything is set two squares, just like this one. Perfect squares. I'm going to select this one. And it's looking
good in this side. It only needs to stretch
in one direction. So I'm going to
select one vertices, for example, this one. But one method of doing that is selecting a point, for example, not in this mode, go into active mode, use the select a point. With having the UV sync active, you can select a point, for example, this one. And hit Shift and S and bring
the cursor to select it. And it's going to
bring it in here. So I'm going to select only one vertices
cursor to select it. And now I'm going to do
manipulations using that. So I'm going to select these vertices and
Shift S to make it. The center. So I need to go back from that. Again, I need to come
in here and make that. Instead. Just disable the UV
mode by hitting Tab. And when you hit disabled, select the vertices
that you want shifts us cursor to select that. Now, first let me snap
this one to its place. This one as well. Now I need to select this
one and start to re-scale. But I need to re-scale
from the cursor instead. So let me go for polygon mode. Now, it's getting
re-scaled properly. So when you are having problems, try to cycle between the UV sync mode to see
what works for you. So now I'm taking this
one and a scaling. And instead of scaling
in all directions because this is good and
matching with the texture, I'm going to scale it only in x. First, we need to change this one to two,
the cursor as well. So scale and now in x, I'm able to drag from here
until we get perfect squares, same size as adults. So I'm going to select
this one, bring it here. Now we have a good textual
density on this one. And let's select
these ones as well. And I need to manually
correct one, this one. And it's not going to do a lot, but since the player is not going to be
seeing that anyway. So I'm going to bring
this one to bounding box center and try
to re-scale it in x. Again. This is done as well, and it's really not
a problem if you're having a lot of
overlap because this isn't a tiling
texture and there's not actually a lot of problems. So again, let me scale this
one in x to get all squares. Okay? Now, I'm going to bring this one connected
exactly two here. You see that this is continuous. And now the, one of the
most important pieces, which is this one, I'm going to select all of them
that are being stretched. And I'm going to
correct them as well. Go from the fixed
as well, it unwrap. And I need to make this
bigger, this size. Or let's make it a
smaller so that it has the same size as
that one as well. So this one, right-click
on rap about this one. Now this is perfectly done. We have all the squares around. I'm going to export that
and try to test it in here. Right-click and re-import. Now everything has been done. We have bricks in here. But this one needs
to be larger a bit because the brakes are
very big on this one. So let's go and try
to select this one. And just select using seams. And we do not have any seam, just select this one
and try to re-scale it until we get something
that looks good. I'm cycling through and back. Now, this is a good amount of resolution and the size
of the bricks is okay. If you're gonna make them a
bit larger, doesn't matter. Go and create them. But this is what I'm happy with. Now I'm going to select this
one as well and this one. And I need to re-scale
them and make them bigger. Okay, exports. And again, I'm going to test in Unreal. And this is good. Let's test for this one
as well. It's alright. And this one as well. It's alright. Okay. We
created this piece. Looks like it's about half
a meter of from here. So I'm going to go
half a meter back. No, let's leave
it, it's working. And it actually makes sense. We bring in the
pillars to stay in. Here on top of this one. We created the windows
for this one as well, as well as the tunnel. And we created a material and reuse a substance material to turn it into something else. We created a new
kid out of that. Now the modular pieces are coming together
and I believe that the last pieces of modular kids are going to be these windows, these walls and
windows together. And for these ones as well, I'm going to create
a concrete material because that looks a bit
more lecture we estimate. And then after making this, we go for trims and more
special pieces as well. And then they go for materials
and basically blending a lot of stuff
together to make this come to life and then we
go for streets as well. Okay. See you there.
32. Concrete Mat Big Shapes: Okay, everybody in
previous lesson we created this allocate as well
and the tunnel as well. But later on we're going to refine the tunnels, for example. Maybe I take it and we scale it so that it matches
the size of the walls. Actually make this
whole data on. This is going to be a good idea. For now. I'm going to keep
that like this. And now we're gonna move
on to create this kid. And this is very simple. It has only this piece
that needs to be created as the repeating piece. And these pieces as well, we need to create them. But one thing that I
understood is that if I extend this more
into the sideway, who will get a better result? I'm going for the kid and
this is the kit that we have. And I'm going to take this
one and bring it here. Now I'm going to borrow
the geometry from here, and I'm going to
duplicate it and hit P by selection and take
this one and delete it. Now we have this one. And now what do we need to do is actually apply the
scale and rotation. Make sure that what we are
going to do is going to work. Alright? So I'm going
to take this one on this one and align them to left so that we
have this piece, this one and this one
align them to right. Now I have this piece
and I'm going to take it and extend it a meter
into the sideway. But before that,
before exporting, I'm going to go for the rename. And I'm going to call this one. Extend that. Okay. 01. Okay. I'm going to take that and this is a still going
to be a blackout. So I exported and
now I'm gonna go and import it into Unreal
Engine content browser. And then again import. And this is the
piece that I need. I'm going to bring
it and I'm not going to do actually anything. This is going to be only
for the block code. So this is the piece that snap
perfectly to the surface. Now it's a snapping
to this piece, but I feel like one meter
is too much for this. So I'm going to snap it. And instead of having
that 50 centimeters, I'm going to snap it to
one meter increments. And you see that if I select
this one and this one, the lines are the same. And for the staircase, I'm going to extend
that so that it matches the both sides of the walls. But for now I'm going to
take this one and try to create something
in here using that. Now, we need one more here to make sure that
the sizes are right. I'm going to take this one. And in Blender I'm
going to resize this to match the borders. So I'm going to take this
and this one as well. Now I need to take the
vertices on this side. I'm going to use
Box x-ray and I'm going to snap them to
this very portion. Let me take that. And I'm going to move them only in one axis until I get to here. And if you do not have this
one again, this box x-ray, you need to make sure
that you select, search for books, x-ray, blunder add-on, and it will bring it and you
can download it and use it. This is the staircase. And now I'm going to export this and try to test
it inside Andrea. Okay, this is it. Let's find it in here. Okay, and reinforce. Now I feel like we have
a better piece in here, but we need to shrink the size of this one.
This is too much now. So I'm gonna go here and try to shrink
the size just a bit. Something like half of it
is going to be alright. So apply the scale
again, Export. Now the piece should be working. Alright? Okay. Now this is going to give us some more definition
in these parts. So I'm going to take it, Take these all and give them
the material that they need. This checkered pattern
matcher we'll hear. Just go for m underscore museum. Now these work in conjunction
with these perfectly. Now what we need
to do is actually taking care of these pieces. And we have two pieces in here. If you remember, we
created couple of variations and we
duplicate that across. And the variation
is only going to be for the window part. The essential part of the
kit is going to be the same. And the kids on
here are going to be tiling only in one direction. And I care only
for one direction because we have trimmed pieces in here which we are
going to stand in. And if we have something tiling, some tiling problems in here, it doesn't matter
actually because this trim piece is
going to hide that. And then after that
comes this and this. They need to tell only
in this direction. These six by three pieces are also something
like this in mind. Of course, not totally, but something like this. And this is actually the
reference for that I gathered for this
whole building. And of course I'm going to
add some imagination to it, but DNA is going to be
something like this. I'm going to have a concrete
material like this, but I'm going to make
that look older as well. Just something like this, but it's not desaturated
just like this one. And this is going to
be the piece that extends in the street. This one that we
extend that just now. I can see the sidewalk
in here as well, as well as the street and some dirt later on for
texturing process. For example, this paneling
in here is very good. I might do that for the
pieces that I have here. Those pieces, these
six by three pieces might need a bit of panel ink. Okay, now, before
doing anything, I might go and start creating the concrete paneling material that we are going to use
for this environment, for this museum kit. And we're going to jump inside substance and it starts
to create that material. Okay, see you there. I created a substance
file just like always. And now we need to do
some preparations. We need to make sure
to go to material, set the preview to be metallic roughness and
tessellation displacement. And in here we want
to make sure that DOD activate Direct X
normal disable, and then the activate
and make sure that you have a bit of a scaling here and a bit of
tessellation factor as well. The next thing is
going into this normal and make that
OpenGL and bump, bump up the intensity
because this is concrete and
concrete is intense, intense in terms of normal maps. So now again, our friend
is the title sampler. So I'm going to bring
that tile sampler. And although this is going to be similar to the brick in nature, but I'm going to bring
the numbers down really. Because those concrete panels that we see in these images, for example, these, I'm going
to repeat such a pattern. These are a lot bigger than
what the brick is actually. So I'm going to make
the number very lower. So let's make this 18. Now, I should have
gone the other way. Let's make this 18. And I ended up
using five by ten. Okay, we layer on my
common change these. So for the scale, I'm going to bring
this scales up until we get some thin lines
in between, just like this. Now I'm going to come
in here and for offset, I'm going to set it to 0.5
to create that penalty. But since concrete is a lot heavier than what a
brick is, actually, I'm not going to add
a lot of randomness, but I'm going to add
a bit of a scale. Random just to make the tiles different from
each other just a bit. And actually this
thin line in-between, these need to be
thinner as well. So I'm going to increase this
scale until we get a very, very short amount of
distance in between these, because these are
actually very thin lines. So these lines are very thin. I'm going to add
edge detect after that to make sure that we get a bit of distance
in between them. So I'm going to bring that down, an edge roundness down as
well, something like this. Now all of these have been
separated, but this one, Let's bring This looks like we need to decrease the size in y to get some of
that lines back. Okay? Now we have these perfectly
and I'm happy with it. You know, it already created a cool bevel after the edges. And I'm going to connect this one to the normal to
be able to check that. And you see that we're getting something and I'm
going to connect the same thing to the height and create
an ambient occlusion. Let's bring in which PAO or RTO, both of them are
ambiance of collisions. Let's connect the tiling there. And this should give us the
same results until we add some results again later on to differentiate
between them. So this is the
result that we get and I'm happy with
how this is going. So it has added
some cool bevels. And these parts, we have
a lot of bevel in here, but I do not want that
to be all over the place because this is going to make
it so procedurally looking. And I'm going to mix this
one with the previous one. Or let's bring
another edge detect. Let's bring this one
and bring the edge roundness down just a bit. Something like this. And let's compare these two. And these are
identical perfectly. So let's make this one a
stronger, this one weaker. So we have a weaker one
and have a strong one. And now I'm going
to blend these two together to randomly
select from them, okay? Now I'm going to blend
these two together. The mask is going
to be a selection that we take from
the flood fill node. So I'm bringing this one and
bringing a fluid-filled. And this fluid is actually
going to help us. So from this, I'm going
to bring in a random, a random gray scale is
going to be alright. And it can change the random
seed to get what you want. If you want more, you can
bring in more from the whites. And if you do not, you can just bring in more
blacks instead. Okay? Now I'm going to do more randomness from
this fluid-filled. Just go for flood fill and you can bring
in a lot of them. For example, the gradient is
going to be good as well. It's going to give
you a gradient based on the value
that you give to it. For example, this is a black
and white mask as well. The white parts are going to
be yes and blackboards snow. And it can make this one to give it as much randomness
as possible. And try to blend these
two on top of each other to get a bit of
randomness happening there. So copy. Now, let's see what
the multiply does. And I'm going to bring
that into the opacity. And you see some areas have those weaker blends and some
areas smaller ones you see. Now we have a bit of
differentiation between that. But since this is
using this one, I'm going to use
this one instead. And this is it. And
this is the randomness. Let's look at this one. You see we have The
smaller and bigger living at the same place
alongside each other. And if you're going to really
see what is happening, I'm going to make this
one really round. And now you see these are
living beside each other. Let's connect this one instead. We could use either of those
and see the result in here. You need to shift selection this one and connect
that to the chain. And because you are now using this one as the
mask to flood fill, it's only selecting from this, but instead that
spring this one in. And now it's selecting
between both of them. But now the effect
is too strong. I'm really going
to bring this one down until we have
such a selection. Now you see the big parts and the medium parts
leaving beside each other. Very good. Okay. This is now the main shape that I'm going to use
throughout the project. And everything else is
going to follow this one. But let me take this one
and use this instead. I'm going to take
these, remove them. Of course we're going
to use them later on. But I'm going to use only one, not this one, this one. And connect this one in here so that we
have this analytic. And since concrete
is very heavy, it's not going to be
randomized as much as bricks. So this is it. And now it's really time to go and start to add
those finer details. I'm going to blend. And after this one,
I'm going to bring in one of these directional
ones, like this one. And I'm going to bring
the contrast down. And after that I'm
going to bring in a blur because I do not want that to be so
extremely effective. Only need a bit of that
to undulate the surface. So taking this one, I'm going to change this. And instead, let's do
something like this. And now bring the effect
down very much until we have something like this so that the surfaces are a bit
different in terms of height. So this is not too much. Let's add some more. But this one is now too
strong in terms of shape. And if you see it has
a lot of surfaces. So I'm going to bring in
the transformation to the, and this one is going to
zoom on the texture to make it look larger.
Just like this one. And now you see the amount of what we had is actually great. So after this one you
see because we have zoomed on the portion
of the texture, the tiling of the
texture has been ruined. And after this one, you
need to hit a space. When selecting the last
node in this chain, I'm going to need a space
and there's a node. Just search for tile. And we have the make
tau gray scale. And it's going to give you some controls to make that tiling. And now you see we no longer have that
sharp lines in there. And we're going to
use these controls to make the tiling
better for our needs. Make sure that you do not
add a lot of contrast. Does something
like this is okay. Now we have this one. And we undulated the
surveys just a bit. Which is great. And it's going to add
to the normal map. Let's go and see that. And although that
is not so strong, we are seeing the effector. Let's go for 15. To make that really stronger. Now in here I feel like I need to go and bring the effect down. Below that we have
a slight effect. I'm not really going to
make that so strong. So let's add a bit more. Okay, this is good. And later on when we
add the roughness, It's going to be very better. And now I'm going to add some overall details
on top of this one. And this one was a big detail. And now we're going
to add big, medium, and small details that
you're familiar with. So I'm going to take all
of this, bring it out, and I'm going to right-click
on a couple of these tool and named them the formation. And these ones are going
to be noises that we add. So I'm going to go for blend, and now I'm going
to add actually the surface imperfections
that we need to create that. And this is very good. This is going to
add a lot of those concrete like effects
that we expect. So let me bring it in coffee
and a very low opacity. And you see even on
a slightest opacity, It's going to give
us a huge result. Something like this. But you see that this is
procedurally all over it. I'm going to go back a step
bringing a directional warp, warp this one
against the result. I'm going to work this one by 50 so that it's
separated per break. Now in here, the results
should be perfect. But right now I feel
like this is to stroke. Again. I'm going to make
it half the effect. Okay? This is better. Now
after this one, I'm going to add
another blend and bring in multiple ranges to
start laying on top of that. I'm going to bring this
one down even more to add a slight touch of
concrete in here. And this one is good as well. But I can make it a
bit more stronger. Something like this, but
this is overall too strong. Let's bring it down. And okay, this is
our right hand. Now let's separate this fabric. Again, I'm going to add
the directional work, use the previous
blend on top of that. And I'm going to use 100 this time to really
separate that. Okay? Now we're
getting somewhere. We're adding really
those tiny details and large details and
things like that to make that really a better piece. So let's go for this one. We have a lot of fine
tune granules in here. I'm going to add blend. After that. Let's go
make it adds up so that it's subtracting and adding to the surface
at the same time. Okay, very, very low
amount of value. Now you see even in close ups, the texture is looking
very high-quality. And the next one that
I'm going to use this, these scratches,
which I can find it, finding this one and add lots of contrast and add a blend. I'm going to lay this one
on top of that and again, make this one adds up. This adds up proves
to be a good thing. Now, it's been a lot
procedural looking. So let's go and how
often the effect, and this is too much. Again, let's go for this value. This one is non-existent. I'm going to make it this, okay. This is good. Now I'm going to do something and that is
using the flood fill in here, connecting this one. And it creates some gradients. And I'm going to use gradient to create
some random gradients based on that landfill. And you see it has
created those for us. Just change the angle and angle rotation and connect
this one into here. And that should already
give us a better result. Now you see every brick has its own direction,
which is a cool thing. And if I increase the value, you see we get a lot of
randomness for those noises. So right now I feel
like this is too much. I do not need this one. This one could be
deleted as well. And this one as well. Let's see this one. And this one is going to be too much as well. Let's start with
something like this. But I need to make sure
that the angle is down like this so that it fits the directionality
of the bricks. Okay? These are first layers
of noise that we are adding. And later on we will add more. So now let's go and bringing the same slope blur gray scale that we have been using
throughout the project. So for this one as well, I always love to use
the slope blur with the Cloud noise and
clouds to a specific, because it has a lot
of cool details, samples up an intensity down, and set this one
to mean so that it subtracts from the mask. Okay? Now let's try to add some
of the noise in here. And you see it
already tries to add a good amount of noise in there. This is too noisy. I'm going to bring the effect down just to
something like this. I'm not going to really make
that procedurally looking. And I'm going to again bring
in a flood fill from here, or we have the fluid-filled
bringing the gradient. Random gray scale or random gradient
doesn't matter really. I'm going to use this one. And I'm going to choose an
angle and angle variation. And after this one I'm going
to bring in a blend so that I can blend the previous
one, which is that one. That based on this gradient map. Now you see some of
the edges are healthy and untouched and some
of the edges beaten. And if you want to
make that reverse, D can take these two and hit
X to reverse the effect. This is better because this is a slightly giving us
better results. So now I feel like the amount of the height that we are getting
is too much in here. Let me go and bring
the height down just a bit so that we
see the result better. Now, this is it. Let me go in this slope blur
gray scale and see if I can increase the result just a bit to make these edges
hit a bit more. Now, now, this is going
to look very stylized. So this one is alright. Now let me take a look at them. And you say this is still soap residual that you take that. One more thing that you can
do is taking this mask, adding a levels after that. So let me bring in the levels. And depending on what you want, you can increase the whites or you can increase the blacks. Now that I'm removing
a lot of the white, you see that the
effect really changes. And in here, instead
of having that overly, we're getting lesser and lesser. And you can manipulate
this mask to bring in more or less
something like this. And some of the edges are
untouched, just like this one. Some of the edges
are barely touched and some others sculpted better. Okay, now, to make sure that we do not have these procedurally
created, for example, in here you see this
denotation is across two neighboring pieces
and it means that we have this Cloud9 is laid on
top of that procedurally. So let's do something like this. Now. Let's use the bigger portion. And now I'm going to use
the directional word again. And I'm going to bring
the directional word from this last plant. So I'm going to
bring in a landfill. And random grayscale
or gradient. Gradient is better. Connect that to here. And angle variation too much. And now I'm going
to separate this based on every
break and I'm going to make the direction fit with the direction
of the noise. And now you see this is
before and this is after. And if I make this
one, for example, 50, we're getting more
randomness in there. We no longer see
that continuation. For example, you
see in here we have a piece that is beaten up, but this one is healthy. And this helps the realistic NUS of the results and make
that really realistic. This lesson, we created formation and created
some big shapes, some sculpting shapes on the concrete paneling
that we have here. In the next one, we continue to make the matter
we all better. But now, before doing anything, I feel like this is too much. Actually this sculpting
detail is too much. So I'm going to go
in here and try to remove some of that. Something like this. This was too much and adding
a lot of unnecessary detail. So something like
this is better. Now in the next
one, we're going to continue to make
this look better. Okay. See you there.
33. Concrete Mat Surface Damage: In previous lesson, we created this and did some big shape, a sculpting in here. But now it's time to
go ahead and start to make the surface better. And I'm going to go back a step. And actually in the first
phase of sculpting, where we undulate at the
surface using this node. And now I'm going to
separate the bricks a bit. And by that I mean
you see all of the bricks are having
the same level. And in the height map you see
all of them are pure white. And this makes them
all in the same place. And I don't want that.
I'm going to add a bit of more randomness
in the surfaces. So I'm going to
drag this one back and bring in a flood fill node. Okay? And after this, I'm going
to bring in gradient, grayscale as well to see which one of them
we're going to use. Let's bring in the gray scale. Excuse me, not this one, just search for random and you will get that
random gray scale. One muscle that you can use
is adding this one onto here. And you can bring the number
down so that you have some leveling in these
paneling, which is cool. And I might start to
keep this because it added to the randomness
of the surface. And now some of
them are pushed in and some of them left
in their own places. And this is actually good. And I'm happy with it.
And I'm going to bring this one back and do another blend and copy
everything from here. Now, I need to bring
this one in place. And let's connect that to here. And I'm going to make
this one and multiply. Now you see all of the bricks. If I start to bring
in the scale, and if I start to use that, you see all of the brakes start from one and
gradually go to 0. But I do not want that. I want to make that
random as well. So let's bring this back. You know already
what this one does. Let's bring the scale a bit so that we're able to see how
bricks are living together. Now this is multiply and we're getting
the perfect tiling. And the thing that we
need to do is going in here and choose the angle
that we want these to be. For example,
something like this. Create something that is
usable for the roofs. For example, if you are going
to create a piece for roof, this is going to help you. And this is really one of those happy accidents
that happen inside substance while
working with different nodes. And you can take this
one, for example, and I start to evolve the
material to something else. Go here, create a new one. Can use this one as a
roof is for example, those terracotta roofs
that are facing this way. Or you can make them
facing this direction, for example, to get
something like this. Or I'm going to make
it just like this one. And try to add some randomness. The formations of the bricks. And now you see this
is very chaotic. And this might be or
might not be what you want depending on the look
that you're going for. But since, as I said, these are concrete and concrete is not having a lot
of randomization. But I'm going to add only slight bits of
randomness in here. And now you see I'm
going to bring this one down to something like this. And now we went from this
which is totally flat, having either white
or pure white or pure black with
maximum contrast to something like this
that undulated the surface to something
like this as well. That has some
gradients happening. Okay, let's check the tiling
and it's working perfect. And it added some
extra randomness to the concrete panels,
which is a good thing. But since these do not
have a lot of randomness, I'm going to bring the
multiply down even more. Because when I'm looking
at the reference, I have something in this, just like this in mind, and this is totally
flat and added those just to give you a bit of
touch-up the randomness. Let's take this one. And I start to use this instead. Of course, you can
go and maximize the amount of the randomness, but this one isn't going to
help us really that much. Since we're going
to apply this one on a flat surface in Blender. This is going to be used
on one of these surfaces. And we're not going to
tessellate that surface. So you can keep this
one the way that it is. And it's going to do all of the changes on the rest
of the chain as well. So I'm going to drag this out. This is going to be the
first level of undulation. Lets me create a frame around
that and just call it. First level. And these ones, I'm going
to call them beak shapes. And I might extend this one
to add more to this one. But now let's go and start
to change this one as well. Now you see this one
is already trying to change some of these
surfaces as well, but I'm not going to
make that so strong. Now only want some bits. And now you see it has
been that this concrete, which is a great thing. Okay. Now I'm going for
the rest of it. And in here, let's check to
see how this is looking. It's not looking good. Let me bring the blend up so that we see more of that
happening in here. So I want more of the
edges to be beaten. So let's look at it. In the far view, we really do not have a lot of
that information. So I'm going to drag
this one back and start to introduce
more of that noise, but not too much,
only some bits. Okay, something like this. Now let's go check
the normal map. This is the result
that we are getting. This is ambient
occlusion to imperfect. This is the height pap. Now we need to drag
these and bring them here to add some extra
details as well. Now even the bricks are looking. So procedural again to me. And I really love a lot
of contrast in my work. You might not
prefer this method, but I'm going to add some
bits of sculpting as well. So I'm going to add blend. I'm going to take something
from this very node. I'm going to bring in the blood and this
flood fill again. I'm going to bring in
the random gradient, just hit a space on it
and search for gradient. This is fluid-filled two
gradients going to change our angle and randomize the
angle as much as you can. I'm going to bring
this one in here, and this is not
really what we want. Instead, I'm going to
use the mean darken. This mean darken is exactly
the thing that you will bring that into ZBrush and start to hit the surface
using that in C, you have seen something
like this in ZBrush when you use the turbo
smooth brush, trim, turbo smooth to hit DHS, but this is overall
too strong, very, very strong, or do
not want Stone much. The only want some
bits to be hit away. And instead of this, Let's use this one which is
untouched. Let's use this. And now we have a better
one, less contrasty. And although using
that one introduced a lot of contrasts which
was so unnecessarily. And this is the
result that we get. These contrasts in here
is not a good idea. So I'm going to use
this one instead. Now we have a better one. Now repeat with
randomized I need to hit some of the edges. This way it doesn't
add a lot of contrast. Something like this. Compare that this is the before, this is the before. And this is after.
It starts to hit the surfaces just a bit
and you see the result. You can see that in
here we have a lot of surface heat as well. So let me take this and
bring it down just a bit. And I'm not going to
randomize that so much. Okay? This is another layer of big shapes that we
added to the sculpt. Now, I'm starting to be happy with the amount of detail
that we add in here. If you're going to give
that a bit more detail, Let's go for the slope
blur gray scale and again, with the clouds to start to
hit some of those areas. Let's say this is the result we need to bring the samples up, set this domain, and bring
the intensity down a lot. Now you see on the surface, we start to get a
lot of cool details, which is this one,
but we need to bring the intensity down
and start to look. Okay. Because this is applied on
the surface of this one. It's applying the details
on top of this as well. But I need to bring this
one overall down a bit. Just like the half
of it. This is good. Now if you're going
to really not that amount of sculpting
on all of them. You can go because now
we have the sculpting, this mean dark and on
all of them you can go bring this fluid-filled and bring in a random gray scale and use something, for example. Histograms scan to separate a lot of data
sculpting per brick. So I'm going to bring
the position up and contrast to the maximum as well. And I'm selecting this one, and this is some of the
bricks start to lose their sculpting, which is good. And now we have more separation
and randomness in here. Although concrete
isn't so randomized, I really love to always at maximum randomization
and contrast in my creation process. That's personal preference. But if you really
do not want that, just go with the minimum amount of contrast and randomness. Okay? Now we have this. Let's before adding the
slope blur gray scale at some surface details
to the mix as well. So this is the blend and this is the slope blur grayscale. This is slope blur gray
scale hits the edges. So I'm going to bring that
here out of the big shapes. And I'm going to add a blend. And then this blend, I'm
going to bring in the clouds to really loved this
clouds to note, it's a great node and add a lot of cool things
in your texture. So I'm going to bring in
the directional warp, warp that against this. And since we have a lot of
cool information in here, we can get the amount of the
randomization from that. Okay, Let's go for 15
in this direction. This is before, this is after. Now we have a lot of
separation in there. I'm going to connect
that to here. And now this is
overall too strong. Let's go and try to add
some of the surfaces. This is too strong. Let's go bring that to
something like this. Now, all of the
tiles in here have some surface breakup
in terms of having big shapes that these
clouds to noise is doing. And if you're going
to make that finer, you can go and start
to bring in the tiling up to make that final details. But let's keep this one big. And later on we
add the medium and the small stuff in
the mix as well. So this is the big shapes and now I'm going
to take this one, create a frame around it, and call it damage, and change the color to
something only the variable. And the cool thing
is that if I go in the beginning of the
chain in this formation, if I try to change the
value at, for example, to something like three to six. Now you see we get bigger rigs, bigger concrete panels, and everything that we did is going to be applied
on top of that. And this might be something
that I'm going to do because that one, I believe is too small
of a concrete panel. But I'm right now I'm
going to keep this this way and we will
later on understand. But I know that I'm going
to bring this one to four by eight so that we have
bigger concrete panels. And I will change that you do is going to be applied on
the rest of the chain. And this is the
power of procedures Relative Insight substance. Very good. Okay, Let's see this one
and now we need to add those medium details and
a small details as well. Now, this is the
result that we have. Now, I'm going to add those medium details
on top of that. So let's go for cells. And I want that to be
something like this. Or let's introduce more value. Now using this one, I'm going to bring in
the edge detect as well. This converts that to this one. And you already know
what I'm going to do. I'm going to subtract some of this information and make it basically the cracks that
happen on the brakes. But you see the results. We're now going to
fine-tune this one. So this is the amount, but the size of the
crack is too much. So I'm going to bring this down. And the edge roundness
as well is a good one. I'm going to keep it.
Okay, after this one, I'm going to bring in a
war, a directional word. And I'm going to bring
in this Perlin noise. And this is good for
undulating the black, black and white because
it has a lot of cool variation and it
has blurred as well. So I'm going to make it
a 100100 is too much. Let's bring that down. I'm going to go in
this direction. And now after this one, I'm
going to warp this one again. This time, again against
the Perlin noise, but in another direction. So that in here we add
some bigger undulation and after that we add some
subtle undulations on them. So I'm going to. Make that happen
in this direction. And now this is the before. This is in the
middle, and this is after adding a lot
of cool details. So I'm going to bring this
to something like this. And I can go back in
here and then start to add some more in here. Something like this. And the
size of the cracks is good. Let's make it eight.
This one is better. It's reading well with the
shape of the concrete panels. So I'm going to bring in slope load gray-scale
and this one already, you know the rules we're going
to use with the clouds to, excuse me, I should
have done that here. Samples up like this one
min to something like this. And let's set it to max. And let's invert this already. And this inverted is going
to be after all of them. So invert gray scale and this is going to be
subtracted from here. So now what I need to do
is go in here and try to change that to subtract so that it starts to
subtract from here. But now I need to go in here
and set this one to max, which is already there. So let's change
this one to mean. Mean is good as well. Let's go for blur. This blur is going to
give us a better result. Subtracting from some parts and adding to some
parts as well. Let's bring in this one. Depends on how contrasty looking you want
the cracks to be. So this is the final result. And I'm going to again use the directional work and
separate this per bricks. So this one in here. And I'm going to
change the direction to something like 16. This is before that. And this is after that. But I do not want the cracks
to be all over the place. So let's see this one. I believe having the cracks in this direction is
going to help us better. You see how beautiful this
has started to looking. And now I'm going to add
a fluid-filled again. And this flux will note is a very powerful node for everything that
you're going to do. Now, I'm going to add a gray
scale, random after that. Flood will do random grayscale. And after this one,
I'm going to bring up the histogram scan to select some of the breaks so that the sculpting
happens there. So this is that. And now let me connect
that one in here. Now you see the sculpting
happens only on some portions. And this is not good. Let's go and change
the random seed and check the tiling to make, to select something
that is not so visible. So something like this
may be preferable. You can go ahead and
start to change the seed. Something else to see
if you like it or not. So this is good. Let's go in here and bring
this subtract down even more. Because I do not
want that to be so, so pronounced,
something like this. And now I feel like the
length of that is too much. So let's go and edge detect. And I'm going to bring
the edge weights down. Something like this happening. And now we have this. Now let's look at
that. In there. Depends on how beaten up
you want the result to be. But let me go in here and
try to add more in there. Something like this. And now this is better. I love to have seen more
cracks happening in there. Adding cool features
into the environment. Okay, now let's go and
start to introduce more contrast by making
the subtract stronger. And this is personal preference. I really, as I told you, I love the contrast a lot. Now this is done and now I'm
going to add another blend. And after this one I'm going
to add tiny scratches. And I'm going to select
this whole chain and this one as well. I'm going to just increase
the size of this one. And this is the results already. So let's go in here. And looks like we should
go in here and bring the edge randomness down.
Something like this. And now this is what we get. Now we can subtract
this information from the surfaces of the concrete. This is going to be finer. Details that we can add. So let's add that. Now, this is chaotic. I'm going to make it subtract. And you see these smaller crags accompanying the bigger cracks and make a lot of
contrast as well. So let's take this one and try to change the C2 and different value,
something like this. And now I'm going to drag in a histogram scan to
be able to separate some of the tiles done
bringing the position. But I'm going to
make that the mask. So now this is not going to work very well with
a lot of contrast. So I found out that even not adding a lot of
contrast is going to be good because it adds the cracks on some
of the bricks with the higher intensity
and to some of the bricks with lower
intensity. Which is great. So let's go in here
and try to bring this down so that we have
settled or sculpting there. So let's make this one something like this to have more value. So let's go in here
and try to bring in the whole effect
down just a bit. To separate out more from
Daddy can bring in a blend and bringing a random gray
scale to subtract from that, for example, this
one is a good one. Let's bring it here. And I'm going to
multiply that on top of that so that some
of those go away. And this is before you
see a lot of more cracks. And this is after some
of the cracks go away. And if you're going to
make that really lesser, he can use this one and bring the subtract down just a bit. You can see that in full effect. And something like this, you see that we get the
cracks in some parts. So I'm going to call this
ones including these ones, create a frame and I'm going
to call them track. Okay? Now we created that. I want these grads to be the last layer of
detail that our ad. By that I mean, I'm
going to drag this one in here, bring this down. I'm going to frame
this so that I have the cracks as
the last layer. I'm going to bring that here, this one in here as well, an app for creating the shapes. I use this one for medium
shapes and a small shapes. I'm going to add them
after this so that they do not affect the edge damage
and cracks as well. Okay. We now have some
layers of sculpting. I'm happy with them and I'm
going to pause the lesson. And in the next one, we will add the medium details and tiny
details as well. Okay. See you in the next one.
34. Concrete Mat Colors Big: So everybody, in previous lesson we did the big shapes and
some sculpting as well. And now it's time to move on and create
the medium shapes. And I'm going to add
a lot of scratches, surface damages, and
things like that. Let's start with
the medium shapes. And in here we managed to
create the big shapes. And now we are going
for medium shapes, those shapes that really define
a surface of a concrete. So now after this one, I'm going to add another blend and do a
lot of things in here. I'm going to bring this one down so that you work
in this area only. So now I'm going
to search through these to see which
one I liked the most. And it looks like
these two grunge maps, 1113, a lot of good value
to add to the texture. So first I'm going to
bring the contrast down. And let's see about the cracks. They add amount of Greg. So let me drag it out and
I start to blend it with some other black and white
data to take away some of the information to add
to it and things like that. Okay, Now this is
eight and I'm going to apply this one on top of it. But this one seems to have
a bit of bad toiling. So let's go for another
one, for example, this one, and see
the result here. They are going to
create a good mixture. Now I'm going to add
this one to the mix. Now this is already too strong. We need to bring
this down very much. To state that it's barely, barely visible,
something like this. Now this looks like really
all over the place. And in order to remove
some of that information, I'm going to drag this mask here so that in some parts it
removes some of that data. Okay, pretty good. Let's see what it has
done to the cracks here. The cracks are in their
places because I have applied them after the
height information. I'm going to now bring this one. Let's see what this one has. And the first thing,
I'm going to bring the contrast down and start to mix it with some other oranges
to take a good result. Okay, this one is
already a good concrete. Let me blended with this one with a
halfway blend opacity. And then we did in this blend. Okay, Let me read it here. And in the copy
I'm going to bring it really, really down. Actually, I'm not going to add
a lot of that information. Now already you
see that it starts to add a lot of
cool information. And if you bring it
up, it's going to ruin the texture very much, but it's going to add
a lot of cool details that look crisp
in the close-ups. Actually, I'm really
liking this one. This is very good. And I'm going to keep that
the way that it is. Now. I'm going to add some of those spots and oranges that you normally
see in the concrete. And before that, I'm going
to look again to see if there's anything more that
are going to add or not. So now we're going to use these and subtract some
of the information from it. And already, this one
is going to look good. And this one is for
cracks as well. But now this one is already
all over the place. Let me start to take
away some of that. I'm going to bring in
some of directionals. For example, this
one and this one. And I'm going to create a
random mask out of them. So I'm going to blend them. And the first thing, I'm always bringing the contrast
down on these so that I get a good
value in between them so that it's not
black and white only. So this one blended
with this copy. I'm going to drag this one
in here so that it chips away some of that
information. It's very good. Now I'm going to
bring in some of those grunge as a scratches and things like that to add
and subtract to the mix. Then that's called
these ones medium. I'm going to call
this medium shapes. And after that, I'm
going to bring in another blend and do these
small shapes as well. And for every good thing
that you're creating, art, no matter environments,
material, everything you create, you
need to have those big, medium and small shapes in
the mix to make sure that everything is going to look
alright in the far view, in close up view, and in medium views as well. Okay, Now let's put
this one in here. This is already too strong. Let's go and set it to
subtract and bring it down. So that is seen a
lot of areas you have this smaller chunks, but in some areas you have bigger chunks being
subtracted into the surface. Now, let me make them a
strong already a bit. Okay. This one is better.
If you're going to really use the flood fill to make that
separated, he can go. So let me bring in the landfill. Not this one. I'm going
to use this one in the flood fill and
bringing a gradient. And I'm going to make it
random in this direction. Now I'm going to bring in
a directional warp in here and put that in here to
separate it per brick. So let's make it a 100. And see the result. Looks like it
didn't do anything. So let's put a
100100 is too much. Actually, it's going to
work a lot of information, but it's going to have a
good separation in here. Okay, now, let's start to blend. Now I'm going to
bring in other ones. So exactly, I'm
going to bring in this one before this happens. Okay, Let's add a blend here. And I'm going to bring
this one out because these shapes are a bit bigger. So I'm going to
bring this one out. Let's see what we have here. And I'm going to remove
this one for now. So this is the amount of
surface that we have. I'm going to bring it
down so that we have some surfaces that are poking out and some surfaces
that are going in. And you see there are a lot of good things
happening in here as well. But let me make
that not so strong. Only a bit. Again, I'm going to bring
in a landfill followed by a random gradient to make sure that we do that
pass of customization. So this is it and angle
variation all the way to top. And this one is going to be warped using directional work. This one. And now I need to
warp this a bit. So let's go in this direction. Now. It's starting to look
too noisy for my taste. Let's go see the normal map
to see how it's working. Okay, we have a pretty
noisy normal map, which is a good thing
for concrete surfaces. So let's go in here and try
to bring this down a bit. Just a bit. I'm going to make it half the
value that it actually is. Excuse me, I should
have selected this one. Let's make them less noisy. This is too noisy and
this is less noisy. So I'm going to make
it add instead so that it's adding to the surface. Okay, let's add just a bit more. And now this is too noisy. It's not something
that I'm going to use. So this is a good
amount of information. Let's compare that
before and after. And you see it adds a lot of
cool details on top of it. So let's go in here
and try to add. Let's go for in-between. Now you see we have some
surfaces that are going in and some surfaces
that are going out. After this one, I'm
going to add a blend. Then again, I'm
going to copy this. And this time I'm going to
plug this into the blood. And the last one that I'm
going to add is this one. And this one is too large. If I bring it into the mix, you see that it's
already very large, so I'm going to increase the
tiling, something like this. And now I'm going to warp this
to separate it per brick, this one to the work, and warp it by 50. Now I'm going to subtract this, subtract and add soap. Let's use adsorb so that it adds and subtracts to the
surface at the same time. Okay. This is it. The surface of the concrete has been
done and it's too noisy. Let me go and make
it have the value. And you see that we have a
strong for shape, beak shape. We have these medium details. And in close-up as well, we have a lot of cool idea and
shapes that are happening. Now. This is enough for
the medium and a small, let me call this small shapes. And now it's time to go create
the base color exactly. So I'm going to separate
it out and bring it here. And I'm going to
drag this one out. And it looks like this one
is already a good one. For a starting the base color. This color is
exactly a good one. But we can also go and start to pick from
these references. For example, this one has
cool color information in it. I'm going to drag it out. And this one as the base. I'm going to blend it using some different oranges
and things like that. So let me drag this
one in and I'm going to use another color. So this looks like darker. And I'm going to bring
the clouds gray to add some surveys
details in here. And you see already started
to add lots of cool colors. So I'm going to add blend and use a lot of
procedurals to add a lot of cool details to make
this one a base color so that it has maximum amount
of versatility as well. So this one, and now let's
bring in another one. I'm going to bring
in a gradient map. This gradient map,
I'm going to pick the color from this surface, the gradient, and I'm
going to start from here. Okay, good values. And let's go and try to bring the procession up so that
we get a richer color. So I'm going to close
this one out and plug it here so that we get this
amount of color information. Let's look at this and you see we're already
getting somewhere. So we're going to start blending lots of colors
on top of each other. So now we can go, for example, for this splashes. Let's see what they do. And I'm going to add them to
here and bring this one to a gradient map and applied here to see how it
does to the surface. So I'm not going to make
this pretty strong. I'm going to bring
the value down and start to pick the color
from these areas. So I'm going to bring
the gradient map and start to pick
from these colors. Okay? You see, we have a pretty cool color happening
in here, which is great. Let's go bring the opacity up. See a lot of cool colors, swatches that are
present in here. And this one already
is a good one. Let's go and start
to bring the balance up to see if we can add
more of that to the mix. So let's go for here. Balance. This one is good, but let
me bring the amount down or let's go bring the
balance to where it was and try to add this
one to the surface. Now you see we're getting
some concretely look in here. And the more we progress, we're going to add more details
to the base color though. This one, again, another blend. Now I'm going to
bring this one in. This one has a lot
of cool colors. Again. Again, I'm going to
bring the contrast down, plug it in here, and a
gradient map applied in here. So this is the color
that it's going to add. Now I'm going to pick from
another place, for example. These have some good
colors to suggest as well. So let me go for gradient map and try to pick
some of the colors. From here, we reach
selection of colors. Okay? Let's say this one. And this is the amount
of color that it added. Okay. Again, I'm
going for blend. And this grunge
also is a good one. So I believe that we have some concrete specific
things in here. This grunge concrete as
well is one of those. So let me plug this one. Bringing gradients map
added on top of it. I'm going to pick up
the color from here. Let's go and pick up
these darker colors. Pick gradients as always, and try to pick a
color from here. Okay? Now, it turned into this one. And now I'm going to
separate it by a mask. So I'm going to bring in levels
and connect that to here. Depends on the content, context of what color
you want to see. Let me do something like this or this looks like this
one is a better one. And now let's add a bit
of contrast in there. Now this is it. Okay, You see, because we have added a lot of cool close-up details,
you can really enjoy. Start looking at it
at the close-up view. I'm going to add another blend. And Stein, I'm going to bring in this using a gradient
map added on top. You see that is
very good in adding those concretely
looks that we want. So let's go and start
to pick from here. Let's pick from here. It has
some cool colors as well. So gradient. And after this one, I'm going to really
call it finished for the first layer of colors. And let's see that
before and after. And I'm going to
bring in a level. And try to connect that to here. So let's see the mask hit this one to get the maximum
amount of contrast. And I'm going to separate
more of the values. This is what we have and
this is what they had. It added a cool
amount of colors. So I'm going to select all of these right-click Add frame
and just call it color big. Okay? Now we have this one that has lots of cool colors as well. Now it's about time that we go and bring in the height map, a specific details
to make it really look like belonging
to the surface. Okay, let's start
from here already. Let's bring the height map in. I'm going to bring
this height map and blend it with the
information that we have. Let's place it here
and this one here. But since this one is grayscale, It's not being compatible. So I'm going to bring in Gradient Map so that
it converts that into color selection instead, you see, although this is black, black and white, but it has
converted that to color. Okay, Now let's go and bring in the multiply so that we have a separation
between the colors. And this is too much. I'm only going to add some. Let's reverse these two. I'm going to select
it. This is better. This is a lot better than
what it was actually. This is going to darken some of the breaks and
lighten some of them. And I found that soft light and overlay proved to be good ones for creating
rich color information. So let's bring in the soft
light to see how it does. I'm going to use this one. Let's compare that
before, after he see. Now we have some
information from the color. There's more or less a bit
of separation in here. So let's go to see what we have. Again. We had this LaFleur
fluid-filled, excuse me. And then in here we should have some details
added to the mix. So this one was added in here
with a very low opacity. So I'm going to convert this one to a gradient,
bring this up. I'm going to blend this
one with the result. But before that I'm going
to run this Gradient Map, which is actually doing. And I'm going to
convert that in here. And it should be in here
with a very low opacity. Although the effect is settled. But it can start to see that adds a bit of richness
into the color. You see it's a
very flat in here, but added some information
in here as well. These directionals that
really make it look like water rundown on the
surface of the concrete. Now, let's do another blend. And let's go see
what we have here. We have this one in
the directional warp. And let's see. This one is also
very, very weak one. So I'm going to
convert this one into a gradient map and
bring it on top. Now I'm going to
plug it in here. And before that I'm going to run this on some of these images to get some
of the color information. Bot. That's really it can give you lots of cool
color information. And what I did at run that on the image and did a
blend with a very, very low amount of opacity. Now, in order to make these
really more separated, instead of going and using this, I'm going to actually
bring in real color. So let me come in here. And for experimental purposes, I'm going to pick from here. So this is it. And we have cool colors, we have medium colors
and things like that. So let's see what we have here. And I'm going to
bring the light on. And let's make it
multiply instead. Now, looks like this
one is a better one. So instead I'm going
to add a level to add bit of contrast
to the bricks. Okay? Now this is it. Let's go four multiply with something like
this so that we have a better separation in
between the bricks. And although it may
make that a bit darker, but it's not a problem. After this one, I'm going to add a contrast and luminosity. I'm going to bring the lumen luminosity up to compensate for that and a bit of
contrast as well. So now some of the
breaks are lighter, some of them are darker. So this is the
color information. And now after this one again, I'm going to bring in a blank. Looks like we have one boat. Let's remove that one and go
see what we're going to add. Okay, we have this
one being laid on top of this one and
add it to the mix. I'm going to keep this one as a mask level and take this
one as a gradient map. And it's not really a must if you are going to
do something like this. But because we are going to make that
really high-quality, I'm going to make that happen to make sure that we
get the best result possible. So I'm going to
bring this one in. Let's see, with our amount of, how much amount of
blend we have that on. Very, very tiny and
really unnoticeable. So I'm going to plug
this in the blend. I'm going to bring
it down very much. Okay? You see lots of cool color
information happening in here. Very good. If you want, you can
go and start to pick color instead of only using
the black and white value. So let's go and pick
colors from here. Now, since the color
is less saturated, I'm going to bring it up. This is with full
opacity somehow. And this is with lesser opacity. Something like this. Very good. Now let's tie this. Okay, it's working. Alright. And then let's see
what we have here. I can take this blend
and use another blend and do this one in here
and do a subtract. Let me go and do a subtract and reverse them to see if I can get
something from it or not. And bring in Auto Level two. Really these details and lift looks like this is what
we have added there. So let's toilet. And I'm going to bring this
one and use it in here. First, I'm going to
bring it through a level, add a blend. And I'm going to connect
this one to the mask. And now since we need to add
color, who will do that? And of course, you
should know that we compare this blend over this blend because
these are after each other and subtracted them. Subtract this one from this one to see what
changes were made to that. And of course, since
that one is really tiny, brought that to auto
level to make sure that the values willy pop up. Now, this is what the
changes that we made through this for free, okay? Now I'm going to bring
in this same one. So let's select this 1 first, bring it to a
grayscale conversion. So this is it. And now I'm
going to bring it through a gradient map so that I can use the same height and
the same information. And using another color,
another color variation, I can go and start to pick colors to add some
definition to that. So that's C that you see
in bottom of the breaks, we are getting a lighter color. So this is it, and this is the new one. So let's go in here. And in order to make
that not so prominent, I'm going to bring in more blacks that
it's not everywhere. Okay? Now let's bring
the whites up a bit so that we have something
like these colors in here, which is a great thing on
a lot of these places. It has added these
gradients of color, which I have seen in a
lot of concrete images. So let's again, to a blend. Let's see one more we can do. Now I'm going to bring this
one into a blend and bring this one n. And I'm
going to do a subtract. And I'm going to reverse that. And after that, bring it
through an altered level. This is the result. Let me take this. Yeah, this one is the
result that we have added and we're getting exactly
that one brought in in here. Let me take this and I'm
going to bring it through a blend and blend it with this one because it has
a lot of cool colors. I'm going to make
it multiply soda. It's not pure black
and white value. It adds some color swatches
in header in there. So I'm going to make
this one blend, excuse me, a level. And this level is a dummy
node to keep it grayscale. And you can use any note
that keeps it grayscale. But I have been using the
blend and I'm happy with it. So let's do the
same thing in here. I'm going to convert this one. And that's connected. And in some places, let me see before and after it has added these
swatches, these colors. So let's bring it
back and you see that it's happening exactly
on these areas. And this is one of the
benefits of this workflow. Subtracting the blends
from each other, you are able to get the color perfectly as they are placed. And it can make the height and the base color go
one-on-one with each other. So let's add another blend. And I feel like this is
enough for this lesson. After doing this,
I'm going to wrap up this lesson and make sure
that we go to the next one. And in there we will finish
the base color, small shapes. And then we do the
roughness pass again and export it to Blender
to start creating. And then we decide
for the amount of the breaks that
are present in here. So let's do another blend. I'm going to bring it
here and this one here. And I'm going to subtract to
get some of the information. So looks like we need to revert this and bring it
through an Auto Level. So it looks like we were, right. So this is the amount
of change from that that we can apply. So I'm going to bring this
one up and use it as a mask. Okay? And now I'm
going to make this one HSL and connected here. And let's make it
really dark here to see where it affects the most. So this is these areas. And you see now the height
and the base color are going hand in hand together to create a seamless experience. So in here, in this
darker places, I'm going to make sure that
we have a darker color because that is what happens
there for you as well. Let's go bring in another color so that we have
something like this. Okay? Now I'm going to blend again. And I'm going to now in
this lesson in here and in the next one who will finish the concrete material
to the roughness, export it, and then start
to work on the kit itself. Okay. See you in the creation process.
35. Concrete Mat Roughness: Okay, everybody in
previous lesson, we did some of the coloring
and now it's time to go and I start to finish
the coloring pass, as well as the roughness. Now, we created a blend and we didn't do anything to it
in the previous lesson, in the end of it, okay, I'm going to bring in a blend, the previous one on top and
this one on the bottom. And let's do a
subtract and bring it through an outer level to see what changes
we have done. Okay, This is it. And now I'm going to
bring this one up and use it as a mask and do an HSL. And bring it here. And I'm going to make
it really dark here to see which areas it's
going to affect here. It's going to affect these
scratches, which is perfect. So we can make these lighter
or we can make them darker. Depends on the situation. So something like this
is okay because we have a lot of darker colors
and this is going to be so contrasting,
unwell created. Now let's go another blend. And we're just now just
like a child that has learned to walk step-by-step, we're creating the base color. And of course, as I said, it's not so necessary to have so rich of a
color information. But since this is really
an enjoying process, I'm doing as much information
as I can into this one. So let's go and see
what we have again. Then after that one we
had these edge damages. So I'm going to
bring in a blend in here and the previous
blend in the foreground. And I'm going to subtract them. Bringing an auto level. Let me reverse them.
Yeah, this is it. This is better. And now we have a mask for these sculpted parts. Let's go bring in a level and I'm going to
bring in the whites and make them bigger just so that
the mask is more prominent. So I'm going to bring this
level up and use it as a mask. And these ones, I'm going
to make the edges quite a bit so that they look a bit more newer than what
it actually looks like. So I'm going for lightness
and bring it up. And you said this is
the effect that it has on the base color
in these areas, which we have a sculpting, we have those white swatches. So this is its hue. Doesn't matter
because we're only using some of the white parts. Okay, actually this
is a good one. So let's go in here and let's
see what we have in here. So now these are the cracks. And I'm going for blends. So I'm going to blend
this one with this blend. Again. Subtract an auto level to see what changes
we have done here. This is it and this is the amount of cracks
that we have added. So I'm going to bring this one, make it blend and
connect this one. And bring this one on top and
bring this one in the mask. And this is it. Now this is the setup. Now I'm going to bring
in the HSL node, make it really darker to
see which areas it affects. Which are these ones perfectly. So I'm going to bring it up and make these
areas darker a bit. I can bring this saturation
up, something like this. And now let's change for hue. The hue is going to be alright. This is it. And now it looks like we are actually finishing the process. And this is a good amount of color information that we added. It's holding out good
In far distances, in medium distances, as
well as close-up distances. And now we're going to create
the roughness from that. So let me bring this one back. I'm going to do a blend and convert the color
information into a grayscale. Now, I'm going to blend
this one with this. But I'm going to make this one. Refer, depending on the
type of the material. I might make this a
starting one refer or the reversed. This is zeta. Now let's bring in the scroll through
the modes to see which one serves the best. Looks like this one is a
good one for concrete. And concrete is not shining
a lot of the light back. Okay. Let's go for ad instead. Because I want to artistically have some control over that. But let's bring this down. Okay, something like this. And take this one and bring
the value down just a bit. Now I'm going to see the result. It's okay, but in this
part it's shinier a bit. In these parts that is going to have the ambient
occlusion details. So let me do a blend. And I'm going to bring in the ambient occlusion from here. This is the ambient occlusion. I'm going to bring in an
inverted and inverted grayscale. And you put this one in here to make sure
that we get this one. And now we have the mask
for the darker parts, which needs to be rougher. So let me see where it was. I'm going to connect it. And we are getting perfect
roughness for these areas. But for this one, I'm going to add an HSL. Let me bring in HSL. We should have already
HSL now it's not working, so let's bring in level. Instead. I'm going to connect
this one to here. I'm going to bring the
whites up so that we have more roughness
in these areas. And not so much. Let's bring it down. Something like this. And we
did the roughness as well. Of course, you can go and customize it more
if you want to. But I felt like this is
already good for me. We have color information. We have basically what
we want from that. And now I feel like
I can go and do some more edge damages
because I feel like the edge
damages our minimum. So let's find the edge damages. This slope blur,
grayscale scale. Let's bring it up. It really tries to
hurt the edges. So let's make the copy
more powerful instead. Let's not use a mask. Okay? Now let's see
how normal is normal. It's alright. Let's go
see the base color. The base color is
alright as well. Now it's time to add
those touches to the base color that
we have been adding. So I'm going to connect
the chain into here. And I'm going to put
this one in here because I do not want that to be affected.
Now let's keep it. Okay. I'm going to bring in the height and convert
that into a normal map. So this is the last height I
believe that we have added. Yes. I'm going to
convert that to normal and abnormal as
well is going to be converted to curvature map
A0 and things like that. Let's make it OpenGL and
ten should be a good one. Now from this one I'm going
to bring in the curvature, curvature smooth. Let's see. So Bell and convert
that to OpenGL. And this one is good for
highlighting a lot of the parts. So this is it, OpenGL and this one as well. Opengl. Now let's bring in the
ambient occlusion as well. I'm going to bring
both of them to see which one works better. Now this one RTA. Compare them. This is RTA all, this is previous one. I'm liking this RTL better because it has more
value to work with. So let's create some masks and start to manipulate
this base color. So I'm going to blend this with the previous curvature and cycle through to see which
one gives me the best result. One of them keeps the
harsher information and one of them keeps
software information. I don't want to have the
best of both of them. Though a soft light
is a good one. It has softer information as well as the rougher information. So let me bring this one out. I'm going to bring this one as a mask and use this as an HSL. And convert that to here. And I'm going to make it really
darker to see the result. Of course, this is our lacrosse. So I'm going to bring in a level and start to
separate some of that data. First O2 level. And try to add as much
contrast as we could. And looks like this one is
already too strong for there. So let's add only bits of color. Now I'm going to
bring this one in. Maybe a bit of saturation will work alongside with
some new information. I'm testing to see which
results is better. So let's let me go in here and try to add some
of that information. But let's make the blacks
more something like this. And it's really edgy. And let's look at
the base color. And this is it. Now what I'm going to do here
is adding another blend. And I'm going to bring in the ambience of collusion
on top of that. Converting that into
Gradient Map and multiply to make the colors really pop out and
separate from each other. But I'm going to bring
it down just a bit. Now since it made
that a bit darker, I'm going to
compensate by bringing in the contrast and
luminosity colour. So let's bring the luminosity up and a bit of
contrast as well. Now you see we have more lively colors that
are present in here. Very good. Diffuse color we created. And I'm happy with the result
that we are getting here. If you're going to
add the last touch of variation to the breaks, I'm going for another blend and I'm going for my height map. Or I can use this one as well. Let's go for flood fill. This might be a bit too noisy. It produces some
noises in some areas. So let me go for the final
height map, which is this one. And I'm going to
bring in flood fill. And it's not complete. So let's go back all the way to the beginning here
and connect that. Or instead. Let's use this one. Let's use this
flood fill instead, which has the color information. Instead I'm going
to use this one. Okay? This one, I'm going to
convert that to a gradient. Random. And it is here, random gradient and lots
of angle variation. And let's bring this alongside with random
gray scale as well. To see which one works better. Excuse me, I should have
selected another one. Search for random, and you will get that random grayscale. Okay, I'm going to
bring this in here. And we should be able to get some cool colors just
by using these belt. This is that. Now I'm going to select
this one and start to pick from these
areas. This is it. And now let me go in
here and I start to bring that down or
use multiply instead. Now, it's not working. Let's connect this one
instead without colors. So clear all, so that you
have that in here. Multiply. Let's bring this one
up a bit or not. Let's not use this one. Let's use the, this one
which has lesser values. So I'm going to
connect this one in here and remove this one. Remove this one as well. So we have a mask in here. I'm going to use HSL, connect that to here. Now I can do some
variation parts. I can take this one, bring the saturation up. So that's some of the
bricks gets separated. So let's change the
heel to something else. And this is multiply. Let's bring it up. Now. I'm going to bring
this one down. And try to give these breaks
a bit more separation. Or let's leave this one B. This is the last one of color
information that we added. I'm pretty happy with the
result that we are getting. And later on we will add
mouse and things like that just by vertex blending. Now as always, I'm going
to double-click on the main graph and convert
this one into one by one, so that everything gets
converted into four K. And now I'm going to
bring in RGB mix as well. Just search for RGB merge. And I'm going to bring
in the ambient occlusion in the blue channel and the height needs to
be in the green channel. And the roughness as well needs
to be in the red channel. After this one, I need to bring in an output and
just name it our HA. Now we're ready to
export these out. We created a really
sophisticated material that is beautiful to look at in all directions and from
all of the distances. So I'm going to go export
this again in here, right-click and export
outputs as bitmaps. And it has already
everything in here. I'm going to add a t, a 100 squared before
anything to make sure that we have the good
naming convention for that. And I'm going to
export now meet you in Blender when the
exporting is done. And this is the result
ambient occlusion. This is the base color. This is the height. Normal. An RHIO needs an alpha channel as well to show the information. So I'm going to bring in a uniform color,
but in grayscale. So this is grayscale and the alpha should
be one. Right-click. Export and Export outputs. Now this is the RSA channel
that will export it as well. Now we are in Blender. Let's create a plane. And I'm going to apply that
material on this plane. I'm going to create
a new material, doesn't matter what we name it. For the base color, I'm going to bring in an image texture and open and use the
base color material. Preview. The very good base
color we created together. Okay, now I'm going to go to the shader editor and bringing
the normal map as well. Open and select a normal map. And I'm going to set this one to linear and bring in a
normal map node as well. This one here, color to color. Just like this. And
normal to normal. This is the material
preview that we have here. In the next one, we
will decide to see if the number of the
breaks are good or not. So let's see what we can do with the tiling
if that is working or not. So I'm going to
make it increments. Select this one, and since
this one is I square, it should tile all
of the directions. Remove everything, and the
tiling is working perfectly. Okay, this is done. We have this to start working and we have
a kid to create, which we are going to
do in the next one. Okay, Congratulations
everybody for creating this one as well. The next one we will go and
start creating these pieces. Okay, See you there.
36. Museum Kit Finished: Okay, everybody in
previous lesson, we created the
material for this kid. And now we're ready to
go to blender and start to do the first pass
of these materials, excuse me, these geometries. This is Blender and the previous material that we created. I'm going to bring it out. The first thing, I'm going
to bring in these in here, and looks like the
geometry is three by four. And I'm going to create
the same geometry plane. And I'm going to make
it three by four. And I'm going to place the pivot right
where it should be. Bring it here. And I'm going to rotate it in this direction and
in this direction. Okay, Now everything is working. All right, I'm going to take
this one and bring it over. And I'm going to
give that material. So give it a new material
from this drop-down menu, use the selected material. Now I'm going to add the amount
of vertices that we need. So I'm going in. And now let's put two in here and three in here to
divide that into three by four. Now I need to go and I start to add that subdivision surface. Which is good. Okay? Now the thing that
we need to do is applying the scale and rotation as well and sorta
UVs out for this one. So we're going to
for, go for the UVs. And if you are seeing that, just select this
image and make sure that this one is
getting previous. Ok. Now we have all quads in here. And in order to make that right, we need to go and make sure
that we select one of them. And using the UV toolkit, I'm going to hit quota and wrap. We need to disable the UV sink. And now codon grab it, did it. And now I'm going to go UV Packer and make sure that I disable all
of these and hit pack. Now, it's actually in here. And I need to bring it, bring everything down,
select them all, and bring everything
down in here. And I want to make sure that every thing re-scaling and
anything we're going to do, instead of being in
this center point, to happen from the 2D curved
surface which is here. And now I'm going to drag it up until I see this
overlapping in here. Which is perfect exactly now. Now this is the amount of bricks that we have
for these pieces. And I feel like
that It's alright. So now we need to cut the
windows in this here. So I'm going to go in here. Vertices here, vertices here, where this in here, and in here. So I'm going to delete
everything that is in-between. Select this one Control plus, and we have these ones
to select as well. So let's select this. And I'm going to pick
up these ones as well. Hand remove them. Now
this is the first one. And of course we have
a second one as well, which I need to take
from this copy. And the second one is only going to have some
different mirrors. And for other things as well, It's going to be the same. So I'm going to take
the name from this one, hit F2 to get the name. And I'm going to delete this one and paste the name in here. And I'm going to
take this one again, take the name, remove it, and paste the name for this one. And I'm going to export
these to Unreal Engine. So I'm going to take these two, the pivot and
everything is alright. I'm going to export. And in Unreal Engine, I want to make sure that I
select this one on this one, right-click and we import
everything you see now, they have been
perfectly important. Now to test that, to see if everything
is working or not, I'm going to bring
in the textures. I need to select the textures
that belong to this kid. The base color
normal, and a mask. And you already know the rules. The normal should be
inverted and the mask should be converted to mask. Basically all advanced detail. And from here just flip
the green channel. And this one should be
converted to masks. Now Control Shift and S
to save everything out. And now we'll need to
create a material. So let's go to the material
folder and these blackouts. I'm going to pick
up one from this. And let's call it. My underscore museum added a 0 so that we had something
just with the name of that. Now, the old thing we need to bring into textures and
put them in their places. Now, I've selected these
and selected these as well, and I'm going to bring
in that material. So let's go in content browser. I'm going to go for materials. While having this one selected. I'm going into details
and paste them in. Now we have done a
very good job on this, although there is a
bit of tiling and here these two bricks are having
different information. So we're going to pay
some decals and things like that to take care of that
we will do that later on. We will bring in
vertex blending. We'll bring in a lot
of things to make sure that the tiling
is going to be hidden. Okay? I'm happy with this one. And now we need to create
these parts as well. But we're gonna do
only the first pass. One thing I just thought
about is creating a basic UV offset in
here so that it's not so repetitive in
here. So let me go. And for this one I'm
going to select the UV and I'm going to offset
it to the right. Basically, I'm going
to offset it in x. So x and offset it a bit. This is going to
break the tie link, but there's not a problem
because we are going to bring in some
pillars and fix that. Although it did a good
job on altering those, but I need to do something else. And that is altering
the UVs NY as well. So I'm going to hit G
and Y to lock that to y. Now, I can take this one and export it and re-import again. Now you see it did a good job in hiding some of those issues. But now the prices that you see, we have a harsh seem in here, which is not what we want it, but since we have a
lot of places in here, we're going to put an, a statue, a pillar or something in
here to cover this part. For example, we can bring in something just like this one. And then nobody is going
to understand that there's a timing issue in here. And this is again a work-around
in using tiling textures. Now that we have these, I can take them and
bring them back. And we already know that these
parts need to be deleted because we replaced them
all with these bricks. But if you're going to
do something useful, you can go and
select all of these. Looks like we have one in here. Yeah, This one was from
the previous lesson. We created the normal map. Okay? Now we have this one selected, but we need to deselect
everything from here. So I'm going to manually
and looks like we have some problematic areas
in here as well. There are some pieces that are overlapping and you see the Z
fighting happening in here. I'm only selecting them and
delete this one on top. And now I'm going
to select this row. And I have selected now everything that belongs
to that brick kit. And I'm going to go in here and give it the material
that it is already. So am I underscore museum 0? To give this its own material? You can keep this
one and use it, or you can use the brick ones. So a believed that this already gives us a
better color contrast. Now let's go and
tackle these ones. And now we are only going to create the frame or the door, as well as the windows. And what I have in mind is
basically something like this. I have something
in these ranges in mind for that shop
that I talked about. This one that we created
the shop in here. I'm going to create something
like this. More or less. We're going to do
something like this, but we're going to use 98. So make sure that we
add a lot of details. Because up until now we have only been
creating flood plains. And you see, although the logic is working and
everything is alright, we have floodplains and we
need to add lots of pillars, a lot of decals, dreams, and things like that to make sure that we bring
this one to a new level. And after that,
we'll lay a lot of material on top of each other to a lot of vertex blending to really make this one customized. Now, I'm going to only
create a frame for this one. I'm calling this
one, this chapter, the first iteration for
something for a reason. Because up until
now we have been importing the most
generic pieces. And for the pieces
that we're going to add details later on, we have the basic material to make sure that they
snapped together. The tiling is working perfect. That color, the composition, everything is
working. All right. After this chapter, we will
add lots of details to make this one rarely molar
amazing to look at now, we have only generate
pieces of details. For now, let's take this
one and go created. And for this one I'm
going to actually put some more details
into the geometry. So let's go into Blender. And I'm going to
bring this one out. And especially I'm
going to look at the dimensions and this
is three by six, okay? I'm going to bring in
a plane three by six. You know, the pivot
should be here. And I'm going to rotate
that 90 degrees in this direction and 90 degrees
in this direction as well. I'm going to make
sure that I apply the transformations as well, controller on a
scale and rotation. And now I need to give this one appropriate
amount of geometry. So let's select it. And I'm going to make
sure that these matches the one meter
portion that we had. This one as well. Now I'm going to add a
subdivision surface and sample. Since on this one I'm going
to add some more details. I'm going to bring
this one to two, okay? I'm going to make
this more special. So let's go back. And I feel like that the size of the window
is actually a good one. So I'm going to Blender and I'm going to keep the size
just like this one. So let's isolate these two. And I'm going to
select this one and apply that to get
the real geometry. And now I'm going to select this amount of geometry and I'm
going to delete them. And up until here, I'm going to delete
and from here as well, controlled selector here. And I need to take this one
as well and delete them. And now I'm left
with this piece. I'm going to select
it and the removal. So now that I'm looking at this, I'm happy with the amount of
space that we have in here, but I'm going to make this one a bit more
interesting to look at. Instead of making this
one a flat plane, I'm going to take
these and I'm going to bring them down one by one. And then starting to
de-select individual ones, start to bring them down. And of course, I need to have the snapping to be turned off. Something like this. Now I'm going to
de-select and again, bring down, this last one, needs to come down to
something like this. Okay? Now created something like this, and we can do the same in here. Okay, let me take these
vertices and I'm going to bring them up and try to do the same
thing with these vertices. Now I'm going to give this
actually a bit of depth. So I'm going to select this whole edge loop and
I'm going to bring it back to here so that we have the frame going on
in here as well. I'm going to make sure that
I snap it to the edges. So let's bring in the box x-ray. And I make, want to
make sure that I bring it exactly one meter away. I'm going to add some
geometry in here. Okay? This is it. And now I need to apply this material on top
of that UV that out. That will bring this material. And try to look at that already. It's not that bad looking. I'm going to select this one. All tangy and to make
sure that let me see, No, it's not working. I want to select every
round face that I have. Just like this one. And I'm going to
right-click and unwrap. But in order to make sure that the textile density is
going to be alright, I'm going to go some steps back and take a
look at this one, select everything, and go for textile density and calculate the pixel density. This is the pixel density. And now I'm going to go in here and try to select this one and set
the textile density. Okay, so something like this. Now this is looking alright,
when I'm looking at it. And now we need to unwrap
this part up until here, and then shift select and
uncontrolled select up until here, right-click
and unwrap. And I want to make
sure that I set the textile density
on this one as well. Don't worry if they do
not feel right for now, we're going to
change them. Okay? Unwrap. Select this one, control, select this one,
control select, unwrap. This is the last
one. And unwrap. If you care that much, to make sure that the
pixel density is alright, you want to select all of them, select everything and
set pixel density. And now everything
has the same size. And if you are going
to make sure that all of the UVs sink, you make sure that we
place them accordingly. So let's see, for such
an area or a really bring in the UV sinks
so that I'm able to select things without
having problems. So let's see what we have here. And we should select this one. And that is it needs to make sure that our blowing
this one rotated. But let's make sure that we bring this one to
bounding box center. And I'm going to snap this
one as closely as possible to this one. So this is it. This is it. We have some problems. I'm taking this one
and I'm going to scale this in x and a negative one. So that in, inverts that for me. So this is now what we
have and this is on top. So I'm going to take
this one and bring that just in here to make sure
that the logic is working. Alright, so I'm going to make
this one as close to this. Now. It's a continuous
piece of work. So for this one as well, I'm going to do the same thing. I'm going to select this. And I'm going to
bring it in here. And I'm going to
compare the placement. So this is inverted. I'm going to select
this one scale and an x. I'm going to
scale in negative one. And this one makes sure that we have that
in one inverted. So this is going to
start from here. Let me take this
one, bring it down. Now this one looks
continuous as well. Of course you can make sure the user snapping, but
I'm happy with it. Now. We have continuous work in here. And for this one as well,
we could do something. Let's select this one. Select this whole
piece. Up until here. Select this one. And let me see where it is. I'm going to bring it here. And I need to see where
this one belongs to. So this is it. Now, I'm going to select this
one and bring it in here. It's going to be a bit tricky, but we're gonna do that anyway. So let's rotate it 90
degrees and bring it here. And I'm going to make
sure that I bring this down to something like this. Okay? This one looks
continuous as well. So I believe that we have
done this piece perfectly. And now I need to make
sure that our export this one and test it
out in Unreal Engine. Okay, I'm going to go in here, right-click and re-import it. Excuse me, there is an
important step that I didn't do and that is selecting the name from this one
and deleting that, pasting the name in here so
that it replaces that piece. So now I'm going to go
right-click re-import. It looks like I
overwritten the wrong one, so I'm going to
bring that one back. We used some pieces. You see this one
has a stairs in it and this belongs to the
entrance. You see the entrance. I should have selected this one, so I'm going to copy this
and remove it and paste it. And now it should be working. But re-import. Now, yes. Now this is where cake. Now what I'm going to do is applying the material
that it needed. Go to details. And the material
is right below it. Okay. Now it's looking, all right. Everything is looking out
right about this one. Now, in order to make this
one really look cooler, I'm going to do something. First. I'm going to bring in this one isolated and
bring the geometry up. And just like the previous one, I'm going to select the geometry and place the geometry in these lines so that I can give this one a bit more detail. So I'm going to go
select this one. And I have a counterpart
in here as well, which for fast iteration, I'm going to take this on
a slide it down in here. So in this one and
this one as well, we have the P star. And I'm going to
take this one and this one for now I'm
going to delete them because I now I only
need to bring in the pieces in here,
something like this. And I'm going to
bring this one out. This one needs to be deleted. I'm only keeping the
vertices in these areas, so I'm going to take these
ones and delete them. These two need to come down
this part and make sure that you use a slight instead of this one is
perfectly in place. This one on this one. Need to go up. And this one and this
one needs to be deleted. And this one, and this one
needs to go up as well. And this one, and this one
needs to be deleted, Okay? Now I can take all
of these vertices and try to buy them right away. In just some seconds you're going to see what
I'm going to create. So let me place these
ones more carefully. I'm going to slide them
right in the place. Well, this one and this one
needs a bit more treatment. Something like this. Now I need to select this one, delete, this one
and delete as well. I'm going to select
every vertices in this cement lines,
just like this one. And I'm going to do a bubble. Okay? Something like this. And now I'm going to do an
insert, something like this. And this instead in sudden
needs to be continuous. Now I'm going to scale these in so that I'll create
a piece like this. Of course that is not like that. And I'm going to use
individual origins instead. So I'm going to rescale
this up just a bit. Now. I'm going to
insert them in. Something like this. Now you see we have some depth happening in
here, which is cool. So in order to make even
creative in more detail in here, I can take this and start
to bring this one out. Or I can take these vertices, for example, this face. And I can bring these out.
And it doesn't matter. We get a bit of a
stretching as long as we get some cool
shapes to look at. For example,
something like this. This is going to add lots of
good detail in the texture. You see. Now we have a lot of cool
detail happening in here. This is going to really
take that to a new level. And later on, this is going
to be the best kid that we create because
we're going to add lots of cool details in it. So I'm going to select these, select them just like this
one and bring them out. And these two the same. And this one they say, Okay, we created a bit of silhouette
in here, which is good. Okay, I'm going to
take this one and export and try to look
at that in Andrea. Right-click re-import. Now we have a bit of
silhouette breakup, which helps us a lot in
the creation process. Now I'm going to
do the same thing for the lower piece as well. This already took a
lot of time to create. I'm not going to create
this store from scratch. First, let me take the
name and delete it. Now, let's not delete it. I'm going to bring
this one and I'm going to latin this side. I'm going to take all of these. I'm gonna go in here and
make sure that I hit Alt L and Latin to bottom,
something like this. And now we can take
this one or this one. And before actually
removing that, let me bring in the name
from that and remove it. And now this one, it can be renamed to that. And I'm going to export that. And this is it,
Right-click and re-import. Now I'm going to take
this one as well. And I'm gonna give you the
material that it needs. Okay? Now we created the piece
for this building as well. You see it's more or
less different from the pieces that are
accompanying that. It's more intricate. And later on when we add
those details again, hints going to be very
pleasing to look at. Later on. We will add those door frames and the windows as
well in these parts. I believe that this is enough
for this window as well. And up until now we have been creating the most generic pieces that belong to the building kids who have created these windows, the roof types, all of these
frames and things like that, and created the first pass. And now the thing
that remains is this costume wolf parts. These streams that need
to be bit more care. These pillars that also need a bit more attention to make
them really high-quality. And these pillars, the pillars and between these custom pieces, including this tear
and also the windows, frames and ornaments and things like that
that we add later. These were the most basic
things about building kits. And I can tell that finally the first pass of the
buildings has been finished. But now we have the street kid, as well as a sidewalk and allocate need to be finished as well to call
this first-pass done. Now, the only thing that
remains is creating the street and
sidewalk and allocate, which we're going to
do in future lessons. Okay. See you there.
37. Intro to Zbrush: We finished the building kit and our understood that
the texture in here, it looks a bit repetitive. So I'm going to
do the same thing that we did for the
previous month. For these to create
a bit of variation, I'm going to select this one and take everything and in
the UVs just randomly place them somewhere else so that the texture
looks a bit different. So let's go and see
what we did exactly. Suggests select them and
randomly place them somewhere. Okay, and now I'm going to
take this one, exported. This one in here. I'm going to re-import them. Now you see the texture
in these parts changed. But we are saying this
path zoom in here, and that is what we're
really not a problem. We will create some pillars
to cover these parts. We needed the amount of
variation to get from this. This was inevitable to do. We're going to fix that as well. So I'm selecting this one. And this one, I need to take
this one which is flat. And it looks like the
naming went round, actually went wrong actually. So I'm going to take this one. You see this as entrance window, which this one should
actually be the stairs. Instead. I'm going to copy the name and copy this one out so that I can take the
name from it later on. I'm going to change the name
on this one to something else and copy the name in here. So I'm going to export. This should fix the
problem to some extent. We did that on there, and now we need to fix the
problem on this one as well. So this is the entrance. I'm going to take it
and delete this one. Paste the name in here, and remove anything odd. So export, right-click
and re-import. Now we have this flat piece that is perfect for
the staircases. This was a mistake that I did
and I fixed it right away. And now it's time to go
and think about these. I'm going to create maybe a
couple of materials for it, for this sidewalk,
ally, and a straight. One of them is going to be the road material and one
of them is going to be the cobblestone
material that I'm going to create right now. And the next material
that we might use for this one is maybe I'm going to take this material and change it to something and
use it in process, for example, maybe in this
alley and use it there. And these are the references
that I have gathered. I'm going to create basically
something like this. It's a cobblestone
material that I'm going to use for this area
or this sidewalk. And then I have
the road material which we are going to make
it in this direction. Maybe I created the tiling one anti
elite in this direction. And we may add also
some decals to make it look like it's
going in this direction. These are two main materials
and I'm going to take this one also alter it may
be use it for this alley. And these are some references
that can help me out, especially this one,
which is helpful. And you can see this
one that we can alter the geometry to make it look
like having more details. And in here you see that there's a bit of UV
thing happening in here. The UV for this one is
rotating in this direction, and this one is rotating
in another direction. And it's not hard
to create at all. We need to only create couple of polygons and make them
look in other direction. And maybe you create
something like this as well. This cobblestone material
and maybe some waters for blending and these four
colors and things like that. So basically this is the whole reference that
I have for this one. Now we're going
to start creating processes for now because I
do not need Unreal Engine. I'm going to close it. And I created a file in
substance named data straight. And now we're gonna
do the cobblestone. And we have everything
set up in here. And I create a road material
in the same graph as well, not in the same graph or create a new subgraph for this
street and created. Okay, Let's start creating. And before that, let's
actually do something. Let's go to material. Make sure that we set
it to tessellation, metallic roughness, and in here false and disabled
that are XX normal. And I'm taking this
one and bump it up to there and make it open. So you already know these. And now I can also go because
this is material that is somehow similar to those brick
materials that we created. We can go and use a
times tile sampler. For example, we can go and
bring in the title sampler. Let me bring it. Can bring in the title sampler, start to do something like this. And then after that is
try to sculpt on that. But now I'm going for
a different method that we have not tried yet. I'm also going to bring
in the child's sampler. Let me disable anything
so that it's by default. And now I'm going to create these individual bricks,
these cobblestones. I'm going to create
height map for these. And I'm going to
do the sculpting before the title sampler. Of course we are going to have a sculpting as well
after sampler, but I'm going to do a lot of the process before the
tile sampler as well. And up until now you see
that the tile sampler, what's the starting point of the materials
that we created? And we started mainly with
square because two brakes and a lot of the
materials that we created where a square based. And now we're going to
go for another method. And if you drag this
one out in the pattern, you see that we have
a parent input. And in here you can bring in
any pattern that you want. And when you go into ZBrush, start to sculpt something
and bring it back here. And you know what? I've talked about
ZBrush and right now, just on the fly, I decided that I'm going
to create a cobblestone. The individual cobblestones,
which are these ones, and create them inside of
ZBrush and then bring them here so that we learn another method for
creating the material, the environment, artist way. Of course, it makes sense to create all of that
insight substance. And you see that in here we
created this matter real, for example, this break, and it has a lot of nodes. We have a sculpted, a lot of things using
these height maps. And we repeated the process and got the best results every time. And for the roof material, we did another thing, we baked. And actually we created the base using the high
poly method inside Blender. We created a tiling plane
and baked it and bred in. And I started to do a lot of things and this
was another way, for example, it
would make sense to create a lot of nodes. If you are a substance artist. And it means that
your texture artist, a specialized in substance. And you are going to tell people how professional you are in using these nodes together again and again to create a
result that you want. But in here we are
environment artists. And the main thing that a lot of people are going
to care about our portfolio on our
work is the composition. You bring things together, how fast you can do something, and how beautiful
you can do that, and how many methods you know in order to reach another gold. And you see, for
example, in this method, in these cobblestone, excuse me, in this rule, for example, we could have gone and created a lot of nodes,
something like this, to only create one
of these shingles and then bring the child
sampler and start to do that. But we chose a faster
way and created that inside Blender because it has a bit of geometry to it. And we were able to create
that geometry inside Blender a lot easier than what you can do
inside substance. For example, to create
something like this, one of these ones, you can go and for example, you can bring in a shape. You can bring this down to create something
that you want, for example, something like this, to create
the base of that shape. And they can go and add
Bevel, for example. And bring the bubble
down just a bit. To make it flow in
another direction. You can go and bring in a blend. And using that blonde, we can bring in one of
these gradient maps. For example, this one. I can take it, bring it here, and let's
rotate it 90 degrees. And try to blend this with the result that
we have to get something. Let me select this one. You need to cycle through different ones and start to
get something that you want. And since this one is not actually the same
size of this one, you might get a bit
of inconsistency. So let's go for something
like a multiplier that works. Actually. I'm going to get
transformation to the, I'm going to actually
double-click on this 11, click on this, so that I can control this by
looking at this. And I'm going to bring
the size actually down to this and bring this one as well to make sure that they
have the same size. Now we have that, and
now let's look at that. You see it's tiling. So we need to go to
tiling and make it absolute and make it no toiling so that we have
no tiling in there. And this one, and
this one can now overlap each other to
create something like this. So we created a very, very basic shingle that
needs to be detailed now. And after that, I can bring in, for example, another blend. And I'm going to bring in
another gradient as well. Just search for gradient. And you have them here for
example, in this case, I'm going to bring this one and blend it and set
it to mean darken. So that we can hit
something out of it. I'm going to bring in a trend formation 2D and rotate that to
something like this. And you see that we have
created something like this, but you can go continue add nodes on top of nodes to
create something like this. And of course, I'm telling
you that if you're a substance artist
and you want to show how you can create these shapes using these
nodes and procedurals. It makes sense, but you are
in an environment artist. And the one thing besides
getting a good result is how fast actually you
can get to that result. And we created
something like this, but it's a matter of
clicks inside Blender. We go there, bring in cylinder and rotate it in this direction and do
changes that you want. And if you're going to
make that hyperbola, you can go and try to give
it the subdivision surface. And let me make it Shade Smooth and to
30 degrees as well. Let me bring in a
Bevel and after that, you see more or less we're
going to create a shape. But this is a lot faster. You see inside substance, we really invested in a lot of nodes to
get a basic shape. But in Blender, we will
able to do something like this in a matter
of just some clicks. That is so easy. Now for this one, for this cobblestone material, I'm going to do the same thing. I'm going to create some shapes
in Blender and then bring them to ZBrush to start to
add lots of details on them. And then I bring them inside
substance spake them, and then add on top
of them so that we create the result that
we want a lot faster. And by a lot, I mean, a lot that you
cannot even imagine. Okay, I created a new scene
and name that cobblestone. And I'm going to bring
that unreal mannequin as a reference. This is it. And now I'm going to create
the very basic shape of those cobblestones,
which is rectangles. You see all of these are
form of a rectangle. Some of them get displaced. Some of them are a
bit more square-like, but more or less, it's all rectangles and squares with a lot of details
added on top of them. So I'm going to, compared to the size
of this mannequin, I'm going to create
some basic shapes. You see this one is way
bigger than what we wanted. So this is actually good for size of a
normal cobblestone. What we're going to do inside
ZBrush is taking this one, for example, a sculpting
special details in this side. Sculpting a lot of special
details in this side. And a sculpt a
special details on every side so that we can
take that for example, let me do something on this one. I'm going to bring in some vertices to tell you
that what we're going to do. And this is an example of what we are going
to do in ZBrush. Although this is
only a single piece, do a special details on every
site so that for example, when we bring this one into
substance and bake it, we get a variation
from this side, a new variation from this side, any variation from every site. And basically from one cube
only we get eight variations. And we are going to be as
efficient as possible as well. This is the cube, and now
I'm going to copy this one, bring it over and make this one something
like a rectangle. And if you do not have a
lot of ideas go into here. And I start to see different size of each
brick to see what it does. For example, I'm going to
take these to bring them up. And I'm going to take
this one, for example, make it a bit smaller
in this side. And I can take this
one, bring it over. And I can take this
one, for example, make it smaller in this
side so that we have lots of bricks with
a lot of variations. So I believe this is good for starters and I might not
even use a lot of them. This is just to
say that how many variations you are
going to get from this. So compared to the size of the human, I'm
happy with this. So I'm going to take the
human and delete it. And I'm going to take them
and apply rotation and scale, a scale on all of them. So again, I'm going to do
the same for these ones. You see there are a lot of messy things in here which
needs to be corrected. Plays scale and rotation. When I take them, the
rotation scale is the same. So just hit Alt and g to bring all of them
in the same place. And I'm going to export
this as a single FBX into ZBrush so that we
start sculpting process. And for sculpting,
it's better to have a pen tablet so
that you are able to sculpt and lots of
cool details that are not going to be done
using mouse button. So having a pen tablet
is going to be a lot more efficient
or creating those. So I'm going to take
all of these and export them as a single
f vx just in here. And I'm going to call them. We sculpt. Just cobblestone,
three scopes and limit export to select
objects and hit export FBX. Now, we're going to open
ZBrush for the first time in this tutorial and
do a short demo of how things are
going to be in ZBrush. So here we are now in ZBrush. And your ZBrush might
be different to mine because I have put a lot of the shortcuts and things that are
used in the view. So to be able to see anything
we're going to import. So we need to go to this
tool menu unimportant. And these are the files that
are one term, pretty cheap. They are having no
extra geometry and I'm going to bring
them and hit Okay. Now it brought down perfectly imitate control
and L, excuse me, controller and drag them and go into edit mode so that
you are able to see them. And if you see
something like this, just hit Control and l n, excuse me, Controller and
this shortcut that you see, the clear out the Canvas. So go to sub tool menu, and these are the amount of
objects that you see here. We have them all in here, but since they are overlapping, we see those Z fighting
happening there. This is the first
cube, the second, the third, fourth, fifth. Then we have what we exported to lumped
from Blender in here. And if you see so many
of these shortcuts do not be scared rarely because I bring in a lot of the things
that are used regularly in here and bring them into the user interface so that I do not have to go every time, for example, to go and bring
in the trim smooth border, which are used a lot in it
to go into this light box, go to Brush, scroll
through here, find the trim smooth border, for example, this
one, and use it. That is so simple
or drag it into the user interface so that
use only a single click, I'm able to drag it out
and start using that. Or for example, when
I'm going to sculpt tiling inside ZBrush,
which I have done. I have this offset, which is just like that array that we use the inside Blender. It's going to offset
this one, X, Y, and Z based on a
value that you put. For example, this clay buildup
is good one for adding volume into this this
dam standard brush is going to be great for adding those tiny cracks that we were able to do
inside substance. And the key to start working in ZBrush is to not
be afraid of it. If you're going to drag
something in the user-interface, he's simply go to
preference and config. And in here you want to
hit Enable Customize. Now we can take something. For example, we go into this geometry tab and
bring this Z remeasure on. For example, if you use 0
measuring your workflow, just go hover over it, Control and Alt, and then drag it into
the user interface. So now you have it in here, and you see that when
I hover over this one, It's going to select the
main one in here as well. So this is a shortcut
where everything that I use regularly
bring in here, create a shortcut so
that I do not need to go in all of the menus
and start to find them. So if you are going to remove something from
these shortcuts, you go over the shortcut,
not the main one. You go over the shortcut, Control and Alt and drag it
out into the main viewport. So it's gone. And if you are going
to save your changes, you go disable this 1
first and then save UI. And this is going to
save that in a file that you can store
somewhere in, in, in times that you changed your version of ZBrush
or lost something, you can go back low DUI. And that is basically
something like this. You'll save that as UI Config. And every time you needed, you go unload the conflict. And if you're going
to see this conflict, every time you see
this store config, then it saves whatever
you have in here and we'll remind them when you
open ZBrush the next time. So in order to be able
to sculpt on these, we need to add lots
of geometry on them. You see here on active points we have less than a 100
of points in this, which is not really a good one. In here. In total, you see
we have this amount and this total is the total amount of all of these
sub tools in here. Active represents the one
that you have selected. And since all of them are
having the same number, we are seeing the
active 98 in here. So now, for example, if I go try to sculpt, you can hit S to
increase the size. If you are going to sculpt, you're not going to see a great result and you see
a lot of faceted edges. And that is because we do not have a lot of geometry in this. And if you are going
to see the geometry just hit shift and F. And you see that we have only those vertices that
we created in Blender. And in order to be able
to sculpt on this, we need to add lots of geometry than one
way to add geometry is hitting Control D. It's going to subdivide that
and make that as smooth. And if you do not want
to make that as smooth, you want to go in these menus. One thing to note that I
have brought this divide. In the viewport, you hit it. It starts to divide
the surface for you. And now I can start to, for example, the white this
one and get the results. So if you're going to
see that the white, you can go in this geometry tab. And under the
geometry main menu, you have this device,
which is you see that it highlights both of them. So you want to hit this to
add some geometry example. Let's add more. And don't be
shy to add lots of geometry. Zbrush is good at handling them. So now if I hit Shift F again to exit out of that mode
and start to sculpt. You see that? Now we get a lot
better transition in here. And although we are seeing, we are seeing some
faceted edges, but there are a lot more better than what
they actually were. So I'm going to hit Control Z couple of times
to go back to that. And if you want to only add geometry and not a
smoother result, you want to turn off
this as smooth and you see I have dragged that
one in here as well. So you only disabled that smooth and then hit the white
as many times as you want. And you see, although now
we have lots of geometry. And if I go to shift and you see that we have a
lot of geometry in here. Now, if I try to sculpt, you see we are able
to get that result. But if you turn this
as smooth as MS, as MT stands for smooth, it's not going to
smooth your results. But main way that I really
encourage you to start using is using DynaMesh instead. Because DynaMesh not only it's going to give you
lots of geometry, but also it's going to reorder the polygons so that every
time you try to sculpt, you get the best result. For example, I'm
going to hit divide. And you see, now we have a good amount of
geometry on this one. Let me go in here and
start to sculpt on this. And now you see that because we didn't have even
geometry in here, you see we have a lot
of unwanted results. If I tried to bring in the dream smooth bores and uninstall
to sculpt on this one, you see, I get a lot of
bad vertices in here, which I'm not really liking. And that is because
we have a lot of a stretch things in
here, stretch polygons. So the way to fix this
is by using DynaMesh. And this is the DynaMesh button. And you can access that in
the geometry tab in here. And DynaMesh. So we want to use the DynaMesh. And right away, let's put the resolution to
something like 512. I do not want to blur this one out because this
is something like that, as smooth but not as
strong data smooth, it's going to only
shift some polygons away to make the result
to be a bit smoother. So if I hit DynaMesh
now, excuse me, hit DynaMesh, put the
resolution to 512 DynaMesh. Now, it has changed the number of polygons
that we have here. And now if I go n, you see that if I
hit Shift and F, You see that the
polygon distribution is a lot more cleaner
than what it was before. And it has made a good thing removing a lot of bad stuff
that are happening in here. And if I bring in the
trim smooth border, bringing the sculpture is down, you see that I'm able to do a clean sculpt in here
without having an issue. Okay, I really suggest you to use DynaMesh instead
of subdividing. Of course you can do
subdividing been, but in a lot of cases
are really only use DynaMesh because not only it
gives us a lot of polygons, but it gives us the perfect
polygon distribution to be able to get
the best result. Because if you're going
to get the best result, you need to have even
quotes everywhere. So that, that is something
like textile density. If you have bad polygons in here and good polygons in here, you're gonna get
better sculpting here. So DynaMesh is
going to vary fast, handle the polygon
distribution for you. So now I'm going to go, you're going to see
this horizontal line that has a lot of steps. You can go, you can go back in time to
wherever that you want. For example, let's
go back all the way to here and do something. For example, let's hit DynaMesh. And you see that it's changed that line there and
remove the story before, after that, excuse me. So now we have that cube
and if I hit Shift and F, If we go in here,
you see that we have a perfect polygon distribution
that is happening in here. And I really suggest you again not to add lots of
DynaMesh resolution in the beginning because
you want to have big detailed scopes first and
then medium and then small. If you have a lot of
vertices in the beginning, it's hard to manage them. So I encourage you to start
with lower resolutions and then slowly go up as you start to add
those finer details. For example, let's start
with something like 32 and bring the
blur down DynaMesh. Now you see we have this
amount of geometry and now, excuse me, I divided that
by 12k, doesn't matter. We still have low
amount of geometry. Do some sculpting, for example, let me bring this one here to some peak
shape of sculpting. And when you made sure
that you're happy, then you can go and add details. You can bring this slider down, for example, to 56. And to read DynaMesh, again, you need to hold down
control and drag the mouse in here so that
it will DynaMesh is, and now you see it added lots of new geometry and the
polygon distribution is perfect as well. And then you can go and start to fine-tune
that there are, for example, adding those
finer details in the geometry. So it's always
better to start with lower amount of polygons
and then gradually go up. This lesson is already
taking too long. I'm going to finish it after the next 0.1 of the great ways to add a lot of details in ZBrush using the
alphas and masking. And you can create the masks. And those masks are basically
black and white data. Just like the masks that
we created inside Blender, excuse me, inside substance. You can bring them externally or use some of the
default ones in here, you go to this alpha and
you have lots of masks. For example, let's
take this one. And in order to be able to select this one,
the better way, of course you can go and use this clay brush because
that turbo spools brush, trim smooth brush was not the best-case for
using the masks. So now you see that
by dragging this, you see I'm dragging lots
of lines after each other. If you are going to take
another result, for example, you can choose different
stroke method, for example, using rectangle drag and using another
Alpha, for example, this alpha, which also
has white values, black values, and
values in between. And you can drag to
start to undulate the surface just like what
we had inside substance. So now I'm going to go and bring in another alpha
that we created before. Only simply just
hit it this import. And I'm going to bring
that height map. One of the materials
that we created, of course, that was so
heavy, it didn't read it. So I'm going to bring
this one instead. How you say it replaced that and now we're going to try to drag, you see, it starts
to bring that. But also since the
intensity is not too much, we're not getting a
lot of that result. You see more or less, we are able to see
that result in here. And you can also do some things to the
Alpha itself in here, it has a lot of controls go to this brush settings
and often texture. You can, excuse
me, not this one. That is another muscle in here, which is this alpha that
I have dragged in here. So you can go and modify
the Alpha, for example, add a bit of contrast and you see the result already
happening there. So let me bring in the contrast and bring
the intensity up. You can bring in
basically everything. This is not the best example, but you can already
see that what we can do using that
offer direct method, just like this one, added
a lot of cool details. So I'm going to stop
this lesson now. And in the next one, we're going to do the sculpting on this. Okay. See you there.
38. Sculpt Tiles in Zbrush: Okay, everybody in
previous lesson, we wanted to actually create those cobblestone materials
in there, inside substance. But I decided to do the
first pass inside ZBrush. And we did a quick
intro to ZBrush to see how powerful the
software is and how we can sculpt lots of details
very fast and without needing to working with a lot of nodes to get
the result that we want. Now we have these and all of them are in
their basic forms. I'm going to do DynaMesh
and all of them. So DynaMesh basically, and you get this
amount of vertices and now it's very good to start
to add details in there. And one of the
brushes that I use regularly is the
trim smooth border. You can find it for you. You can find it in the light
box and in the brushes tab, you can go to the
stream and that is it, trimmed smooth border.
You can use that. And another one
that I use to add some cool details just like the cracks and things
is **** standard brush. And if you're going to see that, and also the most common
brushes in ZBrush you can go, he'd be just search for it. For example, the, you can
see that the dam standard brushes in here and there's
a shortcut in here. And if we hit b and D, it isolates all of them
that start with D. And now I can hit S
so that it starts the dam standard
brush for me and it can start to do those cracks. But now, since we do
not have a lot of cool details and a lot of
polygons, this looks blurry, but if you start to add a lot of polygons and just look at that, you see that the result
is a lot better. So it's recommended to start with a smaller
polygons, for example. I'm going to first, a lot
of times when I'm going to do something sculpting and then bringing the Move
brush and the shortcut for Move brush is B, m, and v. So you see that the
move brushes in here, just take that and
try to drag it out. And you see that because
we have, in here, we have lots of polygons and you can not even
count the polygons. We're not able to
manage the polygons very good because it
has a lot of polygons. But if we go down
to something like this one and I start to
change the silhouette, you see, I'm able
to do that better because this is now having
less polygons to manage. And I'm able to take
this one and do some changes in the silhouette of this one, which
is a lot better. So always start with
lower amount of polygons and then move
on to the next steps. This blur out and start to increase the
resolution and drag out so that it sorts the
polygon distribution for you. And when you are happy with it, you can go to Trim smooth border and I start to hit these edges. And this is mainly
the first thing that I do on a lot
of my sculpture. You see, this is just like that. A slope blur gray scale
inside substance designer. But since we have
an Alpha in here, it has reduced the effect. So I'm going to
turn the Alpha out. Now you see we have a
smoother transition. But if you're going to make
it really more contrasty, you want to go to this Alpha
and select this Alpha. And because it has a lot
of weight values in it, it's going to create
a good contrast. You can see that now the
contrast is a lot more. If you're going to make the
contrast really too much, you want to go for this one because this is absolute white. And you're going to get a lot of contrast in your sculpting. So a lot of times I bring
in one of these Alphas, either this one or this one, when I'm going to
use the Trim smooth border to add lots of cool details and a
lot of contrast. So now that we have
this one setup, I'm ready to move on to see the silhouette in a lot of places just when you're
going to rotate something. You can do that by
left-click or Bye pen mouse, just drag it out. And if you're going
to snap to the grid, you can hold down Shift and Alt. And it's snaps to surface that you want and just go shift. And you can drag
it out to be able to see a lot of the
different silhouette. This is the first one hand. Now I'm going to add
some details and now you want to really
have a clever choice. Of course, we have a lot
of cobblestones in here, and we can go
sculpt all of them. There is no one actually
stopping you from that. But actually, what's the
point of a sculpting? All of these with a
lot of unique details. We can go and live with
only a couple of them and take these ones
and delete them because in the end of the day, these ones are going to
be baked into a material. And the material is actually in the ground level
and the player is not going to distinguish a lot of these details
that you sculpt. For example, in such an area. See that player is
actually not able to distinguish a lot of the
cool details that you add. So it's not really making a
lot of sense if you're going to sculpt all of them
and to a lot of details. So now, right now I'm going to take these and
delete some of them. And to delete them
in this sub menu, just go for delete. And as always, okay,
delete some of them. And I can live with these two. And these two have
different proportions and different silhouettes. One of them is more
square-like and this is more like a rectangle. And I can get a lot of
cool details from these by going in every detail,
in every side. I can sculpt a lot of details
and we can duplicate them later on and take them inside substance to get
a lot of these details. And to save a bit of time, we're not going to
actually do a lot of a sculpt on a lot of instances. These two are going to be okay. Because as I said, if this one is a hero piece
and the player is going to be seeing a lot from
close distance. It makes sense to
add lots of details. But since this one
is going to be baked and the player is
going to be seeing that always from two meters
above from the camera. It's not going to
really make sense to do lots of sculpting. So always you need to ask
these questions from yourself. Always check to see if you have created save files
enough so that you do not lose a lot of progress because ZBrush
sometimes collapses. And if you lose a lot
of sculpting process, it's going to be very bad. And you're gonna lose
a lot of time and you're going to do that
again, which is a pain. So make sure that you create some files and a sculpt
and save frequently. And to save, you simply
hit Control and S. And it brings you this
menu and you see that one. I'm going to sculpting ZBrush or create some variations
from my file. And I save on them frequently. For example, uh,
do some sculpting 20 minutes after
that, I saved one. I do some sculpting again. Ten minutes after that. I save on this one and frequently change them so
that when I lose a progress, I lose mainly ten or 20
minutes of a sculpting, not for example, five
hours of sculpting. So make sure that you
create some files because ZBrush, sometimes
when collapsing, it ruins your save file and you have to create it from first, create some variations from
your safe file and save incrementally on different files so that you have a
backup to go back to. So now enough talking, it's time to go and sculpt
and to rotate around it. You simply using your mouse pen, just rotate to pan it. It can hold down Alt
and pan to rotate. Simply do something
like this to Zoom, you hold down Alt and
drag your mouse wheel. Excuse me, drag your left-click
or mouse and let it go. It goes, it's going
to zoom in and out. And these are the basic
things that you can do in order to sculpt
until lock on a view. You can hold shift so that you snap to a certain
degree and you can use this mannequin as
a reference to see which side of the thing
you're going to sculpt. Okay, Now, let's start a sculpting and now we have
good amount of polygons. And since I'm going to
add some cooler details, I'm going to take this one, study two to 56. And now in here, I'm going
to hold down control and drag so that it gives me more
resolution to work with. Now, later on when
you sculpted this, when we, when we are
going to bake that, we do some copies
and every time we rotate in a direction,
for example, one in this direction, one in this direction
so that we get maximum amount of
versatility out of that. Okay, I'm going to
trim smooth border, make it a bit bigger
and I'm going to use this one instead
because it has some buffer zone to work with. Let's go and start to
work on these edges. And this is mainly
the first thing that I'm going to do on
a lot of my sculpt start to hit this edges to make sure that I have
enough room parts in here. And as I said, it's better to start
with the maximum, minimum and minimum, the
minimum amount of polygons. And then when you
gradually move up, start to add more volume, to start to be able to add
a lot of cooler details. And as I said, I'm not going
into super sculpt this one. I'm only going to add
some details and then bake them inside
substance and try to do a lot of details there. Because it's good to have all of the softwares in your arsenal
and to see which one does, which progress
better and faster. And use that instead. And not be really a
fan of a software. You're not a fan of a software. You are a customer. And you want to take the best
out of each software to be able to get your result
better and faster. Now, do some sculpting and make sure that you do it randomly. You see in this one in here, we added lots of good details. So let's go for
this part as well. I'm going to hit this edges. And since we do not
have lots of polygons, there's a little bit
of faceted in here, which is not actually a big, big problem because
we're going to do a lot of alphas and
on top of this, these would govern themselves. Okay, now, let me zoom out and try to hit
these edges as well. One of the things that kill your CG production is these
lines, these sharp lines. And you want to avoid
them as much as possible. Even for, especially for man-made
environments and things like, for example, sci-fi
environments. It's good to have
these sharp lines. But in something like this, which has a lot of interaction and a lot of
people have touched it. It's going to not have
a lot of sharp lines. So you want to kill these sharp lines
whenever you see them. And I do that frequently and I'm going to get the best
results every time. Okay? Now, do something again in here. And as you go along and
looking at lots of references, you know that, which, in which parts you
need what details? Now, let's add this one in here. And as I said, this
is going to be baked and not be used as
a separate piece. So it's not really
making a lot of sense to go and make sure that this
one has lots of cool details. Because although this is
going to be baked into material as well as we can
do lots of more sculpt, additionally scoped later on
with substance down the way. Let's sculpt lots
of these edges. Okay. You can take your sculpt and
when you're hitting that, just do not put, not separate your pen from the tablet so that you're able to sculpt in
that direction only. And you can see that when I'm going to create a new direction, for example, in here, if I hit that every
time it's going to sample from the point
that I'm sculpting on. But if you do something like this and never pick your pen up, it's going to continue sculpting
in the same direction. Always. If I sculpt on this one, it's going to sample
the normals from here. And if I bring it here is
you see that it's coming to change the normals
based on this one. And this is another
technique that you can use to make sure that you
add a lot of details. So you see that I have
done something like this. Now let's take this
one and delete it because these two shapes
are a bit similar. Okay, I'm going to remove these. Now. I'm looking at this on a lot of sites.
I'm happy with it. I normally do not love to
see some smoothness in here because this is
not a smooth surface. This is a stone and a
stone is very rough. So if you are happy with
their scoped, then fine. But if you're not happy
with the sculpt on, you're going to add some volume or subtract from the volume. Clay buildup is your friend, and the clay buildup
is very harsh. And if you start to sculpt, you see that it starts to
add lots of volume in here, but the volume is not
so well presented. It adds volume. And now you can go and
pick this one up and start to hit this to make that
look that you want. For example,
something like this. You see, we added some volume and subtract it
from that and skip. Speaking of subtract, you
see in here we have Z sub n. It means that it's going to subtract from the surface. And now you see that when
I'm going to a sculpt, it's going to subtract
from the surface in order to revert this and
invert it and use Ziad, you can hold down Alt
wireless sculpting. Excuse me, you can hold, hold down Shift to make it. Now, shift is going
to smooth it. So if you hold Shift, it's going to sculpt, it's going to smooth
that for you, okay? It might be something
that you want or not. And if you are going to
make this one z sub, instead of converting
that to z add, you can hold down Alt and
you see that it changes. And now if I sculpt, it's going to do the reverse of what it is in here actually. And now it's z sub. If I hold down Alt
on the object, It's going to make it z at. And if I make it z add one, I'm going to try to sculpt. You see, it's starting
to add detail in here. And if I hold down Alt, It's going to do the negative. So holding down alt is a
good option to be able to cycle through and do
the results that you want. Now, let's go. And it's a good
thing to always take a look at the references to see which details we can
capture from the reality because we are capturing the reality and bring
them in the engine. So what, what's better
than having a lot of cool references that you can look and take a lot
of details from. It's going to help you a lot during the
sculpting process. We added some details. Of course you can go and start
to add a lot more details, but I feel like it's
enough for now. And in order to add
them more detailed, more customized detail,
we're going to use Alpha. And this is a pack of
alpha that I have bought. Externally, and I'm
going to use that to give some extra
details to this one. And this is an Alpha. And just like the alpha that
we created for height map, it's inside substance and
it has some values that the white parts are going out and the black bars are going in. So I'm going to use
that Alpha and drag. And now you see it has added
lots of cool detail in here. And if we are going to
sculpt this by hand, it's going to take forever. And one thing to note that
when you are going to sculpt, it's going to affect
the backside as well. And you see that I've
sculpted in here, and this part got
unrelated as well. That's it, Control
and Z one time. And now you see that it's gone. And if you are going to
back face mask that one, you can go into brush. And in here there should
be auto masking option. And now back face mask. And I have drag this one into the user interface so
that I can use it. So you can enable
the back face mask. And now, if I try to sculpt
bit of detail in here, this part, it's not
going to get affected. And for the Alpha as well, you can go for negative
to something like this, or you can go positive. And now you see we have added a lot of cool details,
but before that, I'm going to actually
go and redo, increase this one to 1024. And DynaMesh, again to add
a lot of more details. So now we have a million
and a half polygons. And if I try to drag this one, you see we get a lot more
high resolution results in here, which is a great thing. And now let's go
backwards in here. Okay? And these are going to have a good result when we wake
them inside substance. And now I'm going for
other alphas as well. And it's a good one to invest in these Alphas because
they had a lot of cool details and the scopes
that would have taken forever and it can build them
inside substance as well. I'm going to demo that for you so that you can use
alphas as well. For example, let me go
into this library and I'm going to create a crack
brush so that when I drag, it's going to add lots
of cool cracks in there. So I'm going to go bring this grunge and I'm going to use the
distance node as well. So hit D, I yield, cool. You're going to
bring the distance and bring the distance up, Okay, now you see it tries to connect them all together to
create something. It's going to take them, extrude them until they
collide together and it stops. Now, bring in edge detect. So this is the edge detect. I need to bring this
down and around us as well to separate a lot
of them from each other. And you can change the value, play with the value a bit to get the result
that you want. So let's go in here
and try to bring this down until you get the
result that you want. Let's say that we're
happy with this one. And let's use
another grunge brush instead to see what result
I can get from that. So this one is better now. Or even instead of
using this one, let's use this cell one. And this is great for
adding those cracks. So it has already created
those gradients for us. Let's bring in the edge detect edge width down and
roundness down as well. So we have this one. And now I'm going to
bring the scale down because I want to create a
relatively bigger crack. So let's take this one and
something like this is okay. So I'm going to add a bit of edge roughness to add a bit
of as the roundness in here. So this is good. And now I'm going to work this and I'm going
to use multi-word. In this instance. This multi-word is
going to warp that in a lot of directions based
on a value that you put. So I'm going to use Perlin noise because it
has a lot of cool details. I'm going to make it lower and bring the intensity up
to something like a 100. Now it has a lot of details, but I'm going to do
something like this. Or instead, in this instance, that directional warp is
going to be a lot better. So I'm going to take
this one and delete it. And now this is
going to work a lot better in only a
single direction. So let's select this 11 pop the intensity to something like this and in another direction. And now I'm going
to invert this. So invert grayscale. And now I'm, in order to add a lot of details
already in this, I'm going to bring in the
slope blur, gray scale. And in this one that's bringing the lovely clouds to
connect that in here, I really love these
clouds to note, no, it's one of the best
insights substance. So samples up, intensity, down. Now in here, you can set
it either to Min or max, so max is better. Now we have created
something that we can use to sculpt inside ZBrush,
something like this. And if you want to
keep this the way that it is, you can use it. But I'm going to create
a mask so that we have a sphere mask,
not this one. So let's bring in the shape. This shape instead of a square, I'm going to use
something like this disk. Now blend these two together. And I'm going to make it a
subtract, reversed this one. Let's take this one and bring in and invert gray
scale as well. Now, let's go cycled between the modes to
see which one you get. The multiplier was the case. So now in here you see it has separated some of them for us. I'm going to take this one, bring the scale down so that
it limits the selection. And it's better for
authenticity of your object that you're
going to create. So I'm going to take this one, bring this scale up. And now you see it
is a perfect circle. I'm not liking to work
with these sharp lines, so I'm going to bring in a directional war and warp
it against these clouds to. So let's warp it for example
to 14 and in this direction. So now you see that there's
a bit of softness in here. I'm going to bring in the transformation to D and turn off the title
in the tiling mode, I'm going to set it to absolute
and turn off the tiling. And I'm going to bring
this one all the way in the center and try to work
with more. It doesn't matter. So let's, let's
actually bring in the vertical tiling,
something like this. Now instead of subtracting this, we're subtracting
this from that. And now you see we get
some more values in here. So this one, we can
exported using this icon, save it as a bitmap, bring it into ZBrush. Or you can bring in one output and try to put
a name, things like that. But I'm going to use
this icon instead. So save this icon so that it
saves this one as a bitmap. I'm going to save it here, just named something
that you like. And for format the
tiff proofs to the quality better than PNG
and you can use PSD or tiff. So let's go for tiff. In this instance, it's
going to export it. And now let's go in here. And I'm going to bring this
clay buildup as an example. In this alpha, I'm going
to go and hit import. And now this is
what I have here. A brought that in. And let's try to sculpt
with that on the surface. So the mode should be to drag rectangles so
that you drag on it. And now you see it has
added those details, but now it's additive. I'm going to hold down
Alt to make that Z sub. Now you see it has added a lot of those cool details in here. And it's like somebody
has gone there and start to sculpt a lot of
cool details in here. And you can invest as much as possible and bring Alpha
library over the time. If it was too strong, you can take the z intensity, bring it down and test again. And you see that looks
like somebody has a sculpted a lot of details
in it so it can bringing, create a lot of cool
alphas over the time, start to save them and use them. But to save a bit of time, I have bought these
external pack and I'm going to use that. And it's just like you
have gone and bought this externally
from someone else. So make sure that you check this back face mask on so that in every side we
have a cool detail. Let's go for this side. And I'm going to
select this one. Let's add a bit of
detail in here. No, let's make it subtractive. Holding down Alt so that it's subtract some
of the surface. Now we'll see in 3D in every side we have
something to work with. So make sure that the back
face mask is turned on. And in this side, let's go
and bring in one other. For example, this one, back face mask on. And you see that how many beautiful details you can get using these alphas. And even without the needing
to have a lot of sculpting. So let me bring this one in. And on this one as well, it did a good job. It did a great job. And adding a lot of details, some hits the cat that now
you've seen everywhere. It's looking like it
has been a sculpted, especially for this purpose. So now I'm going to save this file and then start
to sculpt on this one. So this one already
has the shape. I'm going to add the DynaMesh. And first thing that I'm
going to do is bringing in the shrimp smooth border and I start to hit some
of these surfaces. Let's go ahead and none
of these surfaces, and I'm not going to make sure that I'm going to
be so careful about this sculpting because
this is going to be baked and I'm not
going to put a lot of time or actually
waste a lot of time on a sculpting super
high-quality details. So something like this and
make sure that you ruin these sharp lines only
to get a good result. Now, there are some
more lines remaining. You see. In future you are going to
see how fast and beautiful this method is going to be
for adding a lot of details. And then later on when we made sure that we bring
this into substance, we bake those there. Before adding these
into substance. I'm going to bring
them in Blender and make sure that
I bake them there. I would bake them inside
substance and then try to bring in the title sampler
and start to sort things out. Okay, now, let's sculpt
more of these edges. And when I made sure that
these edges are good, I'm going to pause the lesson and the next one Who will add those finer details and
start to take them. It's a good thing to start
to learn Substance Designer better in order to be able to sculpt a lot
of cool details. Make them height map, to be
able to sculpt inside ZBrush, you can add a lot
of custom details. Just look at pictures from nature so that we can
bring in a lot of references and take
your sculpting into a new level without adding a lot of hand painted a sculpt. This one is done, and now I'm
going to pause this lesson. And the next one, we will finish this out and
export them to Blender. See you there.
39. Substance 3D Designer Bake: Okay, This is where we left
in the previous lesson, and now we're going to continue the sculpting
antibodies coating. I mean, bringing these
and make sure that we give this enough detail to
be able to work with it. Let's bring this one
to 1024 as well. Read DynaMesh, so
that we're able to drag those alphas and
start to work with it. And you see that with
the same resolution, we were able to take million
polygons from this surface. And DynaMesh works in a way that the bigger
the object is, the more geometry is
going to add this one. It added a million and a half because this
was a smaller and this one it added a
lot of more geometry because the surface of
this one is bigger. So the bigger the surface is, the higher it's going to bring in the details
and geometry. Then when you bring
an alpha here, might encounter some problems in some areas, just don't matter. Go and start to bring in the smooth brush by holding down Shift and a smooth surfaces. So let's use this one in here. Try to add some details. And I'm going to
cycle through between different brushes to make sure that I have different
results every time. Let's use this one in here. And let's use not that intense. Let's bring the intensity down to something
like this. Okay? Now, we need to sculpt in here. Let's bring the intensity
of this one down as well. Sculpt only some details. You see that I'm
not adding lots of details in this one
because this is so intense and I need some some breaks to have lesser details and some
breaks to have more details. Because if you make
all of the details, all of your brakes to
be fully detailed, you are going to get art fabric. And by that is that if you have too much
noise in composition, the eye of the player buys off the player do not know
where to look at. So you need to put some
resting points so that, for example, in here,
it's not too intense. We have a lot of intensive
in here because these are going to stand together inside substance
when you bake them. If all of them have
a lot of details, it can not with the
details correctly. So you need to have
some resting point that the player can have a rest. Now, this one is okay as well. Now I'm going to bring these two and export them to Blender. And the way to export it means
that you select one that you want to export and
go to this export tool. In here, you want to set a
format and my preferred, preferred format for
exporting is the FBX. Doesn't matter what the
name is, just export. And there are some
options that you can use. One is for exporting, which now I'm using the all o means that everything in here
is going to be exported. The first one is selected. And it means that when, whenever I select something, for example, this instance, it's going
to export only this one. So I'm going to set it to all so that it exports all of them. And you can set this one to be triangulated and a
smooth normals as well. So let's hit, okay. And depending on the number of sub tools and the
amount of polygon, it's going to take
a bit to export. One thing now that
are understood is first let's open the
blender and import these. So this is Blender and
these are the default ones. You can simply delete. And now I'm going to
bring in a plane and make sure that your plane
is set to a squares. I have reason for it. Okay? I'm going to double the size of this square and the
star to import those. So I'm going to import FBX, and this is the file. And now I'm going to import FBX. And now again, depending
on the complexity of the geometry and the amount of geometry and the file size. It's going to vary a lot. So now we are bringing this
and we know that now we have 7 million polygons for
these, which is too much. And it gets worse even
when I'm going to copy these six times h. And it makes it more
than 880 million polygons for all
of them and it's going to explode blender. You see, we have a lot
of cool details in here, and I'm going to remove this. And there's a good way
inside of ZBrush to be able to reduce
some of the geometry. And it's decimating
the geometry. And the cool thing is that if
you decimate the geometry, you're not going to lose
any of these details. And by that I mean, I'm going
to take this one and take a duplicate and created a new saved version so that
I do not change those. So I'm going to take this one and I'm going to go
to the Z plugins. And this Z plugin. Is in here. If you
do not see that, just take this one
and drag it in here. You see it's already there. So I am going for Z plugins
and there's something in here called decimation
master, which is this one. And it's going to decimate the geometry based
on these values. First, you need to
hit pre-process. It's going to calculate
the geometry. And depending on the
complexity of the geometry, it's going to take more or less. It did it. And after that, we
need a percentage, for example, 20 per
cent of the geometry. It should keep cube so
it doesn't meet current. And you see, now we have
lesser amount of geometry. It only kept 1 fifth of it. Now the good thing is that
if I hit Shift and FVC, it has been triangulated and the amount of polygons
is very less. So now I'm going to select
this one and compare it to the original geometry which has a million and more than
million and a half. Just compare them. Even in this very close up
view, they are similar. And ZBrush does a great job at reducing the poly count
and keeping the quality. You see this one. And this one are
totally similar. And that gets even better when
we bake this, for example, the player is going to see these breaks in such
a distance always. So they're not going to guess a lot of details that are gone, although not a lot
of details are gone. So I'm going to take this
11 thing again to make sure that we get one-to-one ratio
is that turn these two on. Select these two, select this one that
you want to project. And going to this menu. And we have this project. And this is going to project a low poly onto the
high-quality to make sure that we have
the one-to-one ratio, though IT projects all. And it's going to take
a bit of time and reorder these vertices in a way that you get the perfect
one-to-one ratio with hyperbolic geometry. So you see the
re-projection is done. Now, let me see. Here I'm going to turn this off. And you see, we have no, really no difference between these two and they are the same. So I'm going to
turn these two off. Now. The turn is for this one, of course it can go in here and try to decimate
that even more. It makes sense for
something like this. Because as I said,
the player is not going to see them from close-up. But let's keep this and try
to preprocess this one. And now because
we know that it's going to keep a lot of details. I'm going to duplicate it. Now. Have dragged a
duplicate in here, and I'm going to
decimate this one. Of course it needs
to pre-process, so let's use this one
that was preprocessed. So decimate. And now we get this
amount of geometry, but it's too much. Again. Let me take this
one preprocess again. And because now we
have lesser geometry, it's going to take faster
to calculate that. So now let's bring this value
up and decimate current. And now compare this by this. And you see they're identical,
perfectly identical. And although this one has very, very fewer amount of geometry. So I'm going for
this one as well, pre-process and decimated
again using that number. Okay, now, we didn't
lose anything and reduce the amount
of polygons ten times. Okay, I'm going to take
these two decimated ones, this one and this one. And I'm going to
now go for export, having these two only
turned on export. And I'm going to overwrite that previous file with the same settings
I'm going to export. Okay, I did a mistake and
that was when I exported. I didn't limit the selection
to these ones only. So I'm going to go
for cube as well, overwrite it and this
time instead of all, I'm going to set visible so that only these two visible
ones are going to be exported and finished now
and now let's go important. And now you see the
file size came down to 14 megabytes from that 180
megabytes ready to us. And it's going to be optimized
in a lot of aspects. And you see in here, we
have 0.5 million polygons. And instead of having 7 million polygons only
for starting pieces. So now, just take a look and you see that we have not
lost any of the details. Now I'm going to take
this one, remove it, and bring the plane just
the way that it is. Okay? I'm going to
convert it to 12 chunks. So let's bring in green
here and two in here. Okay, It's not 12,
but let's keep it. And now what I'm going to do is because we have
a squares in here. I'm going to place this one
in the center of that cube. And by that I mean, I'm
going to take this one, Bring it in the center, and make sure that you bring it into the center perfectly. So now I'm going to bake this on top of this
plane inside substance. Now, let's bring this one up and I'm going to
duplicate it sometimes. So now you see the real
benefit happening in here. In the previous one, we had lots of geometry and
duplicating those would cause something like 18
million polygons to be a single blender file. And even taking them into
substance would be a huge pain. And now we're really
more optimized. So I'm going to take
these two again and duplicate them in the
center of these squares. And I'm going to take this
tool, bring them down. It doesn't matter if you do
not have something here. So I'm going to take
this one again, bring it in the center. And I'm going to duplicate it. Take these two, duplicate them. I'm going to take these two
as well, duplicate them. By the first duplication, I want to make sure
that everything is in the center of these cubes. And for the rest of it, I'm going to take all of them. And since the period
has been centered, now, I'm going to rotate this
in different directions. For example, I'm going to rotate this 190 degrees in this direction so that
we get the new one. And you say, this one is
different from this one. I'm going to take this one
and instead of 90 degrees, I'm going to explore
rotate a 180 degrees. So now you see we get a new more variation that is different from the previous one. So this one, instead
of a 180 degrees, I'm going to rotate
that 250 degrees. So we have the rotate
in here as well. Let's put 270 in Z. So simply let's add another 90 to get that variation
that we want it. Now you see we have
four different ones. And it looks like
these two are similar. And let's take it
again and rotate it. And I'll rotate it
again to get this one. And now you see we have
four different breaks and they are different
from each other. And this one, I'm
going to rotate it 90 degrees in this direction. And this one, I'm
going to rotate it negative 90 degrees
so that I get the cap and the
other cap as well. Now you see from
only a single brick, we were able to take out six different variations and six variations in here as well, equals 12 different breaks. And this is going
to create a lot of cool details inside
Substance Designer. I'm going to take
this one rotated 90 degrees in this direction. And this one should be
rotated a 180 degrees. Okay. This one, I believe
should be rotated 270 degrees, just like this one. Now, let's look at them. And you see every time we are going to
get a different result. And this one is going to be rotated in this direction to see the top cap and this one in this direction
negatively to get that one. Okay, now you see we have
a lot of more details, basically 12 pieces from
only two identical ones. And you see because the
optimization that we done, instead of having 818
million polygons, we have only 3 million polygons. And now I'm going to take
this one and make sure that the UV is set correctly. So this is the UV and the default
Blender UV works are right. And these ones are going to
be baked inside substance. Now, I'm going to make all, take all of them and
give them same material. All of them should have
the same material, that substance nose, these
are belonging together. I'm going to take this one exported and limit
the selection. And I'm going to
make this one LP because it's the
low poly and I'm going to revert the
selection to these. And let me take this one, the camera and the light, and I'm going to delete them. Now we have this and
I'm going to export them as FBX and just call this HP or high poly limit to select that object
and hit Export. Now that they exported, I'm going to open
up the substance and open this file simply. And now I'm going to
right-click in here. And I'm going to import
resources. Import. Or it doesn't work
with 3D meshes. Let's link instead of
important link 3D meshes. And I'm going to pick
these two from here, open. And it's going to
calculate a bit. And done. Now, I'm going to right-click on this and
bake model information and you already know
the rules I'm going to select from resources
and select this HP. And I'm going to take
tests normal map, set it to OpenGL. And I'm going to start random. And it baked, but it needs to extend the cage a bit so that it takes all of the details. Now. It's working better. And you see that it has
captured a lot of details. And one thing you
can do is removing this we're value and
a start render again. It looks like it
didn't do anything. So now I'm going to do the main bake using
the height map. So I'm going to bring in two for k and the anti-aliasing
to four-by-four. And let's do the final bake. And looks like we did
something wrong in here. Let's put this one to the default value
that it was this one. Okay, Now let's do another bake. It looks like we need to
extend the cage a bit. Now we have more
details in here. Now let's do the
normal map as well to see if you have done
everything wrong or right. So you see now all of the details have been
captured perfectly. And it means that we are done. The thing that we needed
to do is actually bringing in the frontal value so
that it extends the cage. So you know what that means? It's going to extend the
case to something like this so that it captures
every value in here, including all of these. Now that the baking is done, let me bring the
height map in here. And first things first, let's as an altered level, I'm going to convert this
one into a normal map. And I've bumped up
the intensity to 15. And now let's make it OpenGL
and try to test it in here. This is going to be the normal. And you see a lot of details and a lot of those
scopes are here present. And this is really the
good way of using those. So I'm going to connect this one into height and bringing RT, Oh, and connect this
one to that as well to see how it does using the ambient occlusion
and things like that. Okay, Perfect. And it has added a lot
of good things in here. You see a lot of
those are sculpt, are present in here. We can see those as well. And if you see some
problems in here, including these areas, you can go and try to bake the
opacity map as well. So let's go take modelling information and I'm going
to bake the opacity. Opacity. So start render and you see it created a black and
white data as well. So I'm going to bring this one, you know, where
this one should go. This one should be blended
on top of this one. So I'm going to blend
these two together. And this one needs
to being multiplied. So now you see it
has removed a lot of those parts and it has taken
only these parts, is it? This one has a lot of bad
details happening in here, but this opacity
mask takes all of these and renders only
the opacity things, the only thing that it sees. And it's going to remove a
lot of the problems for you. And now you see in here
we have pure normal map, although in here we
have normal map, but there were a
lot of issues in here, including these parts. So the opacity is going to
solve a lot of those for us. Now we created the logic
and the kids are in here. In the next one, we will
start to create a generator from this that we can use that inside our
creation process. Or actually, let's
make it just now. So now we are in
this cobblestone. Let's right-click and
rename it to a stone maker. And I'm going to
remove everything, everything from here
including the normal, we only need the height map, and later on we'll convert
that to normal as well. So we have these, I'm going to bring in
transformation to the, so bringing that transformation to D. And I'm going
to zoom on this, because I have divided this
one into four by four pieces. I need to zoom on 400 by 400, and it takes a bit of calculation to see
which works better. So now I'm going to go to tiling mode set to
absolute no tight link. Okay, now I need to offset this. To 0, offset this one to 0. Let's go for 0, absolutely 00. And now I need to
zoom on them so that I'm able to select
different bricks. And this one, the
first one is this one. Let me remember the shape of it. And now I'm going to go
and make this one soda. The first one comes in here. So this one for the first this is the first
brick that we get. And it's just like a finished
piece that we created. Let me offset it to this side so that it's
absolutely centered. And now I'm going to
copy this one again. And this time I'm
going to change this until I get the next
break coming in here. So you see every time with every generator we are able
to see different breaks. Okay? Now I'm going to copy
this one once more. And this time I need
to change this one. Bring it here so that this
one is centered Absolutely. So on this one, let
me copy that once more and bring it back until
I see something like this. So now you see I
have captured or different brakes on that
and using different values. So I have four in here. I need two more from this to capture the caps
of this brick. So I'm going to take this one
and bring it over to here. And I'm going to scroll this
until I see the CAP words. This is the cap words
right in the center. I'm going to copy this one
again and remove this one. Bring it down. This time, a scroll horizontally to bring
this one in the center. Now, we have all of these pieces separated
into their own pieces. Actually see all of them
have been centered in here. Now we can take
these, bring them up. Let me see if I can copy
them, bring them over. Now in here, I need
to change the Y. Instead. I'm going to change the y
to something like this. Okay? Now we're getting
that motion happening. K on these ones, we need to change
the y to this value. Double-click the Scylla results, and change the y until
you see this one. So I'm going to bring
this center a bit. In this one, I'm going to
change the whiter data as well. And bring this one
right in the center. And this is the last one
that I'm changing, this one. And let's bring this
right in the center. Okay? Now we need to
manipulate these tools. So let me see what
I'm going to do. I'm going actually
to change the y. And we get that one as well. And change the y in here. And this is another one. You see there are different. Now we created these
and now I'm going to create different
outputs so that we create a node just
like this one that has different outputs and we can
use them inside our work. So I'm going to go
select this one, change the output,
and you only need to change the output to
something that you like. For example, I'm going
to rename this one, break the 0101, okay?
Now this is done. Now I'm going to copy
the whole thing. Make this one too. And it's a matter of
only creating outputs. And you are going to understand in a minute just what
we're going to do. The good thing is that it changes the name
automatically for us. And it changed this
one too for the great. So this one is going to be
five and another outputs, and this one is going to be six. Okay, now let's copy this one. I'm going to name this one
brick 0 to underscore one. I'm going to connect
this one to here. Connect this one to the second. This is the third one. The fourth one. And these outputs
are very important. They're going to be the
bones of our creation. And you're going to understand
why just in a minute. So let's connect that. And you see, we have different
ones happening in here. And now we have two
outputs in here. But I'm going to save
this as the stone maker. So now I'm going to go
new substance graph. I'm going to name
this one cobblestone. This is the actual
thing that we created. And now let's see what happens. I'm going to bring
this one in here. And now you see in here we
have two different outputs. And if you select
on all of them, you're going to see
what creates that. You are going to see every
single break that we created. And now this is just like a Node installed
inside of a node. For example, for a test, I'm going to bring in
the title sampler. And instead of using a squares, I'm going to use parent input. And for parent input, I'm going to make it for
four different inputs. I'm going to bring
in different bricks. Now you see it populates it with the details
that we have here. Now let me go and
bring the scale up to something like this. Now you see the
different brain being side-by-side together to
create very good thing. And it looks like we
have created these. Let's connect that. And you see the result
happening in here. Of course, I can go and
start to bring this one down to something like this. Make this 18. This one is 16. Okay. Now you see what
we're getting here. This is the normal map as well. Let's convert it
to OpenGL and this 115 to see all of the details. And if you're going to
randomize them, you can go. And in this parent
input distribution, you can choose anything
that you want. The best one is random to get more randomness and for
rotation as well, you want to. But to the rotation that you want and rotation
random as well. Symmetry, rotation. This might be something
that you want or something that
you might not want. And you see that I'm
going to go in here. You see this one is
a different book. This one is a different work. This one repetition, this
one different brick. And basically you get a lot
of the details that you want. So let's bring in this one in the y to
something like 0.5. Now you see in here, it created basic cobblestone
that we wanted to create. This is basically the method
that we're going for. Now let me add an
auto level after that to make sure that all of
the details are pronounced. And this is the variable. And after creation process, we're going to continue
this and create it. And since it's using
the substance tiling, we're getting perfect tiling in here without,
without any problem. We learned about a new creation
of the material method. Hope you have like this one. And in the next video, we're going to start detailing this out the Substance
Designer way. Okay. See you in the next one.
40. Testing Patterns in SD: In previous lesson,
we learned that we could do something that we could have done inside substance, in ZBrush and get a
lot of variations. And now it's time to go and
start to lay the foundations of this one and then continue to iterate to create
what we want. Helen previous one, we created this stone maker based on
the baked data that we got from the ZBrush
file that we brought in and created this basic thing. This is actually
not what we want. It was just to visualize how powerful
this is going to be. It's your job as an
environment artist to look and see which method
works better for you. And you have already
seen that we created a lot of materials with different methods that you learn how to work in the
best scenario, when to select the
method that is the most appropriate for you
to create something. Okay, now it's time to go and create the height of this on an already we have a lot of height and a sculpting
details on this one, but we're going to take that further and create
something better as well. Now, let's look
at the references that to see what we
are going to create. Any, you know, that this
is going to be used for the sidewalk kid as well
as the street gate. And although he's going to
tie in all of directions, I'm going to make
it have a bit of directionality so that
it compositionally, it can tell the player that this is a street to go that way. So let's go to references. And by looking at these, I found this image
to be interesting. And you see how directional this or you see that
they are going and flowing in this direction
and makes it a really beautiful to indicate
that this is a street. And although you see it's
styling but its direction. Okay, Now we're going
to repeat that. And luckily, in
substance there's a note that allows us to mimic
exactly this shape. And that node is
called arc pavement. And you can find
that in patterns. And this is the
arc pavement note. And you can see that it
already and tries to lay those just the way that
we need them and it works just like
the title sampler. We have a lot of settings. And in here, instead
of using a square, we're going to use
parallel input so that we can plug in these bricks
and that lays out for us. And I'll load this is going
to give us some results. Let's remove this and
do it in another way. And let's demo that to
see what we are going. And then I continue to
build on top of that. And now let's say that we're happy with the placement
of these bricks, although we're going to
change them later on. And now I'm going to bring in a directional warp after that. And this is to work
these into a direction. And to warp them in a direction, we need basically a
gradient map as something, a black and white mask that
will help us go that way. So in here, Let's go search for one of
these gradient maps, and I'm going to select this one which has a directionality. So I'm going to make it
go in this direction. And now let's see what
happens on these bricks. And you see a little bit
of undulation happening. Now, let's make them bigger and you see they're sticking to this side,
which I do not want. So I'm going to
turn the degree to be something Ninety, exactly 90. You see, we are seeing a
triangular shape in between. And that is because we have a lot of contrast in this area. And I do not want that. So let's now, let's do something like
this to see what we get. And you see, we are
actually getting something by tiling
this one to this. And because this is tiling, it's going to help us. You'll see that
it's making some of the bricks slow in that direction and some of
the bricks in this direction. And you see, now we have
more control over this. Though. Let me go and bring
in basically a histogram. And now we're going
for histogram range. This histogram range levels everything out so that
we have better values. And now you see it's not so
contrast in here anymore. So let's go in here
and instead of 20, let's add 14 instead. Now you see how beautiful it has placed the brakes for us. And if I tried to
look at that in here, you see we barely have any visible tiling in here,
which is a great thing. So now this is a
bit CGI because it has a lot of CG lines
that are going in there. So I'm going to take this one and change some things in it. For example, I'm going to warp it using your
directional warp. Let's bring in the clouds to, again to work this just a bit. Now you see, because they are
a bit of warping in here, the warping in this one
as well gets placed. So let's take this
one and warp that. Let's go four or t. Now you see we get more chaotic
distribution in here. So let's bring that
down just a bit. You see a happy accident
that happened in here. It's bending these
just like a tick icon. So in order to Avoid some of these sharp lines. I'm going to bring
a blur after this. Blur, high-quality
grayscale who already up and intensity
down just a bit. So now you see it has
added some of that for us. In order to make that
go in this direction, I'm going to make that goal up and start to work
that really much. Let's go 4 thousand. And it's very chaotic now. So let's bring that to
something like this. Now you see we have a lot of good things
happening in here. Now let's go. For this Perlin noise. This one is also good
one because not only it has a lot of the
cloud noise features, but also we have the ability to control the tiling and it's
already blurred as well. So this one. Now you see how
that is happening. Now you see this funny effect happening in here
which you don't want. Let's add just a bit of
undulation to the surface. And let's see how the
brakes are doing. This is what we get
actually basically. You can do a lot of
things with this one. For example, let's go
and bring another blend. Or instead of blend, let's do what we have in here. I'm going to blend this
one and bring in a shape. This shape. I'm going to use this one to make these
bricks in the side, stay in their own places. So let's bring the size down
to something like 0.25. And now I'm going to
offset this to this area. So you know what we
are going to do, we need the transformation
to D and I'm going to offset it in x in
this direction. So let me see exactly
to this area. Or he is going to
be the best value. Now let's go in here, and exactly this
is what we want. So let's go into tiling, absolute tiling, and
I'm going to make it no tiling so that
we have only in here. So I'm going to put
this one in here. And let's do a scroll through
these to see what we want. Actually. It turns out that this
one is a good one. But I want these bricks to
stay in their own places. So I use Add. Now, let's look at these. And you see we have these
bricks are standing up in here. And these bricks
being unrelated. If I tell this to see, we have a lot of direction, this breaks and you're
saying this harsh lines. And that is because we have
a lot of contrast in this. So after this one I'm
going to add a blur. Blur, high-quality,
grayscale quality up. And now you see it
already tries to match the shape the
best that it can. Let's go in here and try to bring the value down even more. Okay? You see how using this Warp, you're able to change
the shape of the bricks. And now these are staying in their places and
others are moving. So it looks like really
do not want this one. So instead of this, I decided to use another
gradient on top of this. So let me go into
gradients and I want to take this one that
is exactly the R channel. So let's title this sometimes
and add on top of it. And how we see how with manipulating the shapes we are
getting different results. So let's go in here. And to add this one into this, you see we get more undulation in the
surfaces of the bricks. And you can manipulate the
shape to see what you get. And even, instead of
using this blend, I can take this one and warp
it again in this direction. You see, let me
bring it to perfect 90 degrees and try to work
that this is the result. So I believe, like I'm
going to keep this because it has some
rows of bricks, for example, this is a row, this is another row
in another direction. This is another row in
another direction, and so on. So let me go and do another
work, directional work. And I'm going to again work
that against this gradient. But this time, I'm not
going to try that. Let's bring this linear gradient again and work with using that. And I'm going to make it go up. Let's go for something like 40. This is because we have most of the gray scale white value. And here it's going to work pretty good in that direction. So we can go higher. And try to see what results
we can get from it. I'll compare that
before and after. It looks like we
need to go more. And you see, just like this, we're now getting a
very harsh value. And I do not want that. So let me take this
one and bring it back because we have some
harsh lines in here. Let me go and bring in the photo gray scale to be able to cover some
of these harsh lines away. So let's see the tiling. And I believe that
it's going to work. I'm only going to cover
some of that area. Okay. Now, let's look at these. And now you see,
because of that one, we're getting some
unwanted results. So I'm going to take that back
and use this one instead. And check to see if
everything is working. Alright. So to see that better, I'm going to add an
auto level after that. And it looks like I need to take this one and drag
the results down a bit to something like this so that we do not have a
lot of those harsh lines. So it looks like this
one, a good value. We have directionality,
these ones going in this direction and these
ones in another direction. It's actually a great thing to be used in the street kids. So let's go in here and bring the numbers down to
see what we get. Now, the directionality
is more prominent. So now that we have a lot of
randomness in these areas, it's time to go and actually use the title sampler
to create our work. And I worked this one unnaturally
in purpose because this belongs to street and it has been interacted
with people a lot. People walk on this and do a lot of damage to the
surface of the street. That is expected
from something like this to have lots
of unnatural it is. So let's take it
and remove that. And now it's actually
time to introduce these kids and make them a bit better and start to
randomize them even more. So in here I'm going to
go actually make this 110 by one so that we have
more pieces to look at. Okay, now let's look
at the details. And details are
standing glute there. And let's select this 11. Click on this one to
be able to change the setting on this and
see the results in here. And this one now
is the preview of this one in rotation random. Let me see what I can get. Now. Let's rotate them in
their own directions. And for scale random as well, Let's see, add a bit of
random scale in these areas. And for y, let me go. Now that one is better. There should be a bit
of position random, know, it makes it
really chaotic. This is good for adding
pebbles and things like that. But for something like this, we do not want that
to be so chaotic. And offset. We have already added a
lot of offsetting here. So let's see. And you see this
beautiful effect because of the work that we have added, the come in here and go up, and then after that come down. And you're seeing the animation happening in here,
which is a great thing. So offset to this one is great. And actually let's
go in here and bring the word value a
bit more subtle. Something like this. Now that one is better. So let's go in here and try to change some things to
make that more random. So we weren't offset. And now full rotation
make them all rotate in this direction. And you see, again,
happy accident. You can try to change
different settings to see if you get end result
that you like or not. So this one already
did a great thing. I'm going to do another
copy from this. And now I'm going to, for this
one, disable any rotation. So I disabled the rotation. This is the result. I need to plug this one, n, so that we get this. And now I'm going to mix these two together
to get our results. So I'm going to add a blend. I'm going to blend
these two together. So I need to take this one
and offset it just a bit. Or let's see the
result first and then try to offset it or not. So now I'm going to mask these areas so that when I blend them on top of each other, we get something in this area and for the
rest we use that one. So let's bring in the shape. Again. This shape, I'm going to make it 0.25 in this direction. Then again, use the
transformation and bring it exactly to this area. And let's bring it here. This is actually what I want. So let me see what we have here. I want to keep these ones. So I'm going to plug this one
into the mask map inputs. And go in here and all the
way into the mask map, area, mask, MAP threshold. I'm going to drag it out so that you see
we keep these ones. So now I need to make
sure that I take this one and start to decrease the size
until we get this one. Okay? This is actually perfect. So now you see we're getting
such a result in here. And that is because we need to apply this one in
the mask map area, but also invert that as well. So let's go in here and try to go into the mask MAP threshold. You see this is the result. We need to invert that mask
map invert actually enabled. And now you see we have more
things happening in here. And let's set that
to screen again. Makes latent. Yeah,
This one is better. That add an started to
introduce a lot of bad areas. So Max Leighton
is the way to go. So you see now after this
one you see we're getting some directionality and
it looks like that we have created a
railing on the side. So that is actually how we create things inside substance. And by looking at this, I'm really happy with the
results that we're getting. But I need to go in here, which is having this bad parts. I need to take this one and
offset it just a bit in X or Y to see which
results is better. So it looks like this
one is a better one. Now let's go in here. And instead of having that value is start to
increase the brakes. And that was a no. Let me bring in the brick size down so that the scale
is more uniform. Now, try to reduce from that. Now you see we have only one
railing happening in here. And let's bring in
the wire mounts up. And we have some
empty space in here which we can bring in some dirt, sand and things like
that in this area. And actually, let
me add a blend. Let's not warp this one. I'm going to bring
this one out and add a blend in here and
then see the results. And not warp this one actually. So I'm going to
connect this one to the warp so that this
one stays on warped. Looks like that gives
me a better result. So now I can go and
individually try to work this in this direction without
getting lots of bad errors. I do not need this blend either. So I'm going to take this
one and connect it to this and put the mode to Mike's light and so that
we do not get any errors. So you see kind of a sidewalk happening in
here, which is great. And now let's go in
here and actually double-click on this area
to see the final result. And just one click in here to see the
settings on this one. And I can go into this
mask map area and change some settings to see if I get something that I want. Actually, let's go in here. I want to take this
one and bring the size down to actually manipulate
the mask better. Okay, now you see we have less the areas in here,
which is great. And now it added
these breaks as well. Okay, now let's go in here to see which ones
we have plugged. And I'm going to use
these ones, these parts. This one, and this one
should be alright. So I'm connecting this one to
here and this one to here, so that we have these
counterparts in these areas so that the
brakes are different. So again, this one and this one. Now let's go in here
and check the results. It's good. Now, let's check
the final result. And it's a good one as well. We have some bricks that are
randomly placed in here. So now let's go do
something clever. I'm going to randomly remove from these bricks
because these are all regular rectangular
bricks and we have not used these breaks
in the formation. So in here I'm going to actually go and start to introduce
the mask random. This one to remove. Some of the bricks
intentionally. Okay, now let's go see
the final results. And we have a lot of
areas happening in here. And now I'm going to create
another child sampler. And this time instead of using
this rectangular bricks, I'm going to bring in
these bricks instead. So let's go for
this square bricks. Now I'm going to bring them
and I'm going to place them in the areas
that we have no, none of those
rectangular bricks. And you're going to see in, understand just in a moment. So let's see what we have here. This is alright. This one needs to be changed. Let's plug this one. Now see the results. Now, this is the
result and now we have a lot of these ones
present in here, but I want to go
and remove the mask random so that we get
from these as well. So let's go and bring
the offset down. Or make it something like this. And bring the scale
random as well down. Now let's do something
instead of using this one as the mask map inputs, I want to remove
that so that we're getting the breaks that we
want in here perfectly. Now, I'm going to place these breaks where we have
the black areas in here, which are these areas. So I'm going to create
a normal map from this. Well, let's make it OpenGL, make pump up the intensity. And now after this one, I'm
going to create a mask from this normal map to identify the places where we
do not have these bricks. So let's bring in
ambient occlusion. Looks like it's not doing. So let's use the height instead. So ambient occlusion, RTO. So now I'm going to bump up the height to get exactly perfectly these
areas to be darker. Now I need to invert this one. So I'm going to invert
it inverted grayscale, and now it has created
a mask so that darker areas are now
having a white value. So let me go and try to
change that even more. So let's see the result. And I'm going to take this. And let's see what the HPO
ambient occlusion does. Again, I'm going to invert it to create a black and
white mask from that. And this is it quality too much. And I believe this
one is a better one. So I'm going to connect this
one into the mask map input. And try to go in here in the mask MAP
threshold and try to remove any break that
are not in those areas. So now I'm going to do a test blend between
this one and this one. Now I'm going to set
it to max lighten. Let's go in the map of
this one in the mask. Go in here and try
to bring that down. It looks like we
need to invert it to get the result that we want. Now you see in the areas that we do
not have these bricks, It's going to be
populated with all of these bricks and leaving some
areas untouched as well. So I'm going to connect
this one instead of two. This Warp. Now looks like I've
done the wrong thing. I'm going to plug this
one in the top one. So you see, now we have
more breaks in these areas. And of course we can go in here, go on this top one, and bring the scale down
so that you get better. And alongside with
bringing this down, you need to go in here and try to introduce more
amounts in here. If you want. Actually, it can basically do something like this and see every result that you want. But of course, since this
one is not going to be good, I'm going to take
this one and delete it because it has
become chaotic. So I'm going to connect
this one in here and go in here and bring the mask
MAP threshold down, excuse me, mask random down so that we get all
of these bricks. Now this is the result
that we are getting. And let's actually
connect this one into this ambient occlusion to see what results we
are getting with that. So now these are the bricks. This is ambient occlusion map. And now we have
white parts in here. This is the result. And now let's blend these. I'm going to bring in a blend, connect this one
in here, this one. And this one didn't give me
the result that I wanted, and I want to use
this one instead. Okay? Now, after all of these, I'm going to take this
one, right-click, Add a frame and
call this one base. This one is the base height that we're going to use for
the rest of the things. If you see a lot of
contrast in this one, that is because we have a lot of contrast on these bricks. Let me see here. These
two are actually white. I'm going to take this one and actually replace it
with these two instead. So that we get a
better distribution of the bricks in here. And now let's look at this. Yeah, it's better. This is it. We have created this base. And in the next one who will go and start to detail
this one out more. And this is the result. We have directionality, as well as the chaos
and randomness and multiple selection
of different parts all in the same package
using these nodes. Okay? The next one we will
start to go in detail. This one further case, either.
41. Street Mat Height: In previous lesson
we created this. And of course, since this
one belongs to the street, I added a lot of chaos into
this one because as I said, it is interrupted
by people a lot and people walk on it and do a lot of changes during the time. So now we have this one, and if you are going to
make this one's a bit more, he can go and actually start to increase the y-value so that
they get more in there. Let me go try to bring
the x value up as well. Now, let's go start to
increase the size of this one so that we get more of those
bricks in these parts. You can go for something
like this as well. Now, It's very directional. And in these parts that we have nothing we can
bring in the dirt. So I might use this one
for the street parts. And let's take this one as well. Let's start to warp
it a bit more. Okay? This is it. Now actually, I'm really
happy with this one. And this looks like
just like a tire track. And if we learn to
master this one, you will be able to create
tire tracks as well. That is so easy.
And if you want to see more separation
between these breaks, you can go create a mask. So let's select this one
and bring in levels. So this one, I'm going
to really add lots of contrast all the way to here. So I'm going to connect
this one in here. And now it doesn't work for now. Let's make it copy and
let's reverse them here. Now you see it has more
separation in these, just looking like that. These have been placed
on top of these. And if you're going to make it a bit less contrast that you can go in here and
start to decrease that. And now you see
something like this. We have placed that one
on top of these bricks. And in here as well, looks like these
books have been put in the street and these
on top of them later on. Let's do something more
to organize this a bit. Let's go in here and
bring the amount down to something like this. This one is better. I can take this one and bring
it down even more. Now we have two bricks in this side and two
bricks in this slide. But let me go in here
and try to offset it so that we get equal
distribution on either side. This one it looks like better. And you see now they
are better organized. And you can go and try to
offset them even more. And using the global
offset as well, try to do something like this. Now, it's better and
more well-organized. And this is what actually
I wanted from this. I want this side
to stay untouched. And a lot of directionality
in these areas. Okay, this is absolute, perfect result that I wanted. And you are free to go
and experiment with it to add and get any result
that you're going to do. I have one
responsibility again for these and that is making
these ones the pebbles. And I'm going to help them
create them just like a smallest stones that get
placed in these black areas. Now, this one is my base height and I'm going to do anything on
top of this one. Let's create a
comment or rounded at frame and call this one base. I'm going to convert
it to red so that we're able to
see that in here. Now it's a bit too uniform because all of these
have the same value. So I'm going to the masks, but I'm going to bring in
the color random up so that I get a bit of randomness
in here, which is great. So let's go for
this one as well, bringing just a bit
of color randomness. Not too much because I want
this one to stand on top. And now we have that randomness
that we need it as well. Now let's go and create actually the dirt areas to fill these black parts in and bring
this one to a new level. So I'm going to take this
one and actually let's apply the height in here and also create a real-time ambient
occlusion as well. Alright, tracing, I
don't know which one is. So let's connect that and you see added a bit of height
variation in there. And let's go in here and do what we already
should have done. So I'm going to bring the scale up just a bit and
tessellation factor all the way to up to see
actually what we are doing. Okay? Now, this is the result and
now let's go for creating. Ground. So the
ground, Let's see. Now this one is not good. I'm going to bring in some of these grand
juries and start to mix them together to
create something and we already have a
concrete as well. Let's bring in the
scrounge concrete. I believe that we
had something else. Now, this one is that one. Okay, let's go and
start to bring in these clouds to as well
start to mix these soda. We get a base for our concrete. So connect them all the way to here so that
we get maximum hello, maximum blend
between all of them. So again, blend,
and this time I'm going to drag that
up with so much. And now I'm going to connect
that to the plant for now. So let's go to a blend. And this one is
going to be on top, and this one is
going to be here. So let's go and see what
results we can get from that. And actually add
isn't a good one. I'm going to cycle through
between the nodes to get the best values in these areas that we do
not have something. Okay, Let's call reverse the blend to see
what results we get. Looks like the subtract gives
us a better one because it separates these breaks and leaves these areas
touched. So let's go. The subtract is going to
give us the best results, but you see that it applies some dirt on top of these
bricks, which you do not want. So I'm going to bring in a mask, and the mask is going
to be from this. So let's bring in the levels and I start to add lots
of contrast to really separate these bricks and take this one connected to here. And let's go to
see what happens. Now we have full contrast
in here, which is good. Now we have this
blend happening in these areas, which is fine. If you want to get the
maximum best results, I can set this one
to copy and set another blend and blend this one with this using subtract, again to really subtract all
of the bricks from that. And now you see we only have information in these areas where we do not have bricks. Okay. Let me take this one, bring it up and I'm going
to introduce another blend. And blend this one in here. Blend this one on top. Okay, Now let's set it
to different modes. Ad is a good one, match light and is
a good one as well. So you see, we have this
information happening in here. So let me go connect
that to the normal map, to the height
actually, excuse me. And to the ambient occlusion. And you say This is what we get. So now I need to do something. I need to take this, take all of this, and bringing a histogram range
and try to bring the rage down a bit so that we
get this result in here. Okay? Now this is too sharp, so I'm going to go add a blur, high-quality gray scale
to wash some of that away so that we have a subtle
ground down those breaks. So now this is good. Now let's actually try that
without using that one. So this is it. And let's connect that
without any mask to hear. That didn't work.
Just like go back some steps to get this result. Basically, if you're seeing
a lot of contrast in here, that is because with the mask we have
separated a lot of data. So let's go select
this one and apply some changes to here to start to reduce
from that contrast. Now, if we go in
here and compare before and after you see we
have less contrast in here, which is a great thing. Then you can manipulate it to
see how much of the ground. Take that one. Okay. Now this one I believe
is a good one. And now let's go and bring
the blur intensity down a bit to get some information
back. Not so much. Let's go to something like this. But after this one,
we need to add a blend and start to add some of those black and white noises
to introduce a bit of detail so that we have
enough resolution in here, including something like this. This one is now looking good. Result of the blend is good. Now I'm going to bring in the pebbles and use
the pebbles instead. To place them in
these random areas where we do not have any breaks. So I'm going to take this one
copy and start to use it. So I'm going to
use these instead, these a square ones. So I'm going to drag
one out and bringing directional work and apply all of them to a
directional word. Apply only one by one to get the maximum
results out of that. So let's see. We have enough
variation in here, and I need to bring
in some noises to start to warp this in
multiple directions. And I can use these clouds
to all of them and I'm going to warp them each
in a direction. So for example,
something like this. Let's make it 20
in this direction or for TTY to change
the shape of it, okay, This one,
negative 40 as well. Work the directions
of all of them just a bit in
multiple directions. So this 114 as well. And this one should be
in the same direction, opposite to something like this. Now, let's bring
in a warp. Again. I'm going to add
multiple layers of warps to make sure that
we have enough on those. So let's do one more warp. And this one I'm going
to work done against the Perlin noise to
really randomize them. So let's go in here and
bringing the Perlin noise with something like this and try to drag it on all of them. Okay? Now, try to increase the intensity on all of them to see what
results you can get. I'm going to work them all
in the same direction. Only want to have some subtle undulations
on the surfaces. Okay, now I'm going to plug
all of these into a sampler, excuse me, not a
title generator. Let's bring in a child sampler. I'm going to connect this to the parent input and make this
one parent input as well. I want four of them. I'm going to connect
all of these in here. Now we have enough of those. Let's make this 164 by 64. Now we're going to
increase the scale so much until we get
something like this. Okay? Now, this one needs to be 6434. Now we have a lot
of those in here. Let's go for rotation random. And now because this is pebble, we can do a lot of
customization on that. Random all the way. And the most important one, position random, something like this so that we make
it so randomized. And rotation, rotation random. And the color random as well, to make them so different
in height as well. So we have this one here. Now let's go from smiled. And the mode to Max as well
is going to be alright. So now we need to separate these to make sure
that we place them in the areas where
we do not have any of these bricks though. I'm going to take this
one which is the mask. I'm going to bring it at levels. So I'm going to make
it really contrasty. And now we have
separated a mask. Now what I'm going to do
is taking this one and connect it to the mask
map inputs and go in here and try to bring the mask MAP threshold
all the way up. So something like
this, but we need to invert that to make sure that it's happening on the
areas where we do not have those and you see
that it's happening. So this is the pebbles
that I'm getting. And now after this one, I'm going to bring in our blend. And this blend is going
to be used in this. Now you see we have pebbles in the areas that
we do not have. So I'm going to set
it to max lighten and try to go in multiple modes
to see which one is better. Ad is good. You see it has added these in areas where
we do not have them. So I'm going to set
and bring these in. If you want. You can
actually go in here. And instead of 64, let's use a 100 so that we have lots of
individual ones in here. And in order to
make sure that we separate them from
the bricks as well, I'm going to bring in a
levels and connect this one, or connect this one
instead to the levels. And try to separate the mask. Very much that we do not include these Burke areas n. I'm going
to go add another blend. Blend these two. And this one is that the mode to subtract? Let's reverse that.
No, it's not working. Let's use Multiply. Now you see it has separated
all of the breaks from that. So let me go take
this one and bring it in here so that it removes
those from the brick parts. And this is before he see. We have some breaks in here. And this has removed all
of them. So this is it. And now let's do something more and create a mask
for these ones as well. So I'm going to bring
in a mask, excuse me. I'm going to in a levels to separate that mask and
bring it all the way to up and connect this one into
here and see the results. So let's set it to
Mike's lighten, or let's set it to copy. Now, it's not a good one, so let's disable that mask
and use this one instead. If you want, you can
bring in the result down. Not to have a lot of
contrast in there. So let's go in here
and start to make this one even
bigger to hundreds. Now we have a lot of fine-tuned and a small
details in these areas. Okay. Let's take this one, remove
it and take all of these, I'm going to call them pebbles. Now let's take this
one on, bring it out, give it a different color so that it's different from
what we have created. So right now, I feel like we have done the base and
now it's time to go and start to do some of those
finer changes that we do to make it a bit
more substance looking. Okay, now we have lost some of those sculpt and they are a bit smaller
than what we thought. And this is actually why we didn't put so much effort
into sculpting these. So let's go bring in this again, because I want to
create some cracks. And let's bring the scale
down and edge detect, to detect some of the edges that roundness
and edge weight down. I'm going to warp this
directional work using this Perlin noise with
a higher than density. And the scale of this
one needs to be down as well so that these
are more together. So again, I'm going
to work this one. Directional warp
using the bricks are using the geometry that we
have using this height. Now let's select this one
and start to do the changes. So let's say that
in this direction and try to make it for t. Now, I'm going to
add a slope blur, grayscale samples up and
again against Clouds, two samples up, intensity
down. Make it Min. Okay, now I'm going to add a blend and connect
this one in here, which I could not because this one has been
included in the chain. So I'm going to take this
one instead connected here. And now this one could be
connected on top of here. And now I'm going to make
it subtract and bring this subtract down just a bit. Now, you see we have a lot
of broken parts in here. And now I do not want this
one to be all included. So let's go bring in our friend, the flood fill, as well as
the random grayscale load. So this is what
we have actually. Now I'm going to bring in
a flood fill from this. And it created that one for us. Let's see what problem
we have in here. Let's connect this one instead. Now looks like this one does a better job than if you see more of those bricks
included in here. You can go add a level and at this level into the
fluid-filled and start to increase the scale of the contrast to see
more of those breaks in. And now this is good. Now I'm going to bring in
the random gray scale. Okay? Now I want to go and make this one the mask so that it's not heavily
affecting these bricks. But it's now too much. Again, let's bring in
the histogram shift. Excuse me, histogram a scan to scan some of that data and only make them in those areas. Okay, contrast down. And now you see that has been affecting only
some simple areas. Believe this is enough for that. And now let's bring
the whole thing or instead these bricks and bring them through a
slope blur gray scales. So let's bring the it's going to ruin the results
in the first try. But I'm going to keep it
very low and minimum. So. Samples up, men. Add some more breakups
to the bricks. Now, this is what we
are getting from these. And if you're not happy with
the results, you can go. And instead of
using these bricks, I'm going to experiment and replace these square
bricks instead of these because I felt
like that we have used these breaks a
lot, using those walls. So now I'm going to
experimentally try to replace these with these bricks that we have already
have in there. So let me see what
we have in here. Now this is to CG looking. Let's go and start to increase the scale and bring in
the position random up. Just a bit. Not so much. I want that to be so subtle. An offset as well. But let's go in here and bring the tiles
down, for example, to something like eight by 50 so that the brick
sizes are bigger. And again in here, the rotation random is
going to help us better. Okay? This one is now better
than I can go in here and start to increase the size just a bit
to see more of those. So let's make it to start to control that using this rotation
random in here as well. This is the result.
And now we have a lot of empty spaces in here, which we can do something. For example, let me isolate this one and I start
to add a blend. And this plant is going to
be with another of these. So I'm going to
connect this in here. Now we're basically connecting
that on top of each other. And now I'm going
to take this one, make it levels, and use it as a mask so that we do not
get breaks in these areas. So I'm going to take this one and bring it into
the mask map input. It looks like we need
to do something. I'm going to add a blend and add these
two masks together. Which is this one.
Okay, this is it. And now let's go
for max, lighten. That in these areas we
do not get anything. Let's connect that one
and select it. In here. The mask MAP threshold
is too much. And we can go start to increase the brick x to something
like 16 by 16. And go to this one and
make it, make slides. And again, so that you get a lot of
bricks in these areas. So I'm going to take this one and connect it to here as well. Let's go for copy. Select these two. And this one is better. Now we have more randomness
and more breaks in here. We have a lot of
bigger bricks and a lot of smaller bricks as well. And it creates a pathway. Now we can go in here,
see the results. And we can take this one, bring it up even more. This is the final height
that I have in mind, which is being mixed with
all of these to create this. And now you see it has created something directional
that we are going to use as the base for creating the base color under
roughness in the next one. Okay? And this is the normal map. Pretty good. Okay. I'm going to see
you in the next one. And one more thing. I feel like we have a bit of too much empty space in here, which you can go and
try to take this mask. And I start to introduce
some more bricks to make it look like we have a lot
more extra breaks in here, which is a great thing. Okay, now the empty space
is more manageable. And if you're going to
really make it too much, you can go and try to use something like
this. Now, it's better.
42. Finalizing Steet Mat: Okay, everybody. And previous lesson we created
the height for this one. And I thought that it
was a bit too chaotic. And I went ahead and did
another tile sampler, this time having 12 by 12 and having less
amount of variation, only having some scale
random and a bit of offset. And you see the rotation and
things like that are off. And I have a bit of color
random and this one as well. And I'm still using the same mask map inputs
that we use for that one. So abroad this one in and
made sure that this is a bit more well-placed because in previous one that
was too chaotic. So now and another change that I made was making this
one too uniform to make sure that we have a
settler control on our data to R. And then
I did clean that warp. So now this is the result
that we are getting and this is the final result. Now I believe it's a
good time to start to create the diffuse channel. Though, as you know, for the first iteration, I'm always going to bring in some default, default colors, as well as some
oranges to create a which diffuse map
as the first layer. Now, let me bring this one over. First things first,
I'm going to use these grunge maps to
create what I want. I'm going to use these
colors for these bricks. Now, let's go and lay the
foundation for this one. And for the main color, I'm going to go or
something like this. Let's make it a bit
more saturated. Now let's go into color. Actually, let's bring in an HSL, try to make it darker bit and
saturated just a bit more. This is going to be the
base of everything. And I'm going to
build on top of that. Okay, let me add a blend. I'm going to bring
these range maps as the opacity and this one HSL plug-in here and try to change to see what
changes I'm getting. So let's make it a warmer color and a bit more saturated
lightness down as well. So I'm going to take this one, add a levels and add a
bit of contrast to that. So that we're getting more
contrasty base color, just like this one. Now, I'm going for bland and bringing oranges
to see what you create. So the first thing, I'm going
to bring the contrast down, plug it in here and
make it a gradient map, apply it on top of here. And this is the change
that we get from that. Let's go for our references and start to pick something
from these areas. Okay. Let's pick it. Did a good job.
Let me take that, bring it back. And this is it. Of course, I want to
bring the opacity down so that you get something in here
not very prominent, are only want something. Okay? Now another blend, and I'm laying a lot of branches on top of them to create the
results that I want. So another gradient map, this one as well as some
cool information bot, let me bring this up. And this time I'm going
to pick from this one. It's a little bit,
little bit bluish. And I'm going to bring
that down just a bit. I feel like the main base color needs to be from another shade. Maybe I use a color
from here instead. So let's go for
this uniform color and try to pick from one of these areas and
plug that in here. For now I will leave this
one should be better. And it looks like
this one is color. Let's go for the value or hue. Saturation. Bring
it down just a bit. And I'm going to connect
that to here. Okay? This one is a better color. Now, this is what we have. Pretty good. And now let's
start to blend and bringing random oranges to start to lay the foundations
for this cell, this one as well, a
gradient map connected. And I'm going to plug in this in here to get
lots of cool colors. So this is eight and now I'm going to bring it down a bit. And I do not want to have
a lot of colors in there. Just a bit of random colors. Okay? Now it's looks good. From far away, we have. The distinguished color. So another blend, and you can continue
with this piece as long as you get something
that you're happy with. So let's use this one as well. It has some cracks and
cool information in there. This one goes the opacity. And using a gradient map, I'm going to pick up a
color now from here. Let's see what it has done. A lot of cool
information to look at. So let me bring that
down. Okay, good. And now let's say that this one is good for the base color. So I'm going to right-click, Add a frame and call
it base color big, because these are the big
ones that we have added. So in order to add
more separation, I'm going to bring in the bricks and separate
them from each other. Let's go find the breaks. Not this one. Not this one as well. Yeah. This one. I'm going to bring it
through a flood will note. Okay, Now before that, let's add a levels
so that we can separate a lot of more
things into that. Let's select this one and
select the levels as well. We want to add some
separation so that all of these getters same amount of color variation,
something like this. And now let's bring in
the fluid-filled to random gray scale so that
we have something like this to add to the base color. So I'm going to
bring this one down. And let me see if I
can bring it through a gradient map and apply
that on top of this. Now, I'm going to
pick up something. And I'll chose the
color from here and add it on top of
this using a copy. Or let's go for multiply. This makes it darker. Let's go for the copy and plug this one N to have more
separation in between the bricks. Or I can do a Control Z
so that I have this one. Now this is good. And now let's add another
blend. This time again. I'm going another
histogram node, a histogram scan, and try to
separate some of the bricks. Some of them only apply
this one on top of that. And in here I'm
going to bring in an HSL node and
apply that in here so that I'm able to change the color of those
selections of bricks. Let's bring in a bluish color. Now. It's not working. So let's bring the bluish, make it the saturated
a bit more. Now it's not working, so
let's keep this one up. This one is a bit tricky
to create. Right away. Let's add the sharpening
effect as well. But not too much, only a bit. I'll take this one hit D so that it snaps to the base
color in there. Okay. I'm happy with the
colors of the bricks, but the ground needs to
be from another color. So let's go in here, and this is the ground
being added into here. So I'm going to
drag a gradient map and bring it through
here and it starts to pick one of these colors, one of these darker
colors from here. Now this one is going to be
good for the ground as well. Now, let me blend
and apply this. A good brand color. We have here, actually
a very good color. So now I need to
separate the mask, which is this one. And these parts are going
to have the ground colors. So let me take this one, bring in a levels and
bring this one up. Apply that in here so that we have a
different ground level, which has a bit of contrast
as well to the mix. So let's bring more contrast so that we have more separation
in the ground level. Okay? Now the ground is actually separated
from the bricks. Let's see what we can do
for the bricks as well. Let me bring in an HSL to save that I can change
the colors whole a bit because to something else. Okay? Now let's bring
in contrast as well. Contrast and luminosity
are a bit of contrast. And luminosity as well. I feel like this one is doing better because those colors
were to stylize to me. Now, this is what we have. And let's go and find
these color a bit more. I'm going to bring this
here, add a blend. And in this Rolando,
I'm going to bring in this grunge map applied in here and use and HSL node
connected here and here. And I start to give that
a bit of more difference. So let's make it more desaturated and try to change the color
to something else. Okay. Now I'm more happy with it. Let's see the base color. And this is what we
are getting right now. So let's bring this one here. And if you're going
to refine the bricks, he can go from here. And if you're going to
refine the concrete, the highest dose you
can go for here. Let me do something. I'm going to bring in
grayscale conversion to convert that completely and bring this through
a gradient map. Let's start to pick from
one of these colors. Let's pick from here. It has lots of colors. Okay? Now let's instead of this one, connect this into the
chain to see what happens. Let's go and of course
this is too intense. Let's bring the color
selection down. Until now, let's
select a gradient map. And because this has
a lot of colors, Let's go and bring
another selection. Or what we can do is blend and blend this
one on top of this using this mask and then see the result to
see what we have created. Now this is more subtler
than what it was before and bring the copied
out only just a bit. Now, I'm going to
take this one here is a gradient map and bring
it through one of these. Let's bring that here and
see what we have created. Copy up. This is a better color. And I'm actually
liking this one. But let's actually start to add more color differentiation
between those. So in here, let me see
what I have done here. Bring the copy up or bring it down to add
more colors into there. And instead of using this, I can bring this one n. Convert
that to a gradient map. And let's see what
changes we can do. Let's bring the multiply. And this one makes those darker. I'm experimenting to see what
I can take from this ad. No Multiply. Now the bus one was this
one that we created. Now this is the base color, and of course we need to add
some more information into this information including the sculpting
and things like that. So let's go see what
we have created. This is the pebbles. Pebbles are added in here. So I'm going to bring in
a blend and I'm going to subtract to get the information that
we have added there. So add O2 level after that, and this is the information
that we have gotten there. So I'm going to
bring this one up. Landis. This one has a mask, separate that and
I'm going to bring in another HSL to use that color information
plus separating these. So let's make it
pure dark and you see it is starting
to affect those. So let's make it darker
and a bit more saturated. And let's change the hue as well to something just like a stone. And I'm changing the heel to
get something that I want. Now we have a cool separation, but I need to make
this one darker to add more separation from the
concrete to these histones. So let's add the next layer
of the color information, which is this cracks. So this is the crack information and this is added
on top of that. So I'm going to add a
blend and compare these two using subtract to see what information
we have added there. And I'm going to make this
one using auto levels. This is the information
that we're getting. So. Let's take these two. This is the information. So now let's bring it through
an inverted Grayscale. I'm going to take this
and subtract them. I'm going to take this
mask and take this one. And let's put it to multiply
or subtract, should be good. Okay, Now this is the
crack that we added there. So I'm going to
bring this through a level two more
controls over that. And I'm going to bring
this one through a mask, this one HSL in here. And I'm going to make
that darker so that in crack areas we have
darker color information. Okay. Which is this one. Now I believe there's a bit of a
sculpting that we added, and I'm going to
add that as well. So let's go for blend. And this time I'm going to find that slope blur gray
scale that we added. So that is this one. Now it's time to add those final colors from the normal map and
height map as well. So let's bring this one,
bring in curvature. And this one needs to be OpenGL. And let's try to add a level and also level and try to separate
the values more. So I'm going to have
this color information. I'm going to bring
it through here. So add a blend. I'm going to use this one as a mask to make everything
convert together, okay, in here, and now Let's
make it darker just a bit. And see the results in here. So you see in these areas, it tries to add a bit of edge
information, which is cool. So let's make it white
and a bit more saturated. I'm going to change the color, change the heel to see
what color I come up with. This is exactly black and white. Let's go. Now this has become
too stylized. Let's go in here and try to
bring the lightness down. Just a bit. Not so much. Let's bring it up and
bring this value down. But also it added a lot of cool color information in
here, which I'm happy with. And now for the last one, I'm going to bring in the
ambient occlusion and do a multiply or something like
that on top of the color. So it's first giving
us some errors because this is a gray scale. I need to convert this one
into a black and white mask. And of course, looks like
this one was something else. This is the height. So let's copy the ambient
occlusion and bring that over. This. This is now the
ambient occlusion. So let's add that
on top of here. Bring the intensity down so that we have some separation
in between these colors. So let's go for this one and
inverted to see what we get. Okay, invert color and
see the result in here. Although it added a
lot of cool details. But I need to bring
that down just a bit. And go for something
like the Multiply. Make them really sing together. But let's compare this one. This one, you said this
one made that darker bit. So I'm going to
take this one and remove it because
we do not need it. Okay? This one is good for the color
information for this. And now I'm going to go
add another layer of contrast and luminosity to make the colors come
together a bit more. So, let's bring in the contrast, not so much luminosity to hear. Okay, we created this one, and now I need to create a roughness
for this one as well. So let's convert
that to grayscale. Then I'm going to blend
using some of these whiter, wants to add lots of
new information there. This is it. And now let's connect this one
into the roughness. Now you see it has a lot
more information there. So this is for the roughness. And now I'm going to
bring in an RGB merge. The first thing I'm going to
bring in a uniform color, gray scale and make it white so that we can
use that as an alpha. So this is the alpha. R is going to be the roughness. Let's plug the roughness n. G is going to be the height. So let's go take the
height from here using Control and drag
and plug it in here. And the next one is
going to be a o, which is this one. So let's bring DAO in here. Now we have the
color and we need to create an output
and call it our edge. So now we have everything set up in here and ready to export this one into every software
package that you want it. Okay, Let's go here, right-click and export
outputs as bitmap. And as always, I'm
going to bring in a t underscore and
export everything out. And before that, actually, let's go and make sure
that everything is in for K. So we did that
right-click and again, export output as bitmap. Everything is ready
to be exported. Format as well is going to
be Tarika, okay, export. This is the result,
the IO color, height, normal and
RIJ and roughness. Now it's done. And now what I'm going to do is export
these into Blender. And this is a street kid
that we need to cover. These are the kids
and these ones were the repetitive ones that we need to delete, save increments. And now I'm deleting this. And now we need
to make sure that we these ones out and
export them into unreal. But before that, let's
bring in a plane. And as always, I'm going
to test out the material on this creates a new material. And in here for the base color, I'm going to again convert
it to image texture, and it will open and
select the base color. And we need to go in here. This one got added, but this
one is a bit more stylized. I'm going to add, again normal map information. I'm going to add the shader
editor and from here, Shift D to duplicate
that and open. And I'm going to
grab the normal map, normal node, just
the normal map. And I'm going to
plug the color in color and plugged the
normal into normal. Now to see a better
representation, let's make it linear. Now this is the material. And let's check to see if the
tiling is working or not. The tiling is actually
working really well. And these two bricks that are besides each other as well
create a cool effect. So we created this and now, in the next one, we will get ready to export
these into unreal. Of course for now I'm
going to care only for the sidewalk kit for
this straight good. I'm going to create an
asphalt material as well. The next one who will do these two and make sure that
they have enough detail. And I might tessellate
them to add some bit of displacement
into this as well. Okay. See you in the next one.
43. Finishing Sidewalk Kit: Okay, now we're
ready to start to replace these with the measures that we're going to create. This is the sidewalk Kate, and I'm going to
drag this one n, and I start to use
it as the base. So what I'm going to do is
select this upper face, Control a to select everything
else and delete it. And you see there's
a bit of softness in here and that is not
a problem actually, because there's nothing in there and we don't
care about that. So let's try to add segments. Okay? Now since this one is a square, we have enough segments. So now I'm going to
bring in that material. Now, what I'm going to do is add some
tessellation into this. And I might even
displaced this one a bit. So this is about tessellation. Very good. Now I'm going to do something. I'm going to add
a segment in here and a segment in here as well. I'm going to take this and
this and slowly drag them up. Not so much, just a bit. And I'm going to turn on the proportional
editing as well. And is proportional
editing as well can be activated using O. So I drag this one now can you see because I have the
proportional editing up, it's trying to affect the
neighboring pieces as well. But if I do not have it on, it's going to only
drag these two up. So I'm going to bring in the proportional
editing just a bit. Okay? I'm going to take
everything and bring them, make him to the ground level, but not the actual ground level. Something up to avoid
any Z fighting. And I'm going to take
this one as well, take this and drag
it up just a bit. Or let's bevel it and add a segment n so that I'm able
to change this as well. And I'm going to use the mouse wheel to control
the fall off of that. So something like this and Bevel that again so that we have
enough desolation there. And now let's look at
it and you see we have created something like
this for the sidewalk kit. And now let's take this
one and export it. And let's try that into Unreal. So this is it. And now I'm going
to re-import that. Okay? Now you see we have some
displacement in here, which really adds into the
dimension of the scene. But one thing is
carrying about this. And later on, we will
create pieces to add in here to cover
this one as well. But for now, we do
not care about it. The only thing that
we care about is this piece to make sure that
we have a good flow in here. In here, it looks like
I'm going to take this one and rotate
it in this direction. Okay? Now, I'm going to take
this and this one, and finally that one and
try to duplicate them. Now the only thing that
we need to care about is the transitioning piece to
make sure that we have. Now let's transition from
here all the way to here. You see we have low on
displacement in here, but it's flat in here and
flow and displacement there. So we're going to
tackle that as well. And I'm going to
use the same piece. So now to make sure that we
get the best possible result, I'm going to take
this one and again, just before that,
delete out everything. And I'm going to make sure that these ground levels
are the same, which looks like they are. Now I need to tessellate this. Just something like this. You see that we have added
some vertices in here. And I need to add a
vertex in here as well. Bring it actually here. I'm going to make sure
that I displace this one. Or let's do something. Let's take this
one, drag it out. And I'm going to use
this one instead. So let me take this duplicate. I'm going to bring it down. Now to round this off, I need to apply the scale
and rotation as well. And in here, I'm
going to take all of these segments and I'm going to delete them for now to have
extra room for that place. So let me take
this or take this. And I'm going to
use a slide until these vertices snap
to each other. I'm only going to
use a slide, though. I'm going to take all of these and a slight dome on
top or take this one? No, it's looks like it
doesn't do anything. So let's use that one
before. This one was better. So let's apply the material. And you see, because
the texture and everything is okay
in this tiling area, we do not see anything. We need to make sure
that this one lows over and not
continuing this one, we need to make sure
that this line flows in this direction to
create that way for us. So now I'm going to go and we have a bit
of carving to do. I'm going to bring this
one up and try to bring my knife tool and hit Z to
constrain that to an axis. So take this one and bring
it down and apply, Okay? And in here again, I'm
going to bring it down, connect that to this one. Okay. This one should
be the last one. Another from here to here, because we have some
extra vertices, this can not be
tessellate it greatly. So I'm going to go from
here to here as well. I'm going to make sure that
I caught this one better. So I'm going to go in here
and try to add some segments. Just some segments. And I'm going to take this
one and this one he j, to connect them altogether. So this one, again, Jay, take all of these and hit J so that it connects
them together under good thing is that
it goes through the mesh and creates
that for you. So again, I need to go and
upload a subdivision surface simple and see the result
that we get like a perfectly and now it has
been done perfectly. But now I need to take all of these vertices and make
sure that it is not their. First off, I need to
make the lines equal. So I'm having this one as a
guide and I'm going to snap them to exactly And
roughly the same place. So another in here, I'm going to make them
perfectly snap together. So this one, I'm going to
slide it up until here. More or less on these areas. I want to make sure that add a piece and a
snap it together. So let's go in here. And now instead of, let's use first this one
and select this row of edges all the way to the end. And I'm going to make
sure that you're using the proportional editing. I'm going to drag them up and make the proportional
editing more powerful. Okay? Something like this. And now I need to
close up these gaps. So another vertices in
here and take this one and a snap on until vertex
and make sure that the active vertex and
connect this one to here. Okay, now we need to close
any gaps that we have added. And I need to turn the
proportional editing off as well. Now, this one as well needs
to be connected to here, this one to here, to make sure that we
have no gap in-between. So let's drag this one down. And I need to add
an a snap in here. So this one needs
to snap together. In this area. Let's
go add a vertices here and then take this one
and a snappy to this area. And this is exactly
where you go, but I do not want to
mess up the tiling. So I'm going to take this one, remove the snapping for
now, bring it down. There's a bit of line in here, and I do not want to
add other vertices, but let's add, doesn't matter. So again, I'm going to bring in the snapping and snap
it right in here. So up until now, we have done a good job in a snapping these
vertices together. So I'm going to take this, this one without a snapping. I'm going to bring
that down just a bit. And this one also needs
to be connected to this. Let's bring down the snapping. And this one. There are just some
more remaining, which is easy to do. So let's bring that down. Or before that, let's take
this one and snap it here. And this one without that, I'm going to bring it down. So this one needs
to connect to here. Or before that, let's
go to edges and select these row of outer edges
and bring this one up. And connect that, bring that up. And another row of
vertices in here going to snap them
right into place. So this one has snapped. This one is snapped to here. And on this one. I'm going to add vertices so that I can snap
these two together. So now we're transitioning piece that looks like
it's going to work. But before that,
let's go and try to displace some
of these vertices. I'm not touching
this one at all, only trying to move
these vertices. And this one, it's good. Now let's look at them. And we have the amount of richness in the
details that we need. So let's take this one export. And of course, this one needs some more
details to be added, as well as some UV tricks
to make that happen. So now we have the
transition increase in here, and we want to make sure that it looks good in this
direction as well. So now we need to go for here. So let's take this one. I need to snap, but this time to
increment and bring it to here and make sure that I
rotate that in this direction. So now I need to make sure that this one is
snaps to this one. So easy work. Just bring the vertices and make sure that we
do some changes. So the snap two vertices
and try to snap there. Now I'm going to
bring that down. And this one to here. Make sure that you snap
to the vertices together. And that is pretty easy to
think that it only select the vertices and snap them to the closest is not available. So another one, and these
are the latest ones. So let me go take this one. It looks like I need
to take this row of vertices and I'm going to drag them down
just a bit to make sure that transition
is going to be better and more flawless. Now, I feel like this one, in geometry wise,
it has been fixed. So it important again. And now we have a
flawless transition. There's a bit of
problem in here, and let's see how we can fix it. And exactly the
problem is in here. So let's take this one and
bring this one up just a bit. And let's add another
vertices in here. Let's bevel this control and B and hit V so
that it doubles. Okay, Now this one
can be snapped here. But first, activate
the snapping tool. Okay? Now we have created
that transitioning piece and it needs to be exported and
re-import it to test. That problem is gone now. So we have some detail in here. Of course later on we will
bring in Boulder pieces and create them maybe
to cover these parts. But for now, there's
one thing that we need to do is actually creating
the material for this. So as always, I'm going
to bring in the material. And these are the ones that I'm going to bring in
the base color, the RFA and Norma. And I need to take these
two and do the same thing. I'm going to make this one mask and all
advanced details on this one. Flip the green channel, okay, everything is done. Control Shift and S to
save everything out. So I'm going to go to the
materials and from this one, I'm going to create one
underscore sidewalk. Now, I'm going to
start replacing the textures to see
the problem in here. So we have them here. This one, normal to normal. Understood this.
Now I'm going to select all of the
pieces from here. Go to Details panel,
hundreds for sidewalk. Now you see exactly
what is happening. And you see that the thing is working on writing
here actually. You see that the
piece goes right on. But in this area, we're not seeing anything. It doesn't flow to this side. This one isn't continuous. So there's a bit
of a trick that we need to do in order
to achieve that. So let me take this one to a backup and
bringing the UVs up. And we're going to take
a look at the UVs to see how they are load. So again, I'm going to bring in the base color and I'll
bring all of them. Now you see that in here. We do not have that
flowing piece. It continues to here, but these ones are always
sampling the wrong area. So let's select this row of Vertices, which are these ones? I'm going to select all of them. Okay? I'm going to select the
last row of vertices. And these need to be aligned together to
map to this part. So I'm going to align
them to the right. So I need to take this
one and drag them out. You see, started to do
some stretching in here. But let's go and try to
relax these vertices. So I'm going to bring in this menu using t and
those are relaxed button. Just try to relax vertices
so that stretching goes out. So now let's look at it. It did the job but
not actually perfect. So let's go back. Without actually
doing the changes. I'm going to go and select
these row of polygon instead. So all of these, I'm going to select them until the part that
we are seeing here. So I'm going to take
this one and hit V, K from here, I'm going to hit V. And I have detach
them from here. So I need to map
this into this part. So I'm going to take this one option in here
which tells her rectify. And it's going to turn all
of these into rectangles. Let's go hit that. It's giving us error,
but doesn't matter. As well as long as we're getting the result
that we wanted. This is these vertices. I'm going to, I'm going to
take this and using alt an M, a split them and then bring them here and
map them in this area. Just like this one.
And I'm going to disable the snapping
so that our map, the textures in these parts. Okay, the next piece is going to be the
continuation of that. So let me bring this one
and it belongs to there. Let's again right-click and split selected and
bring that here. And then we have this one again, a split, bring that here. And then this one as well. Let's take all of the vertices and do a rotation,
90 degrees rotation. And bring it after this one. Let's see if I can rotate it. Excuse me, re-scale it
to something like this. And now let's go out
and see more or less, we were able to do this row of vertices in
here, which is good. So again, let's take this one exported and test
results in Unreal Engine. Again, reinforce only
using a simple click. You see this row has
been implemented there. This was about the sidewalk kit. And in the next one, we will go for the
street kid as well. But we want to make sure
that we use this one, this same sidewall kit
on this street as well. I'm going to use this one using vertex blending to blend between the asphalt material and that material to give the
street a bit more complexity. Now, I believe that we have only this street
kid and a valid key to finish the first
level of iteration. Okay, see you in the next one.
44. Finalizing First Iteration: Okay, everybody in
previous lesson we created this sidewalk kit and now it's time to move
on and tackle the asphalt. And this allocate
and for the road, this one that is
made up of asphalt, I've gone ahead and
downloaded just couple of free tiling
textures from that. And you can see them here. Let me bring them. And these are some tiling
textures that I got for free from that
day or for K as well. They're not substance material, they're just some
tiling textures and they are free to use
even commercially. So I'm sharing this with you
so that you can use them. None the reason that I didn't
create this material is because we have covered a
lot of substance right now, and it's very easy to create. And all you need to do to
create a material like this, are these black and white spots, very, even this one looks like a material you can plug in right away,
start to mix it. And for example, bringing a gradient map and then start to color pick from
some of these areas. For example, let
me double-click on this one and try to pick
some colors from here. Okay, Done. And now you see we have sampled that one pretty
much just like this one. You see at this material
because it has a lot of fine, a small details and it's not going to contribute
that much to the scene. I'm not going to put a
lot of time into this, but I went ahead and
downloaded some free textures. And this is one of them. You can see that it's here
and this is the preview. And this is another, which is this one and has another kind of the
material that we wanted. So it was pretty easy to create and I didn't put much
time into creating that. So now the only thing
that we need is actually creating the mask
texture for this one. So as always, I'm going to bring in RGB merge and RGB merge. And I'm going to take this one because this is a uniform color. I'm going to set it
to white so that we have Alpha fully opaque. So the roughness. And now this is A0 into that. And G needs to go in this one. So this one is not working and that is
because it's a color. Let's change it to a gray scale. And this is perfectly the mask
information that we need. So I'm dragging and output from this and I'm calling it our HA, and this is basically what I'm going to do for the next one. So I'm going to take this one, this one, and this one, copy them and bring them
over to other material. So I'm pasting them. And this is the roughness. This is the height which needs
to go in there basically. And this is ambient
occlusion, okay? Now, this one needs to be converted into grayscale
to work perfectly. So this is that
this is the mask. So now we need to export these and use them
inside Blender. And the good news is that
it's for K. And I'm only going to use one of them
because I use one of them, one of these textures as the main material and
then Blend and other ones including the
cobblestone material and the other road material in the previous lesson
as vertex blend. So now I'm going to go
Export outputs as bitmaps. And in here again, I'm going to put a 100 score and
are only need the r. Let's export all
of them. And done. Let's go for the other
node and right-click Export outputs as
bitmaps than export. So this is the first material, base color, normal
and the mass tone. And this is the next one. This is the base color, normal and the mask. So now I'm in Blender, I'm going to take
these and bring them out and start
to work on this. And actually this
belongs to Alley. Lets us start to work
on this street tile. And that is pretty easy to work. All you need to do is applying the scale and rotation
because a lot of the details on this
one are going to be created using vertex blending
inside Unreal Engine. So I'm bringing in that material
that's applied material. And go to the materials again, I'm going to bring
in the base color. I'm going to bring one
of these road materials, just the base color. Now, this is the material that we brought in and this one, I believe needs to be rotated
the other way to work. So first things first, let's go select
this one Control I, to select these bottom faces. And now I'm going
to isolate this. Excuse me. I'm going in here
at every meter segment. And now this is done as well. And now we need
to tessellate it. You can tessellate it
by hitting Control and one so that the tessellate, and in here come put. That one is simple and this is a test
of what we're doing. So I'm going to hit Okay, and now in here I'm
going to go into UVs. So in here you see we have
that cobblestone being shown. I'm going to go and
select this one. And you see that we
need to take this 1. First. I'm going to take
one of these and go to UV toolkit and
hit core unwrap. So now we have a
perfect pixel density. Let me all of them, and I'm going to rotate them and bring them and snap them
perfectly to this area. You can zoom on as
well to make sure that you place it right in here. So now the texture is tiling. Now let me select it. And doing increments,
I'm going to take a copy to see how this
texture is tiling. You see we have no tiling, although this is a
directional texture and tiling better
in this direction. But you see that in here also we have no tiling know
toiling issue. I mean, It means that
it's working perfectly. I hope that's already tried
to add some details to it. So for example, I'm going to
take this one and bringing the proportional editing,
disable the snapping. And let's bring this
one up just a bit. I'm not going to do
a lot of changes. I'm only going to make something that changes the silhouette. So I'm going to take
this one export, and let's go and try to re-import it
inside Unreal Engine. And then I'm going to
bring in the texture and test it to see how it works. So you see it added a bit
of depth in the scene. You see a bit of
waviness that has removed a lot of
that CG lines away. Let's go bringing the textures. And in here I need to
bring into texture sets. So this is the base color. This is the normal,
this is the mass one. And now in here, this is the base color. This is the normal
hand, this is the mask. Now, we need to go and change the normal unmask
to their own formats. So in here, this is a mask, I'm going to set it to mask. This one needs to be
converted to Direct X because this one is OpenGL one
flip green channel. And this one needs to be
converted to mask as well. And this one needs
to be converted to OpenGL Control Shift and
S to save everything out. Now I'm going to test it
on what we have going to materials and create
a material from this. Now let's call it wrote,
simply underscore wrote. So let's bring this. And now I'm going to
apply the textures and later on we will create
the materials as well. For now, you do not need to
actually care about those. So this one, this one, and this one on their places. And now let's go in here, select all of them. And I'm going to bring in
memory underscore road. This is the asphalt
material as well. It's working perfect. Later on, we will make
it perfect as well. So right now, I can
tell that we are basically about to get
finished with the first pass. And also we have
these pieces as well, these transitioning pieces, and that is very easy to create. You can take it,
bring it here and apply the material on it. And you see we have
some problem in here. You need to select it,
right-click and unwrap. So you see that it has
created an on-ramp for you, and that is a basic one. So before anything, select
all of them merge vertices. So it's not doing anything. So let's go select all of
them and do an on ramp again. And it looks like this
one needs to be a scaled in the first place. So scale rotation. And now unwrap. So before that, I need to
go and delete these phases. Then I need to
take all of these, make it an unwrap. Of course, it has a lot of odd vertices that
I need to delete. So let's take these, delete these ones as well. It needs to be deleted.
These vertices and faces that we're
not going to see. By the way, this one right-click on rap
and this one as well. Let me see if I can delete
any other extra faces. This one. Now, take this one
as well, unwrap. It can take it
basically start to. Resize it until you get the appropriate
size that you want. And it's better
to go and look at the geometry and create a better piece to
start working with. Because this has
some odd geometry. But you have already seen how
we take one piece and keep the textile density
and resize it to another piece and
try to change it, change the UVs, change
the scale and things like that to create a piece. As well as these pieces are not going to be
in the main camera. The main camera is going to
be somewhere around here. And I'm not now carrying
about this because we have covered this technique and how to create things like that. This joining pieces, we
have created this one. We have welded vertices. We have discovered a
lot of techniques. So now I'm not going to
actually worry about that one. And the only piece that
is remaining is this allocate that one is
easy to create as well. I'm going to Blender. And this is the piece that
needs to be worked on. So let's bring this one in here and this
one in the center. Let's see if we have any
extra geometry to be deleted. Yes. Now, I'm going to go and I
start to add our segments. For each meter,
we add a segment. So now I'm going to add
a subdivision surface. Again, hit it too
simple and check on the amount of
polygons that we have. Okay, perfect. Now
I'm going to apply the scale and rotation as well. So let's go in here, select it. And this one needs to
be bigger as well. So let's take this one because
we have a scale, this one. Let me go see the actual size. This is seven by seven, and let's make this one
actually two-by-two, because this was by
default, two-by-two. And we scale that
maybe three times one. Let's see, three times plus one. So I'm taking this one and
we scale it three times. So let's give that the material. And actually I'm not going to
use this material for this, let me bring another material
and I'm going to use the material that you can see on this part for the
pizzicato have in here. And maybe we add some vertex blending to make
it better as well. This is the concrete panel, and this is actually
what we want. So I'm gonna go select this row. Selected. I'm going to right-click split. I'm going to take this
one as well and a split. And now you're
going to understand what I'm going to
do in a second. Actually, I'm going
to select them all. Now. I'm going to
hit Tab to bring in the thing on and select these. Excuse me, I should have
gone and disable that. So I'm going to select this and this one and
select it in here. I'm going to rotate that 90
degrees in this direction. And I'm going to select
this one as well, this row plus one. Now I'm going to take it and rotated in 90 degrees as well. So now we created a custom piece that has a bit of visual
interests in it as well. And you might remember this reference that
I told you that these bricks are facing this direction and this one
is going in this direction. And we're going to
replicate that. And that is very simple. You will trick that you can do. So now we're going in again and select this one
that is in the middle. Actually looks like we need
to add some more geometry. So one in here and one in here. And this exactly is the
middle piece, I believe. So. Let's take it and I'm going
to take it from here, a stitch it to selection and make this one
directional as well. So we created this piece. And now I can take
this, say, these edges. So let me go to edge mode. And this one as well. Using the proportional editing, I'm going to bring it
up just a bit slow. And after that, I'm
going to take this one, this vertices in the middle. And I'm going to bring
it down and bring this to something like this. Now, no, not this intense. And this is actually
a piece that we created that has some
depths into it as well. Now let's check for the tiling. Let's apply the snap. And it should be
tiling perfectly because the tiling
material is present there and it's working in this direction and in
this direction as well. So you're saying a
harsh seem in here. Of course you can
keep it because the lighting is
going to cover that as well as he can do some
vertex blending in these areas. Put some leaves in
here to a prop, put some boxes and things
like that to cover this area. Let's take this one. And using vertex again, I'm going to rewrite that
under and go in here. Bring that. Looks like we need to rotate it in this
direction, so no problem. Actually. I'm going to take
it and rotated in this direction and
bring it in here. So let's take this one and
bring it down just a bit. Not that much, so that it avoids that Z fighting
that we have there. So I'm going to take this
one and bring it out. And again, that
is cited as well. So you see that we
created this one as well. Now I'm going to take
the material from this, which is this one, and
drag it on top of here. And you see it's
working perfectly. And it added a bit of dimension
to the scene as well. So this is the last one. It looks like we have
a bit of Z fighting in here as well, okay,
perfectly done. And for this part as well, we're going to do
something to fix that. Okay? Now, this is the first level of the
kids that we created. Let's recap of what we
have done up until now. We have created the
most common pieces that apply and repeat
throughout the project. We have created tiling textures
as well and apply them very roughly on top of these to see that if the
tiling is working, if there are problems to solve, if we need to add
a custom piece, if we need a lot of things. So we basically solves
a lot of problems in here and made sure that
there's a foundation to go on. And now we have that foundation. But there are some pieces
that are remaining, including this window pieces, these pillars, guards,
windows, these shops, etc. So this was the first pass. And I can tell that it was the most difficult up until now
because in the first chapter, we only talked about modularity
and concepts and things. And in the next one,
we created a blackout. And in the third chapter, which is this one
for chapter two, because we had an
introductory chapter, this is Chapter two. We created basic art and applied that in
here to make sure that the modularity
and textures and everything is working together. And now we have some
problems to fix. For example, in this
area we have open gap, which is not actually
good to look at. So we bring in pieces
to hide these parts. We can bring in pieces to
hide this part as well. We can bring in pillars
in these areas. We need to bring
a lot of things. So the next one is
going to be much more interesting because we're
going to create AAA art. And we're going to open
up ZBrush and start to introduce the ZBrush
into workflow and start to sculpt
a lot of cool, high-quality details
that will bring in and use nano to make it more
interesting as well. Because these are
relatively flat pieces, flat pieces of plane
that are tiling. And by adding those
nanorods measures, we bring these ones
rarely to a new level. So the next one, because we have made sure that everything
is working alright, and we have a strong ground. Then next one is going to
be the second iteration. And as you know, up until now, we have been working with the
iterations and iterations. On top of iteration, we started with the rough
blackout without anything actually only blackouts
and rough meshes. And after that, we
detailed than just a bit. For example, in here we added some secondary details to
make it look interesting. And these areas as well, but there are a lot of areas
that we can improve better. Congratulations on finishing
the second chapter. In the next one, we
actually start to go can create lots
of cool details. For example, these sharps, this door frame that is
going to be used only once. And basically we
are going to have lots of interesting details being created inside ZBrush
and other programs as well. Again, congratulations
for finishing this part. And in the next
one, we're going to continue to refine
this even more. See you there.
45. Some Quick Words: Hello again everybody, and congratulations for progressing
to the new chapter. And in this one we're going
to create a second iteration. In the previous one, we created the first iteration
and to make sure that everything works together and
to make sure that tiling, snapping and all
of the logic that we need is working as expected. And now we're going to add
a lot of cool details. And this is the part where we start to introduce
non-IT measures as well. We create high polygon meshes and bring them in
and older in here, you see we have only
less than 55 amount of vertices and
this is very low. And we have not done anything
in terms of detailing the whole detail that we are getting here is from
the normal map. But now we're going
to really create some high-quality sculpt
and bring Domain, do a lot of vertex blending, create materials and
things like that to make this material
progress to a new level. But before that, I need to
fix something about this kid. And this is totally optional because I wanted to create
a door piece in here. And then after that, the shop. And I will look at
some references. And I found out that it's
good to have some base, just like to break in here. This is what I have
in mind for that. You see, it's having a place in the bricks and
then connect to the piece. So this is what I'm going
to do for this one. So now this is the base
that we have here. This is the base of that door. It's entrance, and
it's a four by three. And I'm thinking that we
created a base four by three, which is this one here. This is a four by three piece. I'm going to take a
duplicate and bring it in and you see they
snap perfectly. And the only thing
that I'm going to do is adding the door in here. So that's go n. And I'm going to
select these vertices. And once more and delete this so that this becomes the door frame plus
the door itself. Now, let me take this one. I'm going to borrow
the name and delete it because I want to
overwrite that with this one. So let's take this one
and export it in here. In Unreal Engine, I'm
going to go out and import it. So this is it. I believe this is a good one. Or the door as well
as the door frame. This is not going to be
the whole door frame. We're going to add
some things as well. But I feel like this is a bit bigger than I
thought actually. Comparing that against
this mannequin in here. And actually I can go in here and bring
everything back by Control Z and try to de-select
some of these vertices. And actually let me bring
in some extra vertices in here to make sure
that we do not cut a lot from this cell. This is actually a better piece. And if you go too much, we're going to get
some problems, not problems I actually put
that is going to be too big. Okay, Now, let me
take this one again. I'm going to borrow the
name and delete this one. And do the same thing. And let's go to see the
results in Unreal Engine. Okay, Now it's more manageable. And actually what I'm
going to do is selecting this one in here. I'm going to bring in, I know it's not a
material instance, it's the same one. So I applied here. Now it has a lot
more consistency with the whole environment. So later on we will add
lots of details in here. And now let's do
the shop as well. I want to have a bit of
break in here as well. So we're here now, I'm going to drag this one back, and let's bring it in. Now. This one is a four by six piece, and it means that it has double the amount of
the ground from this. So no problem actually. Instead of creating that, I'm going to bring in here. Then since this one is tiling, let me hide this. And I'm going to snap
these two together, but not on the vertices. Let's go for Increments. Now, these are tiling actually, and we have no problem. Let's go back and you see
they're fighting each other. So I'm going to
select these two. Just isolate them
and I'm going to hit Control and J to make
them a single piece. And now, since we have
double vertices in here, you see if I take this
middle one for example, that is adjoining
piece and I take it, you see they are separated from each other and not
joined actually. There are separate parts. You see, I'm able to
disconnected from each other. So I'm going into the vertices, select them all, and
merge by distance. So now you see it has
removed nine vertices. And if I take this middle PCC, now they're all joined together. And if I take one of them
and select them all, you see, they have been all
connected to each other. Okay. Now it's about
time to actually specify the dimensions of
the shop window actually. So let's go in. And this is, of course, we have one from the
previous iteration. Let me take that
and bring it back. Now. This is the piece that we need. Actually. Let's go in here and
try to look at that. And let's do
something like this. I'm going to bring one vertice
in here and one in here. We want to have big of
a window shop in here. So I'm going to go
to polygon mode, select these in
the middle and it Control and plus to
select everything. And now we have some extra
ones that we need to select. Okay? And this is the last one. And delete them, go back. And I'm going to borrow
the name from this one, hit F2 to bring the
name and delete it. And I'm going to paste
the name in here and let's check it to see
how it works. So this is it. Let's bring it. Looks like
the pivot is off in here, which we need to fix. The pivot is in the center. And now you see how
keeping the pivot x the same throughout the
process is important. So I'm going to take this
one and make that the pivot now exports and it's
time to bring it. Now you said because
upset that the pivot, it wants couple of meters away. So now I have a great
dimensions in here. I'm going to take this one and apply the material
that we wanted. Let me copy the
material from this. Now looks like it's not doing, so let me take it and
drag it in here, okay? Now we have a base for
it and we can go and apply the material on it and
we can bring in the doors, door frame, shops
and everything. And also because the
tiling is great, we can take this one for example and apply another
material on it. Of course, this one
is a roadmap that we are not the best example, but you can think
about it, for example, bringing in from other kids
to make it look different. So I'm going to
keep this one down because the tiling
logic is there. We're not seeing
any problems, okay? This is the problem
that I wanted to fix. Now one more thing to
talk about is that this Victorian things have
a lot of ornament to them. And if you look at the
references in here, you see that we have
ornaments in here. And you can see
that, for example, these doors have some
ornaments to them. And the ornament creation
is a whole another course, and since this one is a
modular creation course, not ornament creation course, I'm not going to
dedicate a lot of time to ornaments
because they are going to give us an take from
us a lot of time and actually not being so relevant
into the modular creation, because this modular creation
is all about techniques. And to make things modular. And to save a bit of time, I have purchased third
party ornament kids that I'm going to use
in this tutorial. They are pretty high-quality and they can save
you a lot of time. You see that these are ornaments
and they are 3D shapes actually that we can use
in the creation process. But to make sure that
everybody's on the same page, I'm going to demo
some things to how to create some ornaments
inside Blender, for example, let me take
this one as an example. I'm going to drag it
out, bring it here. Let's say that we want to
create something like this. You see, creating each and every of them is going to
take a bit of time from us. And since I do not want to
waste a lot of time on that, I'm going to do a
shortcut by using these. But for some people who do not know actually how
to use ornaments, let's take this
one and I'm going to bring the origin to here. Origin tool, select it so
that when I bring in things, they spawn in here. So now let me take this and it gets a lot better if you
add subdivisions to them. And you'll see now it has
a lot of, a better shape. So in order to create ornaments, a lot of people,
Let's start to work. Polygon by polygon, for example, bringing a plane,
resize the plane, try to take the shape, for example, take the vertices, extrude them, do
something like this. Take the vertices, try to manipulate them and
these kinds of things. And after that, for example, when they had a silhouette, they start to add vertices. And for example, vertices again. Take this one, take
this row of vertices, bring it up, take this
one, bring it down. And things like
this, for example, to create ornament and they're
going to get a result. This one actually gives you the most control over the thing that you are
going to create it. But this is going to
be very time-consuming because to create
something like this, you need to put hours of work into creating
something like this, let alone to something fairly
complex like this one. So this is why I'm using this pack for
the ornament pieces, but there's a better way
of creating ornaments. And that is actually first creating the silhouette,
the big shape. And then I start to use
the profile shape inside Blender to add a lot
of profile to it. So you can create the
shape either by bringing. A curve, for example,
paths curve. And since the origin is in here, it has a span tag here. So a lot of people
do not love to work with paths and including myself. But in order to do that, you can take this
one, bring it here. And you see this is
a representation, but the geometry is different. So I'm going to
bring this one here, bring this one in here, and I start hit a to
extrude those paths. And since this one is
a Bezier, a Fargo, you see we get a
shape like this that is fairly looking like the
shape that we have here. So let me go in here and I'm going to hit
Control a and B. And if it doesn't just
right-click on subdivide. If it doesn't, you can take
this one, for example, bring it here and I start to
roughly continue the shape. So we have a shape
that is fairly looking like the object
that we had there. So let me take it and I'm
going to bring it up. So you see that we
simulated the shape. Now to create actually
geometry for that, you can go to this
object data properties, which has properties based on
the object that you create. Now we have a curve and now it has curved and now
go to geometry. And in here we have a bubble
and the depths for now is 0. And we're not actually
seeing a geometry in here. So if you start to
add geometry here, seeing geometry
being added in here. If you want more resolution, you can go for resolution
and try to increase it up. Okay, This is for it. And now in order to make
this one more beautiful, we can go to profile. And this profile is going to do that move that
we want from this. So let me take
that one and start to click in here to
create something. So you basically create the profile so that you can use it to alter
the shape of this one. And now you see it has taken this profile and apply that to the geometry that we have created to create
something like this. So let's go a couple
of steps back, and it has some presets
to look at as well. Let's start to look
at the presets. And you see it starts to
give you different results. And even you see how
beautiful this starts to get. And you can actually
try to create your own preset and
use them as well. So this is another preset
and this is the latest one. This is just like a
step and it's taking that and applying to
all of the geometry. So let's go for that one, which give us the best result. Now you see we fairly have something like this
budget can go in here and try to manipulate
the shape to your liking. So now there's a problem and the fact that the bottom part, which needs to be thinner, all of them have just
the same thickness. So in order to fix that, they can go into vertices mode, hitting one, and
it brings it up. And you can hit Alt and S to manipulate the shape of that. And you can also go for
proportional editing, again, Alton S, to manipulate
them altogether. So you can see we are able to create something
like this very fast. And I can take this
one for example. And it just starts to manipulate all of the
vertices together. So let's bring that out. This is how we can start
to create ornaments. And you can see with
minimum effort, we were able to create
something like this that's fairly look
like that one. So now that we know how to create geometry than ornaments. And of course, one last
thing is that this is now a still curve. And if you go in here, you see the curve
object in here. And if you want to
convert that to actual geometry to be
used in your game, we can go to object mode, and in here there should be
a convert, convert to mesh. Now, this one is
actually geometry. And if you go in here, you are able to
take the vertices, manipulate them to your liking. For example, at Turbo
smooth to make it really smoother and
things like that. Okay, This was about ornaments. From now on we're
going to use a lot of ornament work to make the final resort much
more interesting. And as I said, these take
a lot of time to create. And since this one is not a
ornamental creation course, we are doing a shortcut
by using this. Okay? This was about fixing a quick problem and a bit
of ornaments as well. One more thing that
I'm going to do is using the prefab system
inside Unreal Engine. And in here you saw
that we created this door frame and prime
for the shop as well. But now these do not
have any details. And since I'm going to use
vertex blending on these, I'm going to keep them
separated from non-IT measures because nanotube measures do
not support vertex blending. For now, they may
change it in future, but for now, there's no ability to use vertex blending on night. So I'm going to
keep these vertex planned measures separate and keep the NANOG measures
separate as well. But that one is going
to create a problem. And that is if you're going to change the door
frame and the door, unselect them and bring
them to another place, for example,
something like this. You need to select a base piece. You need to select
the door frame. You need to select
the door and select multiple objects to be able to change them to another place. But we're going to
do something that makes it a lot easier for us. Then that is calling the prefab. And we're going to use the Unreal Engine blueprint
system to help us do that. So now what we're gonna do is actually taking this one and we're going to
change this one into a blueprint actor instead
of a static mesh actor. So to change that to blueprint, you go in here and
make it a blueprint. And it can change, for example, that to harvest component
doesn't matter. And a static image
actor, I hit Select. And now we have the study much actor being converted to a blueprints actor. Good thing is that the
pivot is still in here. So I'm going to hit Compile. And in here you see now we have a blueprint actor in
here, which is this one. And if you hit on Edit, you are able to come
in here and change it. And now let's say that we
want to add some things to this in order to change them
all again at the same time. So we go in here and bring
in a static mesh actor. So this is a simple
static mesh actor that has been added to here. And I'm going to make that
children of this one, you see, this is the parent
and this is the children. And it means that they're all they're all going
to move together. So let's bring in
that mannequin. This mannequin is a static
mesh and I'm going to bring it until here and
just place it here. So that suppose
that this is one of the high-quality nano machines
that we have brought in. So you hit Compile
and I will go out. Now you see, when I select
this one and drag it out, this one is still
moving with it. With the previous system, we needed to select one of them, select others, and
move them together. Now using this prefab system, we can make prefabs and we can make pre-fabs out of anything. For example, we can make a
whole blue building a prefab, and that is a very helpful thing that you can use
in your projects. And also it makes us to
the vertex blending on simple measures and escape the non-native vertex
blending as well. So because it knows which of them are
basically what actors. So to test that, I'm going to the Content Browser abroad in this material editor. And now I'm going to create a very basic vertex
plant material. And I'm going to go take
this mannequin as well. Let's go in the measures. Let's go search for
it for the mannequin. That is it. Okay. This
is the man again. And in here I'm going
to enable nano and support so that it converts
that into an analytic much. Okay, Now, this has been officially changed
into analyte mesh. Mesh doesn't support vertex
blending and you need to hit this apply changes as
well to make it a nano mesh. And now it has converted
that to nanoporous. You need to hit Apply
Changes as well. And you see now in here the nano triangles and vertices and things
like that because nano is able to manipulate and hold on a lot
of vertices and we're going to create
how your policy measures and bring them in and
make them navigate. But for now, the drawback of using non-IT is that you
cannot use vertex blending. But since we are
going to use vertex blending for those wall meshes and measures that we have
been creating up until now, I'm going to keep them
separated together. Keep them separated
from each other. And because manipulating them right by separate
is a bit harder. I'm going to use the
prefab system to use both of the best of
the both systems. So I'm going to bring in simple colors, really
simple colors. So I'm going to change
this one to read, and change this one to green, and change this one to blue. And now the note
that helps us do the vertex blending is
the vertex color node. So bring it and you have
some options in here, RG, B, which are a standing for red, green, and blue, and this
last one which is the Alpha. So I'm going to
alert them together. And I'm going to connect
this one in the B. And for visualizing, let's
connect that into a as well. So I'm going to alert
them based on an alpha. This loop is going to give you back the results of the
mix between a and b. And by default, they're mixed
together based on a 0.5. If I take this one
and connected here, you see that it takes red and
blue and gives us purple. And it's using halfway
from all of them. But if I take the Alpha
and bring it in here, now, it's using the vertex data. The vertex data for nightmare
for now is going to be pre-built and we're going to pre-built vertex
data inside ZBrush. But for measures like these, when we have to have real-time control over
the vertex blending, I'm not currently converting
them into analyte. And later on when Nana it got actually support for
vertex blending. You can convert these
ones tonight as well. So because these are
static measures, use nano it, I'm going to, excuse me, these are static
meshes use vertex blending. I'm going to use them
as a static mesh. So now I'm going to
connect the R in here. And now again we have G, and now we're going to do. Blurb again, and I'm going
to convert this one into a. An a in here is 0
and B is white, and Alpha is Alpha. So I'm going to drag it in
here and I'm going to tell Unreal Engine where the vertex
color changes to green, show P. And this is
actually how it goes. So now let's again add alert. We're going to
explain this system later on when we create
the actual material. But now this is a
simple explanation, so I'm going to bring
blue in here as well and convert all of
that into a base color. So now I'm going to go
apply this material. Let me find it. It's in here. I'm going to
apply that to this one. So I need to have the name so that I can
paste the name there. So in order to apply
that on this mesh, you can either go to this
Static Mesh that this one has. For example, let's go to
Content Browser point. The mesh. And the mesh should be this
one here, the untransformed. So let's search for
entrance, which is this one. Now, I'm going to apply that material in here so you
see that it has changed. And now in here, of course, we need to save it out. And now in this study much also, it should have changed. So if I bring this, you
see it has changed, but this one is not
because we have overwritten this
material in viewport. So if I go into these details, panel and static measures, you see that this Static Mesh we have overwritten
the material by this. So if I go and convert that material now you see we have
this blue material. One way is going to
actually a static mesh window and applying
material on there. But if you have overwritten the material in the view port, the way that we did on these, you can go into details panel and select them and
change them there. So I'm going to apply the same material on
this one as well. Now, you see that the material
has been applied on this. And now there's a mode
that is called mesh paint. And I'm going to go
to this mesh paint and I start to paint, so I'm selecting this first. You go to select
and select this, and it's going to select
the blueprint actor. And it's going to recognize
what we have in here. You see it recognizes
this Static Mesh and recognizes the
nano mesh as well. So I'm going to
hide them all and having only red channel and use the paint bucket
in here is fill. Of course, because now
we have blue on top of everything that we
created in here. It's showing the blue. But let's go activate the blue channel and use
the erase color instead. And paint bucket, you see
it has now erase that blue. And I'm going to use the green
and remove that as well, honey, see, now we
have red in there. So if I bring in the
green and start to paint, I'm going to of course, use the paint color instead. So if I start to paint, you see it tries to paint
the materials based on the vertex blend that this is actual vertex plane
that I talked about. It's going to be helpful
and it's going to help us hide a lot of the
modularity in the scene. So if I bring in
the blue as well, it's going to overwrite that. So bring in red. And it tries to paint. Now, if I go in here, I'm not actually able
to paint anything. And if I go to blue as well
and do the erase color, I'm not going to
be able to change, change the vertex blending on this one because
this is a nightmare. For now, nano doesn't
support vertex blending. So this is why I kept this
as a static measures. And the actual detail piece that we create from these
as nightmarish. Because I'm going to keep
the quality from these. But the drawback is
that they cannot do vertex blend on the flyer on
these into Unreal Engine. But there are a lot
of ways to bring in and pre-baked the
vertex color on these. And we're going to
explain that later on. Do not worry, we are going
to explain everything okay? In the next one, we'll actually create
high-quality geometries. See you there.
46. Pillar Sculpt in Zbrush: Okay, everybody. And previous lesson we talked about how to create
our ornaments. And we wanted to create this entrance and
the shop as well. But I really thought that
this is only used once. And instead of creating that, Let's go and create the things that are repeated the most. For example, instead of these, I'm going to go four pillars. Because these have been
used a lot of times. I'm making these would
contribute to the scene a lot better compared to this
hero piece in here, which is going, only
going to be used once. When you are going
to create something, make sure that you create the most repetitive
elements first and then later on go for the hero pieces for
example in here, these may be considered
hero pieces. So for the pillars, we're going to use an analyte
and we're going to create some high-quality prompts to make sure that we give a
bit of silver to this one. Although these are
some flood plains, we're going to use
nano to make sure that we give enough
detail into this one to hide a lot of
these floodplains that belonged to
seven generation. So now we're gonna do
this one in a clever way. And instead of going
and manually created, we're going to use the height map that we
created for this one. Because I want this one to
be using the same matter. Realize this. So now we're gonna
make sure that we create this one using the
height map from this, we're going to tessellate this. We're going to create a
base first in Blender, and then we go into
ZBrush and tessellate it and then texture
it inside substance. Of course, painter,
because painter is a lot better for creating
things like this. You see that for
better modularity, I divided the corner
piece as well. So that later on
when we decided for the streams AI ML model, this one according to
the streams as well, to make this one really
more high-quality and more beautiful to look at. Okay? Now this is where we are and we have these
two to be modeled out. And we have these two
corner pieces as well. One of them is being
used for here. You see this is the
corner piece too. And one of them has been used in here,
corner piece three. And these are the
ones that we model according to this trim pieces
that we create later on. And we're going to use
these ornaments that we reviewed in the previous lesson in the creation
process of these, a lot of displacement
is going to happen. So now let's go create pillars. Of course we have three
sets of pillars to create. One belongs to here, one belongs to this piece, and one belongs to here. And we're going to
create them accordingly. Okay, now let's go
for the first one. We have this one. I'm going to select them, control C to copy these two. And I'm going to
create a new scene because I'm going to bring in some high poly elements and I do not want that to be in here. We have a lot of pieces in here. And I do not want
this to get so heavy. So I'm going to take
all of them, control C, and I'm going to create
a new scene in here, Control V to place them in here. And I'm going to
save this scene. Okay, I'm going to name
this pillars and save it. Now, I'm going to
bring them all in. Separate them just a bit. And you want to make
sure that you do not do anything with the pivots. So I'm going to take these
and bring them back. And there's one
thing if you want to make sure that the brick sizes from this piece
or equal to this piece, you want to make
sure that you check the textile density as well. But since I really do not care if these books have the
same size as these, I'm not going to check
the textile density, but if you're going to
make sure you can go. So now let's go start to give
these proper tessellation. You see, we have no tessellation
for ZBrush to work with. And of course we are going
to make sure that we have a square tessellation in here so that when we export
it into ZBrush, if we do not get any errors. And one thing to note, the UV process in here is very important
because we're going to import the displacement in ZBrush and do according to that. So let's go in here and
apply the tessellation. First. I'm going to bring in, make sure that if for
every mirror we have tessellation piece and then
make sure that we have some. He says in-between,
if you are going to make sure that you have
a square tessellation, you want to make sure that each of these ones are squares. So now you see we have more or less sum of
squares being created. If you tessellate this one, it's going to be
a square as well. The more tessellation you have, the more resolution you are going to get from
your height map. And you see that more or
less we have some squares in here and this top one as
well as a square one. So let's go for this one
and you want to make sure that we have the same
one in here as well. So I'm going to bring in here and start to tessellate it
until we get those scores. As much tessellation so
that you get scores. So we have all the squares now. So I'm going to go in here
and apply that the selection, or you can even
bring in something like control to make it simple. Optimal is display turned off. And now I'm going to
tessellate it as much. The rest of it is going
to be handled by ZBrush. Here we're going to make sure that we have a
square tessellation. This is very important. These are squares are
very important to avoid any UBI problems
and things like that. So I'm going to take
this one and this one, the last Control L
and copy modifiers. Now, it's okay. I have these two. And now it's the
process of UV creation. Let's go in here and
bring the UV editor up. And first we're
gonna do this one. So just try to select a
theme that goes all the way. You want to convert
this one into a scene. You can either right-click
mark seam or right-click on this mark scheme and add it to quick favorites so
that on holding Q, you're able to bring that. So I'm going to make this mark scheme and I'm
going to select all of these edge loops on the top so that I can make
this one a seem as well. And we're gonna do
the same thing for the below part as well. So I'm going to make
this one mark sin. And this one. Make sure that you
deselect everything so that nothing happens. So this one as well. And this one at the
last mark seam. Now I'm going to go
into polygon mode, select everything. Now, unwrap. And you see that it could be converted that into
what we wanted. So this is the bottom piece, this is the top piece
and this is the body. But in order to have consistent
Solution all across, you want to make sure
that we check that, check your pattern map on that to see if
everything is working. Alright, so I'm
going to bring in the UV toolkit and
give it a texture map. Now you see we have
a low value in here. This is good, but this one, we have a lot of that UV. So let's go in here and
select the body part in here. And I'm going to re-scale that, re-scaling x as well. So let's try to rescale
at x to get some squares. This more or less, we're getting some squares. And it doesn't matter
if you are staying in the 0 to one UV space. Of course, for now, if you're going to bake it
inside Substance Painter, you need to make sure that it's between 0 to one UV space. So in order to
prevent some of that, I'm going to bring it
into 0 to one UV space, so that later on
we do not have to unwrap the high poly
piece in blender again. But if you're only going to
display study into ZBrush, you really do not want to have the UVs inside 0
to one UV space. But since we're gonna bake that in Substance Painter
and texture it there, I'm going to make sure
that it's in there. So I'm gonna go to UV
Packer and he'd pack. Now, we need these ones. Become a little bit
of smaller until preview of what the height
map is going to be. I'm going to bring in
texture and try to see the size of the brakes and the direction of the
bricks and anything. So I'm going to remove
that and remove this material and bring
a material in here. So let's come in here
on the UV toolkit. Then remove all
checker patterns. In here, I'm going to create a new material and I'm going to only check on the
base color in here. I'm going to bring
in the base color. Looks like we selected
the wrong one. This is a, this is
the base color. So now this, this is the
actual size of the breaks, but this one is too large. You can either do one thing. You can take the UVs, take them a scale them to
get the size that you want. But this, you're going to go out of the 0 to one UV space. And as I said, since we
are going to break that into substance later on,
we do not want that. Of course it can go
Who is the demes, but that is not something
that we want to use. So one thing is we scaling the UVs and another thing to
make sure that you stay in, but in the 0 to one
UV space is to make sure you re-scale
the texture instead. And by that I mean tiling
the texture in Photoshop. This is the height, height
map of the texture. And we're going to try this. So I'm going to
double-click on this to unlock it so that we
are able to change it. And now I'm going to re-scale
the UVs into these borders. So you want to make sure that It's 2048 or lacrosse. So I'm going to take this
one and placed them there. And we have created a tiling. Now we do not need to go outside of the 0
to one UV space. So I'm going to
save this one out. And it's better
to use it as tiff because it gives you
the best results. And I'm going to overwrite that with the one that
we already have. Now, instead of that, let's bring in that tiff
and use it in here. And now you said
this is the size of the breaks that we get. And it's perfect
without needing to go outside of the
0 to one UV space, we titled the texture
instead, which is great. So let's check it to see if
everything is right or wrong. And one thing
concerning these edges, if the edge is continuous, let me take this one. If the edge is continuous, you see we have an edge in
here, which is this one. And you see this
edge is in between. And it may means
that this texture in here is going to
be continuous across. This is going to create
a realistic effect. But sometimes when
we have the UV seam, he see a bit of break in here. Of course, depending on if you want to cure
this one or not, you can do the changes. But since this is not
going to be a huge change, I'm not going to do
anything with it. So now one more thing is that these squares on the
top are too big. So I'm going to take them
all and re-scale them down so that we have
something similar to the size of the
breaks in here. So this one is
already doing great. And I'm not going
to repeat every same process on top of this one. So I'm going to take
this one, duplicate it. And I'm going to take
the name of this one, take the name and change
it to something else, and paste the name on here. So now the only thing
that we need to do is deleting a mirror of this one. So let me go in here, take this, Let's go into bugs
mode, select everything. And I'm going to take this
one and bring it down. Until here. I want to make this one the cap. Now select everything
and merge the vertices. Looks like it
didn't do anything. And let's make them as close
as possible as we can. Now go and merge the vertices. It merged this amount of
vertices, which is great. So now I'm going to take
this one and delete it. One more thing is if you want or some variation
in these textures, you can go and try to displace the UVs a
bit when you see, because these are
two similar pieces, we're gonna get this in here. So I'm going to take this one, for example, this piece in here. And I'm going to bring it right to this port so that we get
a bit of separation there. And I'm going to take
this one, bring it here, take this one and bring it there as well to get some separation. So looks like we need
to take this one on, bring it in here to
get a better one. So now that we have enough, I'm going to bring these in the center and separate
them a bit from each other. I'm going to take both of
them unexplored them as FBX. And I just created
a folder ZBrush, and I'm going to export it as FBX using only the
selected objects. And here we are in ZBrush. Now, I'm going to import this is the one
that we are looking for. Okay? Now we have the pieces
as individual sub-tests. So I'm going to bring
them down and it exported the texture
with them as well. So no problem. I'm
going to do one thing. I'm going to select each
and uncheck the smooth, because if the smoothies on, and I'm going to subdivide that. It's going to smooth the
geometry which I do not want. But since we have a lot
of tessellation in here, the smoothing is not going
to be that prominent. So let me take that one
and try to smooth that. It tries to smooth these. And I do not want that, so
I'm going to check that off. And for this one as well, Homer, and make sure
that I check it off. And as you know, I'm not going to use
DynaMesh for these because DynaMesh is going
to ruin the UV for now. It's going to create
a new geometry. And it's going to ruin your UVs, which we actually do not want. We do not want to alter the UVs. And that is why in Blender we try to make this
one as a square as possible so that when we try to subdivide this in ZBrush, we have all the
squares in all places. So I'm gonna make this one to millions and
this one as well. Let's subdivide it to. This value is good. So let's select this one. And now in order to tessellate
that, I'm going to go. This displacement map, I'm going to click on this
one and hit Import. Now you want to head over to the displacement map
that you needed Open. And now the only
thing you need to do is changing this intensity. Let's put something like 0.1.1. Let's test it. And he said this is the
result that we get. It's going to tessellate
that for you. Let's look at that. And you see it tries to give
the silhouette as well. So let's try more. And this is a bit of preview. And if you apply the
displacement in, it's going to ruin your mesh. So always try to start
with smaller numbers. So now you see with only 0.1, we're getting a lot
of silhouette change. So 0.1 is too much. Let's go for the half. Okay, this one is now a
bit more considerable. One more thing that you can do to avoid these bad
parts in here, which belong to the
same separation that we talked about in blender. You can either blur the
height map that you bring inside Photoshop
or the substance itself and bring it in here. And one more thing, you can use the Polish features in here to make sure that the
problem minimizes actually. And these punishments,
you can find them in the deformation in here, all of these polishes, as you know, he can take
them and drag them in here. So let's use this polish
with a very low number. Not a lot. You see
it tried to polish, but it's too much. It takes a lot of
the features away. So we can either use
polish and relax as well, is going to help you just a bit. So as I said, you can use
polish or you can blur the height map a bit so that you do not have a
lot of contrast. So now I'm not going
to do either way. I'm going to use this one. And let's do the same
for this one as well. I'm going to select this. And this one has
lesser amount of geometry because this
is a smaller than that. So let's go into the
displacement map. And I'm going to
bring in the same, just import and bring it. And let's see what
amounts we had there. I think we had 0.05. Now we get a good amount of displacement on both of
them, which is great. Now, you can actually import these directly into unreal
and start to test them. But since I'm not going to waste a lot of the hard drive
for these scopes. I'm going to
DynaMesh, excuse me, I'm going to decimate
them so that I have the low poly and high poly and this one on top
of that, of course, you can use them
without any problem, but since I'm going to record at the same time
as importing them, I'm going to create a low
poly version of this, which is relatively
high poly as well. It's going to be
high-quality compared to what we could have done
in the previous lesson. And for the last
time, I'm telling you that you can keep
them as they are, unimportant them into unreal and there is going
to be no problem. But since I'm going to
save a bit of time, I'm going to create some lesser
polygon versions of them. So I'm going to take
this and duplicate them. The duplicate can
be found in here as well in the sub tool menu. In here, you can find it. And I have drag that
into the viewport. So I'm going to take this one
as well and do a duplicate. Now I have four of them. So I'm going to make sure
that everything is hired. Only this one. Let's go in the
summation master. And the key in here
is to keep UVs. If you do not check this on, it's going to ruin the UVs
that you have created. So you want to make
sure that you keep UVs. And I'm going to preprocess. And depending on the
size of the geometry and the complexity and the amount of
polygons that it has. It's going to take
a bit of time, so I'm going to stop and
get back when it's done. Hopefully process is done. And now let's decimate done. And now we have this amount of polygon which is insane
for something like this that is very high poly and you're going to see a
lot of cool details. So now let me enable these two, and I'm going to
take this one and go into the project
tab and projects. And that makes
sure that you have the best connection between
the low poly and high poly. So let me go and try to
look at them separately. This is the high value
is 2 million polygons, and this is the low poly. It's great. Now
let's take this one. Let me see this. This is going to
be the high value and this is going
to be the low poly. So I'm going to keep the UVs, make sure that you
have this one on. If you are going
to save yourself a lot of trouble down the way. So preprocess. And then I'm going to
decimate this one as well. So now we have this amount, which is also a great amount. And one thing to make sure that you do is if you are going to decimate is after creating
the vertex color data, you wanna make sure that
poly paint is on as well. Because otherwise it's going to remove the vertex
color data as well. And now let's create a vertex color data for
these two low body wants. We have this one, and we
have this one as well. So let's hide this 1 first try to create vertex color data for this one because nano it for now doesn't support vertex
blending and we need to pre-baked the vertex
colored data into here. And I'm talking about
that red, green, blue thing that we
created inside Unreal. And we want to make sure that we create masks on this Soledad. When we later on try to blend the materials on top of this, we get the best amount of variation on the
surface of the object. There are a couple of
ways for creating them. One is manually painting, which is going to take forever. And one is creating
using procedural ways. And this is what we're
going to do than the vertex color is called
poly paint inside ZBrush. First, you want
to make sure that you enable the colorize. And we need this
color tab as well. Let me take it and
drag it in here so that I can use it pretty fast. So now we need to create
some masks for this. And for masking. You
can go in here and create the mask basically based on whatever
you want to create. So for the first one, let's go for smoothness and try to mask by smoothness
to see what we get. And this is it, basically
the mask that it gives us. And you can also change the range and the follow-up to get something that you want. For example, let's
change it to five. Remove the mask and
try to mask again. And this is what
you get actually. So now you see in here, we can paint the
data that we want. So I'm going to make
this one the red. And of course you can
invert the mask as well. So now let me bring in the green down to 0 and you want to make sure that you use actual values and readies all the way
to the highest point, and green and blue,
these are disabled. And now you want to make sure
that you hit Fill object. Actually before
doing, let me clear out everything and make sure that I paint with white as the base layer on
top of everything. So I'm going to hit Fill object. This is the base layer. Now let's go for masking
and try to mask. So now let's bring this
two down to actual 0. Now fill object. Looks like we need
to change the colors instead so that now
I can paint red. So of course, if that
didn't happen is because the texture map that we have important
from blender, you see now it's showing this one instead
of the color map. So let's go in here
and simply go to texture map and turn
this texture off. And now you see the color
have been applied in here. So for the base one, Let's go and make it white. Okay? Now, when you do that, Let's go for poly paint. And you want to
turn this one off so that we get this one
as the default one. So it will object for this one so that the
default one is white. And now let's go
for masking and try to look at the smoothness first. So this is the mask and now
I'm going to remove all of these and fill
object with threat. So now you see that on these
areas we have read in, inside Ontario, for example, we can tell that wherever
I use the vertex color red, apply
another material. And this is actually
how it's going to work. So now let's go for cavity, unmasked by cavity as well. First, it's not
going to do much. So let's make it intensity one. And try to see the result. Let's go for ten mass by cavity. And now we do see that it tries to mask this cavity parts. But now since the cavity
pork have been masked, it's not going to be affected. Just try to go and
reverse the mask. Or first do something like
this and then go or grow mask. And then this is the
result that you get. And of course, in
now you're in here, you can shrink mask
and things like that, or sharpened mask as
well if you want it. So let's go for something
like y and mass cavity. That's four cavity. Let's bring in the
green fill object and in cavity parts as well. Now you see that we have
green, which is great. So now let's go back another
step and try to make this 110 mask by cavity and grow the mask
just a bit sharpen. And control click in here to reverse that and now
fill object with green. Now we have more. Data for cavity part, which is of course
something you want or not. So let's not make
that so intense. Let's make it 15,
mask by cavity. Reverse it and
something like this. This is good but a bit
weaker than I wanted. So let's go for 25 instead. Mask by cavity. Reverse that because I want
to paint object. Okay? This is better for
the cavity board. And of course you can go for blue one as well to
something that you want. For that one, you can go for a smoothness or peaks and
Alice to mask something. And now let's apply
the blue in here. Fill object. This is going to be too heavy
and not actually too much. One more thing
that you can go is going for ambient occlusion. And this one is going to
take a lot of time to calculate based on the
complexity of the mesh. So now I feel like
this is enough and we do not need blue. Actually. Of course you can go create
a mask, for example, custom mask, paint
something in here, reverse that and
make it the blue, so that you add a custom
material and this blue part. But for now, I'm
not using the blue. This is enough for it. One more thing is that if you're going to decimate
this even more, you want to make
sure that they keep UVs and use poly paint
is turned on as well. Because if you do
not keep these two, this one is going to
remove the poly paint, and this one is going
to remove the UVs. So this one is good. And now let's go
for the other one. And on this one as well. Let's go remove the texture
map that we have imported. And in here also, let's bring the color selection in here so that it's
easier to work with. And for the base one, I'm going to make all of them white and hit Fill object so
that it's white basically. And now I'm gonna
go for masking. And before that, you can go into poly paint mode
to make sure that the color ice has
been turned on. So go from masking
and for smoothness. Apply the mask. And let's bring in
the red in there. We'll object. Okay?
This is good. And based on the amount of
geometry that you have, the mask is going to be better. But for now, we don't care. So let's go for cavity
as well and make it 25. I believe it was
unmasked by cavity. And I'm going to reverse
the mask and paint with green and fill object. So let's go back again. Make the green is
stronger and fill object. Now, this is the
cavity mask as well. Now I'm gonna go to sub
tool, select them all. And I'm going to go in
here and export them. Now I'm going to
create a folder for them and export them as FBX. And I want to make sure that
all of them get exported. And of course the triangulation
is going to be good one, and everything is good. Let's export.
47. Finalizing Brick Pillars: How important the files in
Blender and you see that even the low poly wants look
actually very high-quality. Let's go isolate this one. Actually this one, and look
at the amount of polygon. And this is the low poly. And you see how much detail we are getting even without
adding a single map. So now we have imported these, but something about this is
that the pivot is wrong. And if I take this, all, this is the pivot of the
actual kit pieces that we had. And this is the
period of this one. So I'm going to take
the actual pivot, pivot holder and bring
the pivot to select it, bring the world
origin to select it. And I'm going to take this
one and origin to cursor. So now look, the
pivot is in here. And this one as well. You see the pivot
is in the center, so I need to bring in the
urgent cursor as well. Now all of them have
the same pivot. And now let's go do the
same for this one as well. I'm going to select
the pivot holder, which was this one. Actually, this is
the pivot holder. World origin to this pivot. And now I'm going to select
this one and PBT cursor. And for the last one
as well, if V2 cursor. Now all of the pivots
have been fixed. And this is one problem that happens sometimes when you try to export ZBrush
meshes into Blender. Let's bring in the
world to origin. And if I select each of them, you see all of them have the
pivot in the same place. And for this one as well. Let me take the low
polygon as well. This is it. And if you try to go to UV mode, now you see the UV that we created is basically
hear perfectly. So now one more thing
before doing anything, I'm going to select this
kit pieces and remove them. I'm going to take
this and actually copy the name from
that and remove it. I'm going to give the
name to the low polygon. Now, this is the high poly, and this is the low poly. And I'm going to
give the name to it. Now for the next one as well, I'm going to take this one
which is the kit piece and get the name and
remove that and go back. This is the low poly and I'm gonna give the name to this one. Now let me select this
one and this one, isolate them and I'm going to export them and test them to see they actually look and
work inside Unreal Engine. So let me save everything. And one more thing
than it needs to do is bringing in the buttocks. But in here we do not have
any direction to export to. So you need to
select the direction that the kit pieces
were exported to them. And this is the residential
building and this is the kit piece finished
a folder that we had. And they are in here. This is the piece, and
this is the piece as well. I'm going to accept
a folder and try to export them one by one and
test them inside aren't real. Okay, there's one
God is exported. And now let's look at that. And you see now, instead
of having kilobytes, we have 57 megabyte file in
here, which is this one. I'm going to take
this one as well. I need to export this one. Got to export it as well. And now this is that one. So I'm saving and I'm
going to bring down real. And now we are in Unreal. Let's take this one. Go to the mesh,
Right-click and re-import. Okay, if you see
everything just reset. Now you see it has
exported that one and you see how much quality we
are getting from that is, it adds a lot of cool details in here,
which is a great thing. And even without adding meshes, this looks like very good. And I'm going to take this one and go and
re-import this one as well. This one got important as well. And you see now how they create very
high-quality details. Even without adding
any material, they look very
high-quality and really wash out a lot of these
planes that we have here. So now we're going to
convert them into night. So if you go in here, you see that the
only 98 measures in here that we have are, is this one that we converted
the non-ideal previous. And of course, to
see this menu here, simply go into this V0 mode and go to night visualization. And we have over here, one of the most important
ones is this mask. And this mask, whatever that is, green is nano it and whatever that is not green is not night. So now let's see what happens. I'm going to select this one, right-click and go to
night, night unable 98. It's going to disappear
for a bit to calculate, and then it comes back as night. You see it converted to nano it. Now let me select this one and enable the nano eight
on that one as well. So they got disappeared. Now this one's got
imported back as well. But you see a black
shading in here and that is because nano it for now
doesn't support the world. Aligned material,
which is this one. This was a world alone material. So if I go in here and
reset the material, see it goes back to
the default shading. And whenever you see a
black thing in nano, it, it means that you
have some problems. So go in here, just reset it back,
and you get that. And you see even without any extra maps and textures
and things like that, we have so much
high-quality thing in here, which is great. So now that we made sure that
this one is looking good, Alright, going to go into substance and
try to texture this. And we need to do some
preparations as well. And one of them is making
sure that the material on these has the same
name. You see in here. We have another material and another material
on this one. Because this is the material
that we are going to use. This one, I'm going to
just copy the name, go back and give the same
material to that one as well. So I'm bringing material
Utilities and select this one. Now both of these should
have the same material. You see, both of them
are this matter. We have the name doesn't
matter actually. But these two that are going
to bake on each other, they should have
the same material. Let's go for this one. The actual low poly one is this one that has the
material that has a five on it. So let's go select this one
and give it a five as well. So now in order to export this, I'm going to select both of the low police,
which are this one. And I'm going to export
them as a single FBX and create a folder for
them and call them LP. And limit the selected an
export FBX. And it did it. And now I'm going to
select these too high, probably wants and export these to as a single
file as well. So this one, I'm going to
call it HP and hit Export. Now we are in painter
and I'm going to import those fights. So normal should be to OpenGL. We do not want any unwrap
or import camera and compute tangent space per fragment as well
should be turned on. So I'm going to select
the file and I'm going to unselect a low poly
first unimportant, and the imported them
without any problem. And we have two material IDs, which I can separate them and
I can take them separately. Okay, now I'm going to bake
the texture maps for baking. You go to this texture settings. Let me make it a bit bigger. And first in channel, Let's try ambient occlusion as well. And to bake mesh maps, you simply go to this
texture settings and scroll down until
you see this mesh maps. So heat baked mesh maps. And there are lots
of settings in here. But for the first
one to make sure that we have everything, alright, are always
do a test normal, see if everything works. Alright, so for output size, Let's set it to
four k. And in here you need to bring in the high-definition
measures as well. So click this one. And now we need to
select the high poly. It's everything
that the default, I'm going to hit spake
selected textures and it's going to break the
normal map on both of them. I would bake now. And if you're going to see if your bakers are right or not, he can simply hit B and it selects you
through the mesh maps. So this is the normal that
we have baked and it's good, although we need to
increase the quality. So everything is now
going to be alright. Now in here, I'm going to make
sure that the sampling is four-by-four resolution to four k. And select these
maps that we need. For baking wind only need
these and let them be at the default settings and hit bake textures until you get
whatever that is baked. So if you are going to bake only on one mesh,
you hit this one. But if you're going to bake
on all of the measures, we hit the second
one, the last one. So I'm going to hit this and get back to you within
the baking is done. And these are the amount of mesh maps that are
going to bake. Can you see the normal inaction? And we'll get back when all
of the process is done. Now the baking is done. And now we can hit B to cycle through all of the mesh
maps that you have. Ambient occlusion. This is the curvature, position,
thickness, and height. We do not have been normal and opacity you do
not have as well. And this is the normal map. And now I'm going to bring in the red brick texture that we created inside Substance
Designer as the base. And since these are
some generic pieces that get repeated over and over, we're not actually doing a
lot of extra details on them. Because for example, if you add some detail like this
on all of the measures, this is going to be repeated
all over your game and it's going to really ruin
the authenticity of what you have created. So in here, I'm gonna go important resources and
in here add resources. And I'm going to go in
here and select the mesh, excuse me tiling textures
that we created. This is the base color. This is normal,
this is roughness, and this is ambient occlusion. So open. And I'm going to select them. He texture, select them all. It texture and project. It imports, and make sure
that you save everything. Now, let's go in layers and
apply a default fill layer. And in here I'm going to bring
in the mesh maps in here. So this one is going to the
base color for metallic. We do not have it. I'm
going to disable that. And this is ambient occlusion. This is the normal and
this is the roughness. But now the texture map doesn't actually we dwell
with the geometry. And you'll remember that
we titled the height map twice in Photoshop, in x and y. Now, let's go in here
and totally twice. Now you see the size of the
bricks are more uniform. Now one more thing
that we need to do to make sure that
they read well, we can bring in the
offset and try to offset that in directions
to get the best result. So now you see in this
direction, I believe it's OK. Let's go for offset
in this direction to see if we can fix that
in this direction as well. So it looks like it has done
a great job of setting that, but you can also take it and
try to see what works best. And it takes a bit
of calculation to see which one works best. Let's make it by some
experimentation or found out that offsetting them
in 0.25 in all directions. We'll texture that there. And now you see we got the
texture on this one for free from that base
texture that we created. And now you see in these areas we have
mortar and summons, and in this one, we
have the bricks. This is the base.
And now let's select it and bring it
here and apply it. And you see, we get the
same in here as well. This is the base and
we got it for free. And this was a little trick. And that is why I really
insisted on having the UVs in 0 to one UV space so that we do not have problem
in texturing them. I'm baking inside substance. So now one more
thing that you can do is adding layers
on top of this. And since we have the
baked mashed maps, we are gonna get a
lot of cool effects. For example, let's
bring in here and go to smart masks, which is this one. And now we can add a lot
of cool details in here. For example, let's say that
this one is a dirt layer. Let's apply that dust
occlusion and you see it tries to add
some dots in here. But as I said, since these
are some generic pieces, we're not going to add a
lot of details into them, only some details to make them different from the actual kit. So in here also who need
to go to texture map. And remember that for
every texture map, if we're going to have
ambient occlusion, you need to add it,
excuse me, this one. And it got added as well. So it's here and in here as well we have
ambient occlusion. Now, let's go bringing
the materials, for example, this concrete one. Let's say that we're
happy with it. And now the only thing
that you need to do is going in the masks and try to apply that to
see what changes it makes. So this makes it a bit better. And now let's try to
apply different ones and with different masks to give
it a bit of more variation. So let's go again to masks. Let's try this one. Paint old. And this is good, but let's
make it not so strong. Let's bring it down. Of course, Let's
go for mask editor and bring the global
balance down a bit. You see it adds a
bit of oldness by highlighting some of those
edges. This is alright. This is a change
that I'm happy with. Whatever that we did on this
one because it's procedural. We transfer to this one as well. So let's add another layer and
add the most, for example. And now let's go in here and try to change the base color. I'm only going to apply
the color and roughness. So let's change the color to something like green
because it's a bit of moss. Okay, something like this
and make it refer as well. Okay. Now, it's trying
to look a lot better. As I said, since this
one is a generic piece, we're not adding
a lot of details. So copy it, control
C and control V. And it applies the same effect from these
on top of this one as well. Okay, we've got the texture in here and I'm happy with it. And again, if you're going
to make that sharper, you can go in here on top
of everything at filter. Excuse me, let's bring
in a paint layer. The field that this parent
layer you can paint. And in order to
apply the sharpened, you need to make sure that
this is a pass through. This pass-through
makes sure that it takes a snapshot of everything
that is beneath it. So now whatever we do on
this one is going to be applied on the rest
of the stack as well. So I'm going to right-click
and add a filter. And this filter, Let's
go find sharpen. And you see that it tries
to sharpen the effect. But I'm not going to make that
so strong just a tiny bit. Although you are free to do as much investment in
today's as you want. But this is enough for
me because later on we will do the vertex
color variation as well, though on this one as well. And now I'm going to make sure that we go to Export textures. And I'm going to create
a template for it. And because we are going to export the height map as well, Let's go to Mesh maps. Let's go to texture settings. And in baked mesh maps, I'm going to make sure that I enable the height
channel as well, because I'm going to create a preset that
exports roughness or it's an ambient occlusion that our HA map that we know as well. So big texture. You know that the height
map now is inverted. Because in these areas we
want areas to be black. In top ones, we
need to be whiter. To change this one,
we can either import, map and inverted
into Photoshop or we can do some final
changes ourselves. So I'm going to select them and create a folder and bring all of them into the same
folder and close them. So I'm going to bring
in another one. And in here, I'm only
going to apply the height. This is going to be the filter. So in here for the height, just search for
select everything. Search for height. And you are going to select
the height that you need. So this is the
height that we have. And now I'm going to level
that out just a bit. So I'm going to right-click
on it and add levels. And I'm going to hit inverse. So this is the base color. Let's select it
and go to height. Now, hit Invert. And of course to be
able to see that, we need to go into the
maps, not mesh maps. This is the HashMap and then it's not going to be changed. We need to find it in here. So height, this is it, this is the inverted, which is incorrect, and
this is the correct one. You want the outer
parts to remain white, and in these parts we
want to stay black. So let's manipulated a bit. Okay, Let's change this
one. This one is better. This one is better. In
crevices areas we have black and in outer
areas we have weight. Well, I'm going to select this one and bring
it to here as well, and paste it on
top of everything. And because substance
knows that it needs to convert the mesh map
into the other mesh map. Basically, you see it
converted to corner 05, which is the material
for this one. And for this one, it's
selected the corner 0 to whenever you try to transfer the mesh
maps between meshes, it converts the mesh maps
to the respective one. So now let's go and do export. I'm going to export sectors. And I'm going to
create a new template that has the height
map in it as well. Although we have a template in here which supports the
Unreal Engine pact, which is this one, for a
need to manipulate that. So we need to output templates. And I'm going to select
this Unreal Engine packed and just duplicate
it using this one. You see Unreal Engine
pack duplicate. And I'm going to make this one all GL representing the OpenGL. So in here we have the
base color with the Alpha. I do not want the
alpha and base color, so I'm going to select
it and Clear Channel. And for the normal as well, we have the normal, which
is the normal Direct X. So in this one, I'm
going to select the normal OpenGL
and drag it in here. And RGB channels normal OpenGL. And in here we
have emissive map, which we do not want. So let's select
this one and clear, or actually let's remove
this one completely. And now we have this
mask one which has occlusion, roughness,
and metallic. But since we do not have
metallic on this one, I'm not going to really
export metallic, so let's select this one and occlusion
roughness metallic, take it and make it our roughness height
and ambient occlusion. You see the R is mixed
A0 and the midst is the mix of the baked
ambient occlusion and whatever you
paint on top of it. So it's the best-case
to export that. So for the first one I'm
going to make it roughness. So this is the roughness. I'm going to drag it on the
R and make it r. And for g, I'm going to make it height. We have couple of heights. One is the mesh maps, one that we looked at, but the one that we
need is inputs maps, this one that we altered a bit. So in here, search for
height and drag it in here, and make that the height. And for B, we need to
bring in mixed EO. Okay, now we created a
template and to export, you can go and find
it here, o, g, L. And for format, let's set it to target
and a resolution as well. Let's make it for k. And now everything is ready
to be exported. We hit Export. It's going to calculate a bit and
give you the results. So these are the map
that we exported. We're getting some
things in here doesn't matter because
this is a baked map. No problem actually. So this is normal mask and this is the base color
for that normal unmask. You guessed it right. We're gonna go to the
Unreal Engine and important mesh maps
and test them. So let's go in here
in the textures, and I'm going to create
a new folder and call them baked because these
were all tiling maps. And I'm going to create a
folder just for the baked ones. So I'm going to import and go to the folder where it contains
all of the textures. But I'm going to
bring it a normal, unopened, excuse
me, map the mask. But I'm going to
make this one mask, this one as well mask. And this one needs to
flip the green channel. So this is the flip
green channel. And in here as well, we need to add plants details and flip green
channel as well. Save everything out. Now I'm going to
create a couple of material instances for trial. So let's go into materials. And from here, I need to right-click and create
a material instance. Now I'm going to
call it corner 0 to this one, another one. Corner 05. I'm going to
bring all of them up. And now four corners 05. Let's go and bring
in the textures in. This 05. Normal unmask. Okay, and now 402 first
you need to activate them. Base color, normal, and mask. So now let's select them. All of these, I'm going to bring in the corner material
and upload it under. This is going to be two. And this is going to be five. I'm going to select one, shift, select bringing the
material corner five. Okay? Now you see we apply that material and we're getting a lot of cool details in here. One more thing that I'm
thinking about actually is tiling this material
twice instead of once. So I'm opening the material and bringing in the
texture coordinates. And the texture
coordinates is going to manipulate the UVs for us. So I'm going to multiply. Then I'm going to multiply
it by a constant. The constant is going to be one so that it stays untouched. So I'm going to apply
it in here and save. And I'm going to
convert this one into a parameter so that we can
change it in the editor. So I'm gonna go and
select this material, creates an instance from it. And I'm going to,
in the parameter, I'm going to put two so that you see the bricks
are now a smaller. So now I'm going
to select all of these, this one as well. The ones that have
this material and take this one and apply
the material on them. And you see we have a
better brick size now. Actually, I'm a lot
happier with this one. You see how beautiful
detail is this tried to add in here and actually
hits very good. And you see the environment is now trying to look a lot better. And it's going to have
more details as well. Of course, I can
take this one and bring it to the place
for that one as well. So let me take that
bring it here. And I can take this
one, for example, and rotated in another direction
to get something else. This was the degree
that we need it. But I can take it for example and bring it
for this one as well. Of course, you can bring
in other measures. But let's see how this
one does in here. I'm going to select all of these and delete them and take
this one and bring it up. And of course you can make material instances from it
and change the color a bit changed a lot of things
about this one. This one. Let me take these
and I'm going to bring him here and just rotate them together to
give a new feeling to this one and bring this
one in here as well. Okay, You see now how much depth it tries to add to the scene. So I'm going to take them
and rotate them randomly on 90 degrees so that we see as
much variation as possible. So actually, I'm happy
with how this is going. And I might use this one
for this here as well. Let's take these as well. I'm going to select
these 2100 increments. I'm going to drag these back. Okay? Now let's select these. And I'm going to just
rotate them into 90 degrees in all directions. And this one as well, just try to make something that looks different from
the neighboring pieces. That's the key to add
a lot of details. In here, I need to take
this one and delete it. Now. This is actually a lot better. And you see how by creating
these nano eight measures, we are able to give the environment a new look
and a better identity. So this was it for the
pillars of this kid. Actually. In the next one, we either go for creating the windows or we create
a pillar for this one. Well, it depends. And see you in the next time.
48. Ornaments For Moulding: In previous lesson, we created this fillers and now I wanted to go and
create these pillars, but I found something that was
worth to mention is Sarah, we have some terms in here
and I wanted to admit to make this one really
synchronous streams. I wanted to really go and
before doing anything, do the streams as well. Because these creams and the technical word
for that is molding, I believe Let's first go. And because these are so common, we have some molding to be done. And I'm going to do the same thing and use the
displacement method for this. But I'm going to make all of them packed into a
single term sheet. And instead of making unique texture for
every one of them, I'm going to create a trim
sheet and pack all of them into a single term sheet to use a bit of
optimization as well. So let's go see, we have one molding in here. And this is the same to
moldings up until now. And in here as well, we have this molding and
this one as well. I believe we should
have four of them. Again, I'm opening blender
and I'm going to remove everything from that and create
a separate folder for it. And I'm going to
call it molding. I believe this is the technical
word for those parts. I also have some
references as well. You see, this is something that connects this part
to the upper part. And I have something
like this for the roof cards as well. He's in here on my two,
something like that. Okay. Basically, this is what
I have in mind for that. This is a side view
of the profile of that molding you see geometrically
it's not so complex, but adding those
details will make it sing a lot better
with the environment. And you see in a lot of these areas we have
something like this to stream that
connects pieces together. So now I'm going
to bring in all of the molding pieces
from other projects and gathered them all
together in this one. So as I have saved this one, I'm gonna go and open
other ones as well. So in here we have this one and this one
that belong to this kid. So I'm going to
hit Control C and go over this one
and copy them here. So we know that these two
belong to the same kit. I'm going to place them right close to each other so that I can
know what is going on. And in here we know
that this belongs to the modular
residential building. So let me save. And in this museum kit also we had this one and
this one as well. So these are basically
the ones that we're going to use and
create a trim sheet for. So I'm going to copy them again and open this one
and paste them here. So these now belong to one kid and these ones
as well to another kid. So now let me bring
in a plane and I'm going to make this plane
just in this direction. And that may put the
pivot in here so that I can bring
it up top in here. So now let me resize
this double the size. Looks like it fits this one. So not actually. Let's make it three
by three instead. Now this one should
actually fit. This is fitting, right? I'm going to make sure that all of these are tiling from 0 to one so that I get the
tiling details all across. This was for testing. Let me drag that out, bring this one here, and bring this one
in here as well. The key is to leave
these places on touch time in these
connecting pieces should always stay on touched
because these shares some vertices with the
pieces that are behind them. For example, this
one that you see. This one has some vertices that are connecting to here,
but in horizontal, because we are going to
create a perfect tiling, we're not having any problem
to displace these vertices. The top and bottom vertices, we're gonna make them
stay on the same place. So let me take this one and
I'm going to bring this one up exactly, up to here. Then we have this one. I'm going to bring it up. Let me see. Then we have this one. And I'm going to stack this
one on the top as well. And if you want, you can leave
a bit of a spacing between them so that you do not have
a lot of texture bleeding. So I'm going to take
these two and I'm going to bring them in the z up a bit. And this one as well, let me select all of these. No, not for this one. And we have this one
to be moved a bit. Okay, now we have a good amount of spacing in-between these. And let me check the size. And since you see we have this one in here,
we have this size. And this is going to be the UV. And we either have to create another texture or
we can do something. And instead of using
a square texture, Let's go and set
this one to six. No, not in this direction. In this direction. Now, we can create a texture that instead
of being two-by-two, I mean to k by two
k. For k by four k, we can create a texture that is two K horizontally
and vertically. And this is common as well. And this one gives us a
bit of advantage that we can bring in some more
extra details in here. Though, Let's go and
see for this building, you see we have three rows of repetitive elements in here. This one, this one and
this one are all the same. So we can go and take this one, which I believe belongs to the museum kit and try to
repeat that some more times. And this is it. Let me take these
two that belong to the residential
building, bring them up. Now I'm going to
take this one and repeat that some more times. For example. Let's bring it up. Of course, let's
bring this one back. It's a very bad destructor. So this is eight and now
I'm going to bring it up. And just one more time. Now we have enough texture
information in here and I can take these
and bring them down. Of course, we have a bit
of extra spacing as well, something like a meter
of wasted space. So doesn't matter.
Let's drag this. And this is a bit
of a space that wastes in the UV
creation process. So let me go select all of them and I'm going to give all
of them the same material. So let's give them molding. Now we need to select
all of them and go in the UV creation process. Right now you see the UV is a square and we
don't want that. So we can go in text tools
and change the size in here. For example, let's make it
two k and two k by 496, which means to K bar
for k and hit V size. Okay? Now this is the you
will resolution. So let's take them all. And now we need to place these so that they appear
on top of each other. So this one is alright, let me take this one as well. I need to place this one on
top of the previous one. So let's go in y. Actually, let's have
them all selected. Of course not for this one. I'm going to take
this and delete it. And there's a
representative of that, I'm going to delete
that one as well. Let's go and select all of
them and go to UV sync mode. Now I'm going to do one by one, placed them in their places. So this one is here as well. This one needs to go on top, on top of this one actually. Just a bit. I want to make sure that all of these tile from 0 to
one horizontally, which, which they
are doing perfectly. So on this one as well, let me take it and bring it up and make sure that you
lock the y, y1 moving up. So this one as well, it looks like this has a bad
UV, right-click and unwrap. It looks like we need to first select this one
and apply the scales. Let's go to Object
Properties and you see you have a master scaling here. So apply the scale and rotation. And now let's
right-click and unwrap. Now you see it has a
better representation, so let's select them all. And I'm going to take this one and lucky to y and bring it up than this one as well. This one also needs
to be escaped. There are some bad
scaling in here. Though. This one right-click and unwrap. Looks like it didn't
do a good job. Let's see what we
can do about it. Let's rotate it in
this direction. And I'm going to
scale it only in x so that it fits perfectly
in 0 to one UV space. So there's a bit of
trial and error. But we should get get that
going with no problem. So let me bring that here. Let me bring it right in here. On this one as well. On this side, we have
some vertices off. So I'm going to only select the vertices
and move them in x. Okay? Now, let's see what we got. So let's look at that. And I'm going to check to see
if everything is alright. So we have this one in here, then this one up top of that. This one, this one, this one, which I believe
can be re-scaled. So that is, take all of them
and using the UV toolkit, let's apply the
checker pattern to see if we have any distortion
on the UVs are not. So it looks like this
one has bad UVs. So I'm going to select this. And you see, we
have very bad UVs. We need to scale them in
y to get the best result. So I'm going to
scale but only in y. So we want to make sure that
we have squares all around. But I'm still not doing
the way that I wanted. So this is good. This one as well.
Let me take it. And I'm going to
re-scale it in y as well to get a better resolution. Now, more or less, all of them
have the same information. But one thing that I didn't
consider is that this one is not actually a
two meter piece. Although you see in here we
have two meter of geometry. And two meter is only when we drag a straight line
from here to here. But in here we have a lot of
jaggedy lines which add to the surface of the
geometry annotate and take that in mind. So let me select all of them. That was my mistake. I didn't consider
the amount of zigzag in here which also
adds to the surface. And if you do not know, this is point a and this
is actually point B. So if we have a straight line that goes
from point a to point B, it becomes two
meters, for example. But if we have a line like this, which starts like
this, comes down, likes to come down and has oscillating between these areas. This actually is more
than two meters. If you relax this line, you get something like
four meters for example. This is because it has a lot of undulation up on top.
It just stays there. So let's see what
we can do about it. First thing that I'm saying is taking these ones
and delete them. Okay? So now let me take these and
give them their own pivots. So I need to go to
bounding box center. And this one as well needs
to have its own pivot. Let me give them
their own pivots and this one as well
as the periods. So let me take this and drag
it down to see what we get. Select all of them
and go into the UVs. Let's first take them all
and join them together. Now they are one piece. But I'm going to
take stools again, Han V sides, what we have. So now I'm going to place
these in here. So this is it. And now this one actually needs to go up in
this direction. And then we have this one. And actually that
is not working. So let me take these, I'm going to take these 2 first. Let's separate them
from each other. I'm going some steps back. I'm going to take this and this one and separate
them by selection. Now, I have this one
as a separate piece, and this one has
a separate piece. So this one, I'm going to
give the pivot to be here. Doesn't matter if I
offset it just a bit. Now, again, I can
do something to make these a square
and not use that uv. So let me put 2048 in
here without any problem. Now, let's go in here. This is the same object, and I'm going to drag it up
until I get my resolution, like this is that piece. Let me go up. And I get this one
in here as well. So I need to select this one had this needs
to be a scaled in y to get a better
score representation. So now we have all the squares. Let me take this one
and bring it up. And for this one as well, that you take this
and I can take this one and easily bring
it up top on that one. So we have a bit of
geometry in here, but this one is too
big for now though. Let's, let me resize
it just a bit. And it doesn't hurt if I take this one and increase
a bit of resolution, decrease, I mean, decrease in y. And I'm going to
bring it down in y so that I can place
this one without problems so that I can
take this excuse me, I shouldn't have deleted that. I'm going to bring it down in y, and I'm going to re-scale
in Y as well just a bit so that it fits perfectly there. So let me take this
one and drag it down. Now we have both of them perfectly placed in
0 to one UV space. This is going to be one piece. These two are going
to be another piece, or I can add another piece
from here to here as well. So let me bring it back. And I want to actually
take this one. I can Shift D to duplicate and P two separate by selection. And I'm going to
take this one and that other one and
join them together. So controlled and j. Now let's see what we can get in the unwrapping on this one. Let me bring it to pack to uv
uv Packer and try to pack. Of course, I do not want to
rotate them so disabled, they're rotating and
scaling as well. This is it packs very good. I can either take this one
again and duplicate it once more to see what
we get from that. So I'm going to take
all of these and bring it up just a bit in z. And take this one as
well and move it up in z as well to put a bit of spacing
in-between these chunks. So again, all of them
selected repack UV, and now we have more
resolution being used in here. So pi QV did a great
job in packing those. So let me take this
one as well and hit PACU view with all of
the settings turned off, rotation to 0 and
rotate and scale down. Now we have a better
packing in here. So now we have these
extra pieces that we want it to create for
these parts as well, which is a great thing. So now, one thing we need to do, and that is actually
subdividing these meshes. So to subdivide actually is new, we simply go to subdivision
surface and set that, set that to sample. And turn this off to see how much resolution we
add onto these parts. So let's start at
the resolution. And you see some
rectangular pieces. And that is because this
piece is rectangle by itself. And if I try to
increase some parts, you see now the rectangle
part has been decreased. So for better representation, Let's remove all of
the checker patterns. Then in here as well, let me go and put some
extra edge loops. And this one as
well, and this one. So now you see we have
a better distribution. So let's do that
once and optimized, displayed to see what
actually we have. So I can go and start to place some vertices in
these parts as well. This is the best
thing that we can do. Now without optimize display, we have a good amount of geometry and it doesn't
hurt the UV at all. You see we have the
UV in place in here. And if I excuse me, if I apply the modifier
and going here, he said we have
the UV perfectly. So let's go back once and
I'm going to copy the UVs, excuse me, the modifiers
on this one as well. So I'm going to select
this and this one at last, Control URL and copy modifiers. Here also, we need to bring
in some extra lines as well. So let me take this one and
this one to optimize the UV. Now let's go in here and try to increase the resolution
on this one. So this is three-by-three. And let's put
something in between. And this one as well. And I'm adding double
the amount of vertices. Okay? Now we have good
distribution in here as well. Let's select them and
they are rectangles. So 11 more thing. I'm going to add some vertices
in these parts as well. So now we have more
squares, which is great. So I'm going to add vertices
in between the vertices. It's not going to
hurt the UVs at all. This is a good thing because
they're going to keep the consistency
between the UV shells. Okay. Now, this one and just
some more extra vertices. One more thing to note that is that we actually
need to separate these from each other to export
them and test them inside on real. Now, let's see. I believe we have bigger amounts of vertices
in here than in here. And that is because
the amount of vertices that we
have added there. So you see, this
is the amount of vertices and this is in here. So let's go and try
to add vertices. Again, not in this
row. And this row. So let's test it. This is it. And now this isn't that. Another vertices in here. I feel like it's enough. And once more in here. Now, I'm happy with the
vertices distribution. And let's apply modifiers. And this one needs to place
the vertices in here. Now this one needs
to go to bounding box center and apply
this one as well. Okay? Now we have this and now we need to bring in the ornaments, tile them so that we
can take them on these. And I'm going to do something just like
these breaks Creation. I'm going to bring
in the ornaments, bake them on top of a plane, and do lots of things
inside substance designer. But I need to now make
sure that ornaments that are right in the
center of the plane. So I'm going to take
these, drag them back, and I'm going to bring in
a plane, shift, a mesh. I'm going to bring in a simple plain and place it
right in there. And origin to origin. This is the ornament kit that
we're going to use there. And actually this is what I'm going to use for the first one. So Control C, and I'm going to bring it in here
and Control V. So let's see the scale of
that compared to the plane. And let's scale that. Of course, let's
see where it is. So it's hidden here.
Bring it in here. Okay, it's good. I'm happy with the size. And now I'm going to bring it
up to the top of the plane. This is not the end of it. I'm going to actually make
this plane have the scale. And this is in the center, the pivot of this one is
in the center as well. So I'm going to bring it up in order to make sure
that it fits into the plane. I'm going to the top view
and I'm going to rescale this on here so that we
get this one as a piece. And of course you can take
this and give it the amount of subdivision that it needs to
use the full capacity of it. He said this one is a
lot more different than this one and it has a
lot more better quality. So I'm going to do that. And I'm going to
now scale this one only until it touches
the surface of here. And in here it does
the same as well. I'm going to drag these
two and make them a piece. So this one goes for
here, for example. And now later on, I will do a huge plane and bake these all
on the same plane. Let me bring this one as well. This is a great one. And let's paste it in
here and duplicate this plane and bring it in
the center of the world. Let's take these
two and drag them over so that I can do
my work with this one. So this is it. And I'm going to re-scale this until it meets the
borders of this. And I'm going to give
this the subdivision as well are applied. Now I'm going to
re-scale it until it touches the borders, barely. So the next thing that I'm going to do is taking this one and drag it up so that we
capture all of the details. Now let me see what we have
here. This one is better. Now this one also can clot, can go in here. And now let's bring in
some of these floral ones. This has lots of cool details. Control C and Control V in here, and not this one. I'm going to duplicate the
plane and bring it in here. And this one needs to be resized until it matches the borders. Again, I'm going to give it the sub-division
using three times. And now this is
going to be good. It matches to all of the sides. And I'm going to take
this one, bring it up. Okay, we have another one. These ones are going
to be tiling as well. And for the next one,
Let's do something mixed. So I'm gonna take this one
and this one and Control C. And in here control V. So let's take this plane
and bring it here. I'm going to select these
two and center them in here. So before anything,
I'm going to select both of them and apply the modifier on them
so that they have enough geometry to work with
to give details exactly. So this is it. And now this is about
this one as well. So just upload the
geometry modifier on them. So let's bring these two back. And I'm going to select
both of them and re-scale them until they
match here exactly. So this one needs to
be re-scaled a bit more until it meets this side. Let me take this one. Then this needs to come down. And I need to drag it up the surface and take
this one as well. Drag it up to the surface so that we get
something like this. So let's see what
these do do together. And let's drag this one up. This one needs to
be rescheduled a bit because the baking, we do not want a lot of
information to be lost. So this is it. And now we need to make
this one tiling as well. So let's select this
one than this one. Join them together and put
the pivot in the center. And I'm going to bring
this one exactly left here so that we can toggle this over
and get a best tiling. So let me take this one and
I'm going to move that in x to have something like this. And now let's apply the scale
and the rotation as well. Now, I'm going to bring
in the array modifier. Now you see we get the tiling
that we needed in here. One more thing to make
this even more beautiful. I'm going to take this. And on this one I do not
want to have the tiling. I'm going to rotate it 90 degrees and bring it
in the center in here. Now it looks like
this is too big. Let me take it and bring it in. So let's see. What else we can do. You see by combining
two ornaments, we were able to create
a beautiful thing. So let me take this
one and bring it over. Okay, I feel like we have
done enough for this lesson. And in the next one we
will continue to grab more ornaments and doing
some tilings on them. Okay, See you there.
49. Baking Ornaments in SD: Okay, This is where we left off in the
previous lesson and now we're going to continue
to do more things in here. But of course I can take
this one, for example, copy and do some
tiling out of that. For example,
something like this. But I feel like I can
do the same thing inside substance after
baking the height labs. So this one was a special
case that we tied it in here, but for these, we have the ability to tie
them inside substance. Let me drag another
plane and save. And let's take these
two and bring them in, paste them right in here. So I'm going to give
them the modifier is actually this one and
this one down perfectly. So let's select
this one as well. And now we need to make sure that we rescale these
so that they are in the boundaries as
perfect as this one. So now I'm going to take this and rotate it
in this direction. Let me drag this one out and just think about
what we can do on this. First, let me drag it up so that we get the most of
the information back. And this one as well, it needs
to be on top of the plane. So I'm going to take
this one again. And I'm going to bring it
in here, right in here. I'm going to bring this one as well to here, to the center. So it looks like we need
to sacrifice some of them. So for this one,
let's bring it up. And I can take this
one and resize it just a bit so that it
fits right in here. So let me take this 1 first, apply the rotation
and the scale. And now I'm going to
use the array mode. And since this one is going
to use one meter exactly, we're going to use
that one meter in X. And let's go for
this one as well. Make sure that the
relative is turned off and constant is turned on. This gives us more
accurate detail. So I'm going to select these two and take
this one, bring it in, and just rotate it to make sure that we have less
amount of last detail. This is it. And now
let's do something. Let's take it, bring it up and try to do some
detailing in here. For example, bringing
this one up or no, let's not do
something like this. We need another piece
to match in here, which this one is going
to be a great piece. So let's do something like this. I just brought this one
to the top in here. Now let's make sure
that the center of the sphere is
exactly in this place. So I'm going to apply the scale
and the rotation as well. And I'm going to apply
the array and this one. And instead of relative,
let's use constant. So now we have this one
tiling, which is good. And now I'm going to fill in
this space with geometry. For example. I can take this one
and this one as well. Say both of them, and bring them here. So in here, let's apply
the modifier on them. This one, on this one. But since these are
not going to be seen, I'm going to give
them only twice. Now, let's give them the
same amount of geometry. So now I'm going to bring
this one to the center, start to rotate it until we get something
that we required. Something like this. And I'm going to bring
this one up in here. Okay? Now let's see if I
can duplicate this. Sometimes. It looks like you need to make
this one a smaller a bit. And this one can go
right in the center. No problem. We can take this one and make
it smaller as well. Okay. No problem. I can take the same thing and
bring it down as well. So let's bring that in here and take this one and
bring it down as well. Now I can take it, for example, bring it down and bring
this one up just a bit. This one or here as well. Let me drag it to here. And anything that is behind these lines is
going to be deleted. I believe for now, it's enough for adding these
details later on, maybe we add some more. So now we have 12345. And now I'm going to
bring in a plane. And I'm going to
scale these two times bigger so that we have a four
meter by four meter piece. Now let's add a
subdivision surface. This is not necessary. I'm only going to see how many
vertices we get for this. So now since we
have five pieces, I need to do this one more time. And I'll put some extra pieces for later on if we
added something else. So now let's take all of them. And I'm going to drag them all except for this one
and bring them back. And now I'm going to take
these and I'm going to exactly placed them in here so that
when we try to zoom on them, we get the perfect information. Now, let's place the
pivot of this one in here and select this one
and this one as the last. So now we have these
vertices as active vertices. So now I'm gonna go snap
than vertex active. So now we want to bring it here. You see it snaps
perfectly to there. And I can take this
one, not this one. This and delete it. And now we have this one
right in the center. So let's do something
for this one as well. I'm going to place the
pivot of this one to here. And let's take these, I'm going to select this
and this one at last. And a snap right in here. This extra plane, I can
take it and delete it. Now we have this one as well. So let's keep the
vertices in here. And this one, and
this one that's drag them until I can snap them here. This extra plane, I can
take it and delete. So let's see, we
have these as well. So I'm going to
place the pivotal here and select all of these. Right now, I'm going to bring
it and snap it to here. And this amount of vertices
is going to be removed. And this one as well,
I do not need it. It's going to be baked, but only zoom on this part. So let's take this
one and delete it. And we have this one
at the last one. So let's take this and
bring it right in here. Let's see if we have no we do
not have any bad problems. So what did this, and I feel like I can place
in some more in here. Let's take this one, drag it up. Let's take this one. This one also makes a good one. And this one, and
this one as well. These are all great things. I can really use them
and paste them in here. So I need to bring
them in and give them the amount of subdivision
level that they need. Okay? Now, I'm going to bring in another plane, this
time, two-by-two. Or let's make it one by one. And make it half a,
scale it by half. Now, it's one-by-one. Now, this needs to go in here, and I'm going to place
it right in here. Let's take it and bring it up. And let's disable the snap
and bring this one up. Now I can take this snap, two vertices that I want. So these ones are used. Let's go for this one. Let's select this one
and snap it right here. Let's take the plane and
instead of deleting it, I'm going to bring
it back so that you have better users for that. So again, this one, okay. Now this one, Let's take it and this needs to
come up as well, only a bit. So now let's take
the active vertices. This is the active vertices. You see it's lighter
than other vertices. So let's take it and looks like I need to select
this one and make it period. So this is it. And take
this one, bring it here. And only some more
things remaining. Not so much. This is the plane. And now these two last ones. So we rotate in this direction, and this is good. It looks like I need to
rotate that even more. Rotation is messed up a bit. Let's go for perfect 90
degrees and 00 for this. Okay. It's better. Now, disabled snapping. And I'm going to bring it up. This one, I believe should
be the last one that we add. So let's apply the snapping and using the active vertices. I can take this, bring it up. Now. Let's add the latest one. So let's bring this, bring the pivot to the center
and center this completely. So let's rescale
this one as well. Okay? Now this is it. And now I
need to select this and place the vertices in here
and bring it in here. Okay, now this one
is done as well. Let's do one last time. You have this one in here. Let's put that to
good use instead. So bring the period
in the center, center this and
re-scale it. Okay? This is the last one. And put the pivot in here. We have four extra rooms
as well that we can use for other purposes that we
need it if we wanted to. Okay, now we have this and
now we need to take this one. Bring it right in the center where it doesn't matter actually
where we put it. But it's better to be in the
center or center that out. And I'm going to take this one and you see the UVs are alright. And for without any purpose, I'm going to add some
tessellation to it. Okay, let's add some more
and apply everything. Apply the modifiers as well. I'm going to export this one as an FBX and create
a folder for them. So I'm going to name this
one LP selected objects. But before that, it's
good to make sure that we select all of them and
give them the same matter. It doesn't matter
what the material is. We only want them to
have the same material. Okay, now, I'm going
to re-explore that. Now. Select these and
deselect this one. Now we're going to export
these as high poly. So make them HP, using the limited
to select objects. Now hit Export. And I created a substance
graph and I called it molding. And I'm going to bake all
of the details in here. And later on when we made
sure that the baking is done, we bring in those measures, these measures that we use inside Blender and
try to displace them. So now I'm going to go
for link a 3D mesh. And these are the files that
I'm looking for, LP and HP. And I'm going to
import them both. Now I'm going to
bake the details. So as always, right-click on the LP and bake
moral information. And now I'm going to
bring the high poly from resources which we have
in here, which is the LP. We know the rules,
we need to increase this value and do a test page. Let's bring in a normal
map format to OpenGL. To k. We bake to
see what happens. Now got the baking in
here on one problem that I've found is actually
on the low polyproline. I need to go and drag it
beneath the surface a bit. So we've got something
like this and a lot of the information got
lost during the bake. Don't need to take this and
bring it down just a bit so that all of the objects
are on the top. Bot, let me drag it. This is done. And I'm going to
overwrite the LP with it. And in here, only thing
you need to do is going in here and hit reload change. Now, we need to do
the bake again. I need to set this
one to open GL and everything set already
good, Start Render. Now that we know that
everything works, are reset it. And I'm going to bring
this up all the way. And I'm going to
bring the height map, normal map, an
opacity map in here. So let's change them to for k. And the answer you're losing, let's set it to four by four. And for normal, Let's
make it OpenGL. And for opacity and height, we really do not
need to do anything. So now it's only a
matter of hitting a Start Render and way too
calculations to be done. See you after. So
now the baking is done and let's drag it to
test to see what is going on. And if you see
something like this, doesn't matter, you can
level it out very easily. So this is the normal map and we have a very
clean normal map. And of course, I'm not going to actually do anything
with the normal map because later on we will change the height map to
normal as well. But for testing, let
me bring this one out, blend and I'm going to subtract
this from the height map. Actually, I needed to make it a multiply so that it washes
everything but height map. So I'm going to bring in the auto level to
level everything out. And let's connect
this one into the normal to see if
everything works or not. So in the normal, I'm going to set it to the OpenGL and bump up
the intensity to 50. And you can see the details
are here pretty good. And let's connect this one into an RTA O map and connect that to
ambient occlusion as well. And connect that to
the heights as well. So now we need to go in here, studied two metallic
roughness tessellation. And in here we want
to make sure that we disable the Direct X. And I'm going to bring the
scale down, excuse me, up just a bit, because we're going to isolate
some measures. Let's bring in the
tessellation factor to 16. Okay? Now we get into perfect
result. Now we are set up. And from the next one, we will start to
actually tell these in the entire rows and bring in those measures and try to place them in here
and tessellate them. Okay, see you in the next one.
50. Preparation For Workflow: Okay, everybody in
previous lesson, we created these and break
them inside substance as well. And now it's time to take
these bring them over. I'm going to bring
these two pieces and I'm going to export them individually to substance
so that later on in substance we can paint
a height map there. Of course, in substance We only define which part goes
where that type of thing. Basically, we tiled them. We add details, and
we do lots of things. And later on we output
a height map and mixed height map that is
blended with all of the pieces. And then later on in ZBrush, we start to actually use
that height map and extrude the pieces and then create a vertex color data
for these as well. So I'm going to export them
individually, export as FBX. And in here I'm
just going to name this one molding museum because this mainly belongs to the museum kit limit to select objects and I'm
going to export this one. And of course I want to
have this one selected as the address of the folder. So it got done, and now it's time for
this one as well. Before exporting makes sure that everything in here is alright. So let me go apply the
scale and rotation. And for this one as well, a scale and rotation
needs to be fixed. So let me take this one. And I'm gonna go grab this one, exported and overwrite it
with the previous one. Now all of the transformations
have been fixed. So now this one, and let's call this
molding residential. Of course, it contains some
pieces from the museum kit, but you know that this is for
a good naming convention. So we exported these
UVs are alright. And for the latest check, let me apply a checkered pattern in here to see if everything
is working or not. This one is good, and
this one as well. Alright, so the UVs are now correct and textile density and a lot of things are right. So now I'm going to close Blender and open a
new substance while. And actually I'm going to use this molding file
substance that we created before because it contains a lot of the details
and baked maps as well. We have these big maps
that we can use in here. I'm going to go create
a new substance. And let's call this one museum or let's call this
molding instead. Of course, since the
naming are the same, this one got another name and that is alright, so in here, instead of having this
cube as the preview, I'm going to bring those
measures that we exported just now as preview so that we can preview the
information on themselves. This is the folder and these are the molding files that
we exported just now. So I'm grabbing them and
linking them to hear. So now we have this molding museum and molding
residential as well. So first, let's go for so let's
go for residential first. And if you take it
and drag it in here, it's going to replace with the preview file.
We have them here. And if you are going to
add more tessellation, you can go and metallic
roughness and just add a bit of tessellation factor so that they can see things better. So now for testing, let me drag this one
into the height map. If you do not see anything right away when you
connect a node, you might go to right-click and view outputs in 3D so that they can
see the results. Now you'll see that it has upset at that one
for us perfectly, but we need to first close this one out and before doing
anything to use now, now in here we have some
bugs in order to fix these. Just connect this one in here
and it fixes the problem. So we actually do not
need to offset anything because we are going to only
map the pieces on these. For example, map a lot
of these parts on this. And then later on in ZBrush, we extrude them for now. We're only separating these
from each other for now. So you can go and bringing the rounded cube
as well, doesn't matter. So now I'm going
to separate them. And I'm going to leave
the normal map B. I'm not going to use it for now. Let me bring in a blend. I'm going to multiply
this on top of that one to remove any
unnecessary data that was surrounding this. So after this one, I can bring in an altered level. This actually doesn't do
anything because we have here white value in here that is not allowing us to do
things that we want. So after this one, I'm going to bring in
a histogram shift. It makes them all basically
to the same range. So after that one, I can either play with the
shift to something like this. Or I can bring in
a blend after that again and blended with
the opacity mask. Now I'm going to do
another multiply. Now all of them are in the
same range, more or less. We can use them. Okay, Now this is the
base map that we have. And now I'm going to do
just what we did with the rocks that we
imported from ZBrush. I'm going to create different inputs and
outputs from each of these. And I'm feeling that this gives
us some unwanted results. Let me take this one
and drag it back. Now, we are using the
same one of course. If later on we wanted to
decrease something, we do it. So for now, let's actually
start to use this one. So I'm dragging in, excuse me, I'm dragging
in a transformation to D. And since all of
these are placed right in their position, we know that this, this
plane has been divided, divided into four
by four pieces. So I'm going to zoom
on that two times, two times two equals four. So I'm gonna go
or negative 0.25. I believe that should
give us the value. And I'm going to bring
this one down as well to negative 0.25. I found out that I need to do some manual changes to get
this one right in here. And if you are going
to see the result, he can go and hit a space in this tab and this 2D tab to be able to see
the tiling as well. So you see everything is alright and we do not
have any problem, and this is centered
pretty well. So if you're going to do something like
this, for example, changing the y,
you can take that. And for example, the
only other thing that you need to do is
go into the tiling mode, set it to absolute, no tight link to make sure
that the tiling goes off. So let's hit a space
again in here. I'm going to bring
this down until I get perfectly centered in there. And if you're going
to have a better time selecting this hold down
shift so that you are able to completely change in one
particular direction only. So let me take that
out and this is good. This is the first one. And now I'm going to copy
that, bring another one. And I'm going to search to see
what else we have in here. So this one can be
centered as well. And if you do see some things
like this, just hold down, shift and in one direction, place it right on the borders
until that one goes away. So something like this and hit a space. Okay, this is good. If you're going to
remove this one as well, he can go for a bit and
remove it perfectly. So this is the result of the second one.
It's pretty good. And if you're going to see more separation from the values, just bringing Auto Level. And now the outer level does
the thing that we want it, it takes it and adds
a lot of contrast. And that is a great thing. Now, let me bring
this outer level in here and connect it
to here as well. It changed from this one to this one using the
absolute range from black all the way
to white so that the connect this one once more. And now we're going
to go another time. And I have this one
separated as well. So if you're going
to see that better, just hold down shift until you get perfectly
to the corners. So it looks like we need to
bring this one up just a bit. So if you are going to pan, just hold down middle click
and do what you want. So I'm gonna bring this up until we get the separation
perfectly done. And if you want to get rid of this ugly red circle in here, just click on another level
so that you see the results. So you see that it's
perfectly there. So now we have some more to do. And if I look at this map, we see that we have this one
now that we need to create. Okay, I'm gonna take this
and first bring this in the center and do some
manual changes as well. Okay. This is the last one
in the first row. And now we're going to
go for the second row. So I'm going to take
this one, bring it back, because this is the first
one in the first row. And now I'm going to go a
scroll or the second one. Because in x, it's
doing perfect. The only thing that we
need to change is in y. So I'm going to
bring it right in the center and check the link. If you are going to
see that better, just go in here, then you
shouldn't have even a pixel of You see we have a pixel off. I will need to change it. So let's take this one. Looks like we need to
remove something from there or we can manually
try to fix that away. Okay, it's done. And now let's go
check the tiling. And the tiling should be, alright, without any problem. Now this one is tiling as well. If I selected these
can see that we have flawless trimming here. Perfect. If you're going to see
the best result for the above one that'd
be created as well. Just select this one, select the x value
and put it there. No, not this one. The x value and a pace
that x value in here. And now we have a
better one in here. Okay, now, let's go
for the second one. And I'm going to take this
and I will leave that the only thing that we need
to do is changing the y. So I'm going to change the y until we bring in
what we wanted. So this is that, let me see how many units in y we have changed
that negative 0.13. And this is it as well. I'm not actually
distinguish what it is because I selected
from the wrong row, excuse me, I should have
selected the second one. I selected the third one, excuse me, this was a problem. So now let's go
in here and paste the value that we
had, negative 0.13. Now we need to bring this all the way to
here to see the tiling. So now the totalling in
this one should be alright. Let me see, the
tiling is alright, but this one should be
manipulated in Y as well. And of course, the reason that we needed to manipulate this more is because we only have
two objects in this row, although we have four in
here, we had two in here. So let's go and fix
the results in the y. I need to bring this
one up just a bit. Let me click on audio
levels to remove this part. So I'm going to take
this and bring it just until we see the
problem being solved. Okay? Now this is actually good. Okay? Now it's perfectly good in that. And in this one, it
should be tiling as well. But looks like we need
have the tiling set in X. In X is, it's doing a great job. So this is the second row and the tiling is
perfect as well. We do not have even a pixel of. So let's see what we
have in the third row. The third row, we have
four of these as well. So I'm going to select this as the first
in the first row. So that only by
manipulating the y-value, we are able to find that. So let's select this outer level and try to manipulate this. Just bring it up until we
get this one centered. And I'm going to put it just
like this in the center. So tiling, this is
actually a tiling one. So let's go for this one and bring it down and start
to do the changes as well. So we need to only put 0.13 to get the
value that you want. Okay, perfect. So now, because the x on
this value is alright, and you remember that we created some planes and
centered term Soledad, selecting them would
be a lot easier. So the third one, I'm dragging that and
that's what we have here. And for this one in the y, Let's put the value, okay, This one is
our right as well. And now the last one, let's go here and say this
is going to be a good one. The result that
we get from here, so 0.13 in here as well. Now we have that and we need
to fix this one just a bit. So hold down Shift so
that you are able to only manipulate using one
value, one axes. So I'm gonna select this value, looks like this needs to be
put in all of these as well, so that all of them
have the same height. So I'm going to change the 0.13 to that 0.12
and something. Okay. This one in the last one, I'm checking all of them so that they have
the same value. Now, we have the base
for all of them. Actually we have eight pieces. So now let me drag this one and now we're
going to create trims. And actually I'm
going to bring in this molding
residential in here. And now we need to tie these and put them in
their own UV places. And we want to make
sure that, for example, whatever we do on this UV
island is going to stay in this UV island and do not go to other uv islands and
corrupting their files. So you can do that actually
by separating the UVs. There's actually a mode
that allows you to do that. For example, this one, this molding residential use solid recreated the
UVs in substance. We want to separate the UV islands and work
only on one portion. So I'm going to right-click
and break model information. Now, it's going to calculate a bit and you sit down in here, we already have the uv is being shown and it tells us
that the UVs are alright, here you see we have 1234
different islands for this one. And we want to give each
one a different color so that we can separate them and
work on them individually. So let's go for the resolution, put it to four k, and
this 124 by four as well. Now, one thing that we
need to do is actually bake this one on top of itself. So I'm going to go
bring in a high poly. I'm actually going to bake this on top of itself
to take the UVs. So looks like did it twice. Cell doesn't matter. Now we need to go to add Baker. And in here there's a
mode converting V2 SVG. Now it's going to read the UV. And for each UV island it
gives us a separate color, but you need to
go to Color Mode. And instead of hue shifts, set it to random. And we don't want
any padding as well. We only want a pure UV
island in their place. Okay, now, what
do you need to do is actually hit Start Render, and it's going to
take a bit of time to render and give
you the results. Okay, I'll see you
after it's done. Well, you see that for
each and every island, we get the different color. And if I drag it in here, you see that we have different colors that
we can pick from. So now I'm going
to hide this one and let's already baked the information for
this one as well. The process is the same for the high poly who are
going to bring in from resources and bring the
same one as the high poly. And for Baker color
to, excuse me, UV to SVG, and for k and sampling to
four-by-four as well. And this one to
random start vendor. Well, this is the result
for the other one as well. Let me drag it. And we should have
only two colors. Yes, It's alright. So now that we have
everything set up, let's take this one for example. What do you see that
there's a bit of padding in here and that is
unwanted pairing. If you are going to
remove that really, you can bring in
a uniform color. Let me bring in a
uniform color and just set it to black and
connect that there. And you see that ugly
thing is gone now. So now there's a node. Just search for mask and
you see color to mask. Now I'm going to select this one and select
this one as the last. And I'm going to
color pick this one. Now, you can see that it has converted that
one to a mask. And let's now see the results. For example, I'm going
to take this one and plug it into the
height out input. So I'm going to bring this one, bring it here, and you see that it is now affecting
the whole thing. But if you're going to
separate that so that it doesn't actually do
anything with other pieces. I'm going to bring in a blend. And before that I'm
going to go to this one. And I need to connect this one
in here and do a subtract. Let's do the other way. Or let's use multiply. And now you see it as only
affected that to there. So if I connect that you see now only this piece
has been affected. Okay? This is not actually the way
that this is going to look. We're going to fix that. So if you're going to do that, you can go to default, material, defaults,
tessellation in here. You can actually bring this
one down just quite a bit. For tessellation factor as well. You can bring in as much
tessellation as you want. And we can actually disable
the tessellation as well. And instead connect
this one to normal as well so that we can
see the result as the normal result as well. So let's set it to OpenGL
and set this one to 15, so that we can see
the result in here. And now you see
it's only affecting this one and leaving
those ones untouched. So now let's go and
do something more. We need to go to material, metallic roughness, and disable the Direct
X normal map as well. So this is it. And now we're going to
create a height map and a height map be
something like this. Of course we're going to
tie this one as well. For example, there is a node
save transform gray scale, and this is great for adding
tiling and things like that. And of course, we might use that transformation
to denote as well. For example, zoom-out. Change the direction to what you want and basically
do a lot of things. This was a demo of what
we're going to do. I'm going to take
these all removal. And this one as well
needs to be removed. And this connection needs
to be disconnected as well. So this one to here, and we do not want the
normal information as well. Now, this is now what
we have created so far. And in the next one we actually
go for creation process. See you there.
51. Residential Trim Sheet: In previous lesson, we set
this one up and now it's time to actually go and I
start to do things. But actually there's one
more thing that you need to know and that is because we
are using this outer level. Now you see it's going from absolute pitch dark
to pure white. And this really
isn't so natural. So let me go and
connect this one into this height output and to the normal map as
well to see the shading. So now you see it has
extruded this part, but there are a lot of these jaggedy lines which
are not really so natural. So if you're going
to hear this one, if you ever wanted to, you can go and bring in
a blurred gray scale, blur high-quality gray scale, and bring the quality and
intensity down just a bit. You say it tries to
soften these edges. But now it tried to watch all of the features
of that one as well. So in order to only
use the edges, I'm going to bring in a blend. I'm going to blend this one with the previous Auto Level one so that we have
something like this. And now I'm going to set
this one to multiply so that you see there's a bit of gradient happening in here. You see this is after that, and this is before that. It tries to soften
a lot of areas a bit while having the main features of
the node available. And if you're even
gonna make that better, we can select this domain node without Auto Level
and connected there. And they're gonna get
something like that. But since I'm going to
use the full range, I'm going to copy this chain and copied all over until
we get the results. So let's bring this one in here. And I'm going to copy
this to all of them so that there's not a
harsh transition between the black and white. And you need to set this
one up just like this. This is before and
this is after. And now I'm going to stop. And the only thing
that you need to do is getting these nodes
and connecting them. Connect this one
into the first and this one in here to get
your desired results. So now I'm gonna pause
and get back to you when I have wired
this to all of them. Because that's really
easy and I do not want to take your time
watching me do this. Okay, We did it now. Now I'm going to remove
this and bring in the real mesh to
set as the preview. So first one we're going to
use this molding residential. Okay, now this is the
result and that is because we haven't separated
that based on the UVs. So I'm going to bring
in the UV and you know, the background should be a black color to
remove these paddings. And if you go and
bring in that mask, color to mask, just
double-click on color to mask, and a single click on,
double-click on SVG, excuse me, on a single click on this one to be able to select this and pick
a color from this. So I go and pick color. You see, it has pick this color. And if I go for this one, again, I did it wrong. Let's pick this one. And you see now we
have some problems. And that is because this black area where we
do not have anything, it has copied this color. So in order to fix this, you need to bring
in a background. And I'm going to bring in a background and a
pure black background. And if you're going to
optimize it for some ways, because this is only
a single color. You can bring this down to something like
one-to-one eight by 128. Now this is a mask, and of course,
let's not do that. Let's bring it back. We do not want
optimization as well. So you see that it has now separated the mask and now
let's go and do the thing. And whatever we did, we are going to use this mask
to separate this part only. So on this bottom one, I decided to use one
of these dreams, either this one or this one. Well, let's go for this one and connect this one into
the heightened normal. I'm going to hold down
control excuse me, hold down shift
and bring it here. And this is the result
that we are getting, but I do not want this. So I'm going to bring in a blend and this plant is going
to stick to the end. I'm going to bring
this one as a mask. And to use that better, I'm going to connect
this one into a foreground instead
of background. Now you see it has separated
based on that mask and everything that we do is
a staying in these borders. So this is going to
go right to the end. And of course, let me bring in an RTA to be able to visualize the ambient
occlusion on this one as well. Just on the empty
canvas, it RTO. And now you need to
bring in this height in here and connect it
to ambient occlusion. Of course, we need to plug this result of the
blend to separate that. Now. Now if you see
this jaggedy lines and want to remove them,
there's a solution, but if you are going to
keep it, for example, this is made up of a stone and
you might want to keep it. If you're going to
keep it, it's okay. But if you're going
to change it, they can bring this one instead of foreground into background. And you see those
jaggedy lines are gone, but the mask is inverted. So we need to go in this
mask and after that, just hit Spacebar and bringing the invert gray scale
to separate that. And now you see those
jaggedy lines are normal. But now the amount of the tiling that we get
from this is minimal. And of course we are not seeing the whole information as well. So let's go and see what
we can do about it. I'm going to take
this one and make it smaller so that I can
fit this into this area. So I'm going to go in here,
transformation today. Let's zoom out just a bit. Now. It has made that
a smaller and we need to stick this
right in here. So because of the
way that we have, set that up, we can bring
this one all the way to here. And you see it sticks perfectly. And we need to bring the y down all the
way to here as well. And now you see that we're
getting perfect result, but we're not seeing
the tiling as well. Because I want this one
to try across the mesh. So in order to do that, we can go in here and
the tiling mode and just bringing the absolute so that
it uses the tiling for us. And now let's hit a Space bar in here to be able to
visualize the tiling. And if you're going
to see that better, you can go in here to
see the saturated mode. And now you see the tiling
is perfect and we do not have even an
inch off in here. And in here as well. The tiling is perfect. And you see we created
a tiling piece without any extra problem. So this is done. We can call this done actually the piece that we
have created for this one. But there's a problem. And that problem is actually
when we do not want to offset these top
edges and bottom edges. Because these are
going to stick to the other areas and this
is going to offset them. So we need to remove that area. And another problem is that actually cutting this
information from here, let's go and see what actually
the main one looks like. So there's a lot of
information that has been cut and this is the
result of that. If you go in here, we get this amount of information
Cut and we do not want that. So let's go in here and
looks like we need to zoom out once more to get the
result that we want. So let's go in here
to the transformation 2D and just zoom out once
more and go see the result. This is actually too much, too much information really. It looks like that is an interesting pattern and
the tiling is okay as well. So let's go in here now. I'm happy with the
amount of X tiling, but I want to make
that smaller a bit so that I can fit all of
that information in here. So let's go select this one and just go on
the transformation to D. And I'm going to take it and
bring it down just a bit. And I can bring this one down
to get something like this, which is okay, I believe. But because this one is
going to tie a lot of times, it might get repetitive a bit. So let's go back because this is a trend piece
that gets tiled, for example, four
times in a row. And this amount of information gets repetitive pretty fast. So let's go back to
the previous one. Now, I'm happy with this one. Now, the only thing
that you need to do is actually going into the transformation to d
and a scaling this one in y to fit that extra bit
of information in here. So let's go in here until we
see this part in our mix. So just a bit more. Okay, This is good now. And to make sure that
you do not touch these bottom and top vertices, we need to go create a mask. I'm going to create
that mask from here. Let's bring in a bubble. And this bubble is actually going to highlight some edges, but I'm going to make
this one who reversed. So this is positive. This is negative. Now. Now I'm going to blend this
one with the previous one. And I'm going to actually
subtract this from this one. So let's go for a blend and subtract a need to reverse that, select two nodes and hit X. Now we have created a mask. And I'm going to
tell that to ever seeing this do not
change the vertices. And these are the
vertices on the bottom and the vertices on the
top of this single train. So let's go to bevel
actually or not double. Let's bring in a level instead and try to
bring in the values down just a bit and make
it all the way contrasty. Just something like this. And I'm going to subtract
this later on from that. Okay? I feel like I'm happy with this. And actually, if you're going to do things more, for example, you can bring in slope blur, gray scales and a
lot of more things to detail this one
out even more. But since this is
so far away from the player and you're getting amount of information
that we want. And later on we will add texture details in such
Substance Painter, I'm not going to do
anything with it. So this is for the first trim. And now let's go for the
second one, which is this one. And this one actually belongs to the residential kit as well. And these two up belong
to the museum kit, as well as this whole mesh that belongs to the museum kit. So now let's go and do
the top piece in here. And if you are going to see
the result of the nodes, just right-click and compute
thumbnails so that you see which one actually are
going to use basically. So I feel like I'm going to
use a blend between this one. Let me do a transformation to D. I'm going to use a blend of this one
and actually this one. So let's bring in a transformation to the
front, this one as well. I'm going to mix these two
to get something tiling. So let's see what we can do. Let's do a blend. And I'm going to
copy them and see the possibilities using the
different blending modes. And likely the contrast isn't
going to be what I use. So let's set it to Max later on. And I'm going to take this
one and bring this in here. Or if you are not going to
actually mess up the tiling, just hold down, shift and bring it down only
in one direction. Now I'm going to
take this one and do another transformation to
the OR to another blend. And I'm going to bring in
another transformation to the, on top of this one. And this time I'm going
to rotate it 90 degrees. And instead of copy, I'm going to set that to Max Leighton to get
something like this pattern. And if you're going to really divide them from each other, select this 11, click on that and just separate
them from each other. For example, you can do
something like this. If you're going to make
these areas a bit more full, you can start to
bring in from these. So I'm going to set
transformation to D and I'm going to
zoom out pretty much. And I'm going to bring this
one only bring in a blend and connect this one in here and set it to make
slides and as well. Now I need to take this
one and bring it in here. Bring it somewhere. And just blend this time. I'm going to blend this one with a transformation to
D and bring it here. And I'm going to set this
one to Max later on as well. And I'm going to go to
here and select this one. Now, I'm going to bring
this flower up in here. So let's see the results. And combined with this, it looks like I need
to take this one completely and bring in
a transformation to the, I want this one to
stay in the middle. And I'm going to make that
smaller just a bit in this direction and
bring it up in only y. Let's do something
with this one as well. I'm going to bring a level node that is called the mirror. And this is just like symmetry
in other applications. So I'm going to bring
in mirror and let's do In which direction
we want that to be. So set it to mirror corner. And this one is alright. So now I need to go in here, take this one and
make it a smaller, just a bit so that we do not have a lot of these
bad jaggedy fluorines. So instead of that, let's take this one, bring in the transformation
2D and make it smaller. And go for the tiling
study to absolute so that you see the tiling and
this is the result of that. Then I'm going to take this
one and bring it down in y. Actually. This is good. Now you are seeing
the tiling in here, which is not actually
what we want. So let's go set it to horizontal tiling only so that the vertical
tiling goes away. So this is the result. And you see how by mixing and
matching different things, we're able to get
different results. And to make it more beautiful, I'm going to bring
in another blend, and I'm going to bring
in this one as well. So I'm going to copy this, bring it here all the way to this blend and set it to max lighten so
that I added there. And I'm going to take this one and bring it up until here. And now I need to take
this one and bring in a mirror node after that to
mirror it over to that side. Mirror gray scale. And let's cycle through modes. And now you see
the term has been created and the tiling
is good as well. Of course, we're not seeing tiling in here because
this piece is entitling. The tiling happens in here. So this is another piece and
now I'm going to separate it on top mask in here, on this red area mask. So I'm going to copy this again. And instead of that, let me
bring the color from there. And this is the
mask that we want. And now I'm going to
bring in this blend as well to separate the mask. And of course I need
to plug this one in here to create the mask. The mask created. And now I'm going to
make this one a smaller, actually bringing the
transformation to D and zoom out once
and go for the tiling, absolute, and I want only
the horizontal tiling. So let's blended with this one. I'm going to add a blend and add this one to the
mix results of this one. I'm going to add a
blend in here to separate this one based
on the mask itself. So let me bring in the mask. I'm going to set it to mask. Looks like I need to
invert the mask as well. So bringing inverts gray scale that we see the result in here. Now for this blend as well, I'm going to do something and studied to Max
later on as well, so that we see this
one in here as well. So this one is a bit larger than we thought actually
the tiling is our right. Everything is working great, but I need to scale it in y as well to make sure that all of the information is included. So let's come in here and try to scale this down to fit all
of the information in. If you're going to see the
results in both sides, instead of actually
scaling from one side, he can hold down control. And we scale it so that
both sides gets re-scaled. Okay, something like this. And now let's try get n.
This is good actually, let's do something like this. And I'm happy with
the information, although we didn't
include this part, this top part in, it doesn't matter actually. As long as we get something
to display, It's alright. So let's select this
one and it looks like you need to know, Let's leave it the
way that it is. Okay, This one is good. Now let's go see what
we have created. This is what we fit in into
ZBrush to tie the texture. Let's check the tiling in here. Looks like there's a bit of
problem that needs fixing. So let's go in here. We have the problem in here, but there's no problem in here. And I believe that the
problem is with the masking. The problem is actually with
the mask that we created. You see in here there's a bit of awkward masking that may be based on the UVs
that we have created. So let's go to this SVG
that adds a bit of a space in here which we need to fix in Blender. This is the piece. And now let's go
into UVs and select them. And this is it. It looks like UVs are a
bit off in this part. So now I'm going to scale
this one in x, or let me go. And because I want to scale this one only
in one direction, I'm going to select these, select this row of vertices
and make them to origin. Basically just Shift S
and cursor to select it. And now I'm going to select all of these piece, everything. And I'm going to scale it only in X so that it reaches here. Okay, now, let's see if we have any problem in here as well. This one as well
needs to be scaled, so scale only in x. Let's see about here. And all of these problems come from that pack UV that we did, that we shouldn't have done. So I'm going to go back
and I'm going to make this one the 2D cursor so that we scale everything
from the 3D cursor. So again, that's two. One more try and scale it in x and hold down Shift
to be more precise. So this is it. Now,
let's go select this one and scale this one
on x as well, just a bit. Now let's see about this part. This one is good actually. And I'm checking all
of the parts to see if a part is doing
all right or not. So it looks like we're
done with this piece. I'm going to take it.
And we exported and overwriting with this file
limit to select it and export. And in here, I'm
going to take this one residential and reload. Now we need to remake this to make sure that the
information gets correct. So let's go take modelling information and are
only want a color, excuse me, UV to
SVG, Start Render. And that one should be set to random and the hyperbola itself. Okay? Okay, we've got the breakdown. And now the colors
have been changed, which you need to
correct as well. So that is easy fix. And I'm actually happy that
this happened in order to see if a UV was wrong in the
middle of the process. So select on this one and
color book from here, Done. And now for the
second one as well, I need to pick this
color instead. This is done now. And
now let's go check the UVs to see if they
are right or wrong. This is it. And now the UVs are actually
doing pretty good. Actually, I'm happy
that this happened. So that these problem-solving is one of the best
things that you can grab from something
so that you see how to solve problems
if they arise. This one is for
this one as well. Then I'll fill out the course in this lesson is
taking too long. I'm going to stop here
and then the next one, we will finish the
trim pieces as well. Okay. See you in the next one.
52. Museum Trim Sheet: In previous lesson, we created this and salt a UV
problem as well. And as I said, one of the
biggest benefits of anything is the ability to fix the
problems and take them, solve them and basically
things like that. So now I'm going to do
one thing and that is really separating this
top and bottom part. And we're moving them
from actually offsetting these top and bottom
vertices because all of these areas are
going to be offset at. So this, this actually
is the first one. I'm going to add a blend and
subtract this mask from it. Let's bring it here
and do a subtract. It's now making sure that these areas are not
getting any offset. Now, I need to do for
this one as well. That's easy as bringing in a bland and bringing
in the mask from this and doing a
simple subtract. You see this is the
result and this is the result after subtract. And this really makes sure that these vertices on top
do not get moved. And this is a good amount of detail that we have
added as well. So now let's go
for the third one. And I'm going to right-click
compute nodes to see. And note that I'm
liking to work with. And actually it looks like
we can do with this one. Let me take this and use
a transformation 2D. And I'm going to blend it
and make it smaller as well. Make it something like this. A smaller. Let's go for tiling, set it to absolute. And I want only
horizontal tiling. And I'm going to blend this
with another version of it. Take this one, and
I need to take this and rotate it
in this direction. And this is the results. I'm going to set it
to max lighten and separate them from each other
and just the beta and why? Something like this. And let's
offset them in x as well. To create something like this. And let's check the tiling. Tiling is perfectly
there as well. It looks like this was the
easiest one to create. So I'm going to grab
a mask from here. Again, color to mask. From here I'm going
to grab a color to mask node and separate
this blue color. Okay? Let me go and separate. It. Looks like I need to
do that again, no problem. And now we separated that mask. Now I'm going to add
another blends after this and bring this one in. This is it. And now I'm going to connect this one as a mask. Looks like I need to
take the mask and invert it to bring that
in the same place. And let's go in here. Okay, it's alright. It looks like we have done a wrong Mike's mask actually
know the mask isn't wrong. The placement of this is, is, it's centered in here and I need to bring in a transformation to D. And you bring it up
in high NY, excuse me. So now you see it's moving
in here, which is alright. So I'm going to do, of course, let's go for the
mask and invert it as well. In this scenario, who
need to invert that. And now the pieces in here, I need to take this
and bring it up. This is good. Now let's go
for this one. Select these. It looks like we're
doing that wrong. Let me take it and bring it up NY now it's going into place. Something like this. It looks
like we need to scale this in both directions to make sure that we fit that into place. Something like
this. And I need to bring this down just a bit. Okay? And we scale it so that
when we subtract the mask, we do not clear any
of that information. Okay, this is done. Now I need to subtract
the mask from it. So another blend. From this one. Let's bring in the pebble
and blend and Bevel, gland and level
at the same time, I want them and bringing them in here and connect this one in here and this one
in here as well. So this is the mask and
this is the sharpened mask, and I'm going to remove that from the
information in here. So again in blend and I'm going
to subtract, unselect it. And these top vertices
are now not moving, okay? This one for the third one
as well. I believe that We should only have
one remaining. Yeah, there's only one remaining
in the residential kit. So for that, let me
bring this one in using the transformation to D. And I'm going to mix it
with some other ones, preferably with this one. Okay? And I'm going to
mix these two to get the result that I want. Let me bring this here. And I'm going to blend
them together to see the result that
I'm going to get. And I'm going to set
this to max lighten. Now, I'm going to take this. Looks like this is good. And now let's take this one and rotate it to see if we can get any results
from that or not. So I'm gonna go for this one, bring in the mirror as well. So a happy accident, it created something from that. And after this one again, I'm going to bring
in the mirror again. And this time let's go for y. Now see the result. Now I'm going to take
this one as well, bring in the mirror
and see that in. And to make sure that we
get a consistent styling, I'm going to take this and in x, bring it right in here. And I'm going to go
activate the tiling mode, set it to absolute and
only horizontal tiling. And let's see the results. This is good. Now let's
take this one and I'm going to bring in another
mirror, grayscale. But this time, let's
do in another one. Something like this is great. Now let's add a
blend after this. I'm going to bring
in some flowers and things like that and this, and let's again
bring that in here so that we get the
tiling going on. So after this one, I'm going to hit the Spacebar and do a blend so that it
comes in between these. And I'm going to
bring this right in here and set it
to make slides. So now let's go see the results. It's something going on there. So let's take this one
and now I need to take it using transformation to
D and make it a smaller. And the tiling needs
to be horizontal only. So this is the trim. And now I need to place
it on top of here. So let's go for that. Bring in a color to mask. Again. I'm going to take this
one and select this color. Now, we selected that one, and now let me bring this one
as well to separate that. So this one in here
and this one in here, this one bevels. And this one needs
to be inverted. This one for the
vertices not to move up. So let's bring in another
blends after this. There's a problem in here
and actually not a problem. Uvs are wrong. This is the UV for this one. And the UV of this
is placed on top. It's not in order,
but other than that, there's not a problem actually. Let me take this
one, bring it back. This is actually the problem
that I'm talking about. You see it? Let me go in here. This is the UV for this. You see it's in the second row, but it's in top in here. And this is the UV
for this one is here. There's not actually a problem. We only need to have
that in mind that this needs to be placed in here. So let's take the mask. Looks like we need to
place the mask in here and connect this
one to the results. Not that one actually. Why did I connect that? I need to take this
one and connected here and set it to make
slides and as well. Now let's go take the
mask and flip it as well. Just, I'm going to bring in the inverted grayscale
and flip the mask. Okay, now it's placed, but in a bad situation, I need to take this actually and bring it in the
situation that it needs. So I'm going to
make it a smaller, just a bit in y, and I'm going to bring
this NY as well. So just a bit of more manipulation and we
should be good to go. Okay, now we are in
place and I need to scale this even more
to fit that in here. So a bit of more manipulation. Now we're right in here. And I'm going to
blend this one with the mask and subtract
that mask info from that. Okay? This is it. Bring it here and
subtract the mask. So that the top
vertices do not move. Now that I'm looking
at this looks like the masks have done
nothing really. So now I'm going to do one
thing and that is adding all of these masks together and subtracting them from
the final result. So I'm going to
blend them all and just set it to add so
that the masks get added. Or he can set it to make
slides and as well. So another blend, I'm finding the masks to connect
them to each other. Set it to mask later on so
that these lines get selected. Okay, now there's only one mask that needs to be plugged in. And this one to make
slides and as well. So we have the mask. And now I'm gonna go blend
this and bring everything out and blend this one in and subtract that from
all of the information. Now that has been
taken into account. Now the top portion of
these really doesn't move and horizontal
tiling is actually great. So we created a trim piece
and finish this lesson. And in the next one
who will create a second trend piece and finally bring them into ZBrush to
extrude them and do the color, vertex coloring there as well. Okay? The second one is easy as well. I'm going to create one. Let's take this one, rename it to molding
residential. Okay. Now I'm going
to take all of these and I'm going to copy
them and create a new file. And I'm going to call
this molding Museum. And I'm going to paste
these data in here. And for the preview, I'm going to bring in
this molding Museum in which is this one. And now we have only two pieces
that need to be created. And basically, we can do
that maybe in ten minutes. So right-click compute nodes. I'm going to bring this SVG
and we have only two pieces. And for the background
of that SVG, I'm going to bring in a uniform color so that it's separate these
from each other. So for this one or this piece, we already have a trim. So this is the trim that I'm actually
using for that piece. And it's a great trim. It has all the details and only thing that you need
to do is separating that. So let's bring in a color
to mask and pick this area. Let's check it. If we have any bad tiling
or things like that. And I'm going to
bring in a blend or either transformation
to D and connect this one into the height
into the normal as well. If you do not see that updated right-click View outputs in 3D. Now we need to go in here. Metallic roughness
can change this one. I don't want the scale, only want the normal
details to be shown. And Direct X normal
disabled as well. Now let's go in here and set it to 15 to make it
more pronounced, and set it to OpenGL. And now we're ready to go. To tiling is alright. I need to separate this. We add a blend. This one in here. I need to invert the mask. And of course I need
to plug this in here and plug it
into the opacity. So now we take that in here. I need to take this one
and set it to absolute. And only the horizontal
tiling is what I want. So I'm going to drag this one in so that we get that
information in place. This is as easy as it gets because we have done the tiling in Blender
and it works. Alright. Now I need to bring in that separator that disconnects this top edges from
moving as well. And now let me borrow
that from here. This is eight, I
need to bring in the bubble blend and
the levels as well. So I'm going to take
that and bring it here. And first, let's tried to
scale and bring that down. I do not want any escape. So this is it. Now let me connect that
color to mask to here. This is the bevel and I need to connect that
to here as well. This is a subtract and
this is the level. So I'm going to blend this
one with the next one that I'm going to create for now I'm going to leave
it just like this. Again. Let's go to material and disable
the scale completely. So for the next one, let me use this one. This makes a good
tiling as well. So transformation to D.
I'm going to bring it back in X tiling and
only horizontal tiling. And now I need to bring
in some things in between to make that
more interesting. So let's add a blend. And after this blends, I might bring in
this one actually, this looks like a good one. So bring that here and
make it a max later. I'm going to take this
and rotate it 90 degrees. Take it and bring it up in y. It looks like it
created a good thing. Now, I can take
this one and bring in the mirror gray scale again and started to why we created
basically a tiling piece. Now, I'm going to blend
that with this one. So this is the blend. I'm going to connect that here, studied to make slides, and now I need to bring in a color to mask as well to
make sure that I separate it. So let me copy this
whole chain of nodes. And I'm going to
connect this one again. And this time, this
time I'm going to bring in this blue
color like this one. Excuse me, select this color to mask and select the blue color. This is the inverted. I'm going to connect
this one in the mask, in the opacity of that. So this is it. This is the inverted,
this is the level, and this is the blend that
we need to connect to here, set to max, Lighten to later
on separate the edges. So now I'm gonna go
select this one. This is the result
that we are getting, but I need to take this one and transformation to
D and zoom out. Zoom else wants more absolute
and horizontal tiling. And now I need to take this
one and bring it in Y. To be able to view that in here. Let me select this and see
what I'm doing in real time. It looks like I need
to overdo this value. And if you have problem, just bring it up
until you see fit. So let me take this and looks like I need
to bring that mask. This one created as well. And looks like it's
a good mask as well. So now I need to bring in the blend and blend in
here and make a subtract. It looks like I need
to do the reverse. Now. It's subtracted
the edges as well. And now we're good to go. Okay, we created all of
the high detail and I'm, all I'm going to do now
is saving this as tiff, bring in the maximum quality. This one is alright,
homolog going to bring in the tiling,
bringing the height. And it's already in for
K. And if it doesn't just convert that to four
K and output that, I'm going to call this
museum and save it as tiff. Now, it's time for the
residential kit as well. If you see something
like this that your tiles have
been moved around, it isn't actually a problem. It's because we have been using the museum mesh on here
which has different UV sets. So simply go bringing the mesh that you have
been working with. And you should be good to go. Just like this. Don't be afraid if
the UVs are rank in case you happen to see
something like this, you haven't done anything wrong. It's because of the mesh
that we have swapped. Okay, now let's go for the final height,
which is this one. I'm going to save this
one as a tiff as well. This was the museum and now
this one is residential. I saved it. And if you have any changes, you can go and make them. Now I'm closing this one
and in the next one, I'll see you in the ZBrush. Okay. See you there.
53. Baking Trim Sheets: In previous lesson, we created
the height maps and now it's time to important measures and start to displace them. So as always, we go for import. Or in this case, since we have two different separate measures, I can go and use the Z plugin
is instead an FBX import. Use this option.
Let's print this, drag it into the
viewport and rotate. And now we're seeing
that and just myInt this head to see where
you are looking at. So this belongs to
the museum kit. Now let's go to sub tools
and create a new sub two. So I'm bringing in
this one, Excuse me. Let's go back in
here and I need to append this polymers 3D. And after that,
I'm going to again go to import or in
this one as well, you can do that and
bringing other one, which is this residential. And this is the residential. And now let's go to this one. I can delete this one. Just delete that and go append and bring in that one as
well, which is this one. And now we have both
of them in here. So let's go in here,
just see this. And the amount of
polygon is too low. I'm not going to use DynaMesh, but I'm going to use
the divide instead. So the shortcut is Control D or Control D until you are
happy with the resolution. So step back. And this is good, this is a good amount. And let's go in here
and I'm going to divide this again without a smoothing. It actually, this is good. Now let's go for this one. Since we have all of the UV maps and things like that setup, we only need to go to displacement tab and
bringing the height map, which is this one,
the museum kit. So I'm going to
bring that intensity to a very low value and
apply the displacement. If you see a problem like this, that is because the
UVs are inverted. And that is an actually
a huge problem. You can go. And upon the export, just rotate that in another
direction so that it works. Well for this one, we're
going for the latest one. And of course we need to
do the subtract as well. Here. Just reverted. So this is before,
this is after. So if you're going
to export that just bringing the
transformation to D and reverted in
this direction. That is because the
UVs have been flipped. No problem. Well, I'm
going to save it. Or if you're going to
see the full range, bringing alter levels to see
the full range and use it. Okay? If you want, you
can either bring in the levels and add
more detail into that. Add more contrast and basically
a lot of cool details. After this, let's use
another contrast. This down, bring this up to see basically
what works for you. So it looks like this
one is the best one. So I'm going to save this one and overwrite that with this. And I'm gonna go again in here, Import and bring this one in
and apply the displacements. And now it works. But now we need to add
more detail to that. Let's go and set it to five. Something like this is better. And because we have
subtracted those masks, you see the top part and bottom part are
not moving at all. We created basically
a good thing. And it works perfectly
when we bring in, bringing the texture
data on top of it. Okay, let's go for the
next one, which is this. And it has the details as well. Let's go to displacement
map. Bring it. And I'm going to bring
into displacement, which is this one. That the intensity to
something like this apply. And this one needs to
be inverted as well. Go back. And this
is the latest one. I'm going to bring in
that transformation to D. Okay, and get export
from this an okay. Now let's reopen that. This is it and test. This one is good as well. Done a great job adding these. And the tiling is okay as
well because we have tested tiling and we know that
it works perfectly. So let's go in here. Everything is alright, including those bottom parts,
which is okay. So now we need to
save this file. And I'm going to do
a double saved soda. They do not lose anything. And now I'm going to go create. Low poly versions of
this ones as well. So I'm going to duplicate this and duplicate this as well. Now I'm going to
work on this one. We need to go in the decimation master
and make sure that we keep the UVs
preprocess decimated. And now we get much more, lesser amount of geometry. So this was one and
this is the next one. And if you want,
you can actually go on and start to
add more details. But I'm actually happy
with how this is the kink. Now let's go pre-process
this one as well while keeping the UVs in touch. And decimate this one again. And now I'm going
to do something. I'm going to make this
one's visible and export them to test if the decimation has ruined
the tiling or not. It happens sometimes
when you test. When you do the decimation, the vertices on this part get different from the
vertices on this part. So I'm going to export
these two and test to see if the tiling has
been broken or not. And I'm going to
export them as FBX. Okay? And in here I'm
going to export visible. And okay, now we are in Blender and I'm going to export these and test-time, okay? Just wait for the
important to be done. In exported, all of
them on the same file. I'm going to separate them by simply go into the Edit mode. And in here just hit
P. And by loose parts so that it disconnects all of
the pieces from each other. So let's go to object. And this one for a test, I'm going to duplicate it and tested in here to see if it's working or right or not. It looks like it's working. Let me see that. And I'm going to disable
all of the overlays. There's a thin line in here
and that is the result of the decimation process. And this is something you like, you can go, I'll leave
it the way that it is. And if you do not want it, you can export those on
decimated the measures, including this one and this one because they have the
original geometry and the geometry is untouched. So I'm going to export
this one as a test. Of course, because we
have divided that. If you go to the sub
tool, Excuse me, into the geometry, you can see the level of the subdivision. And now we have subdivided
this one into 41. If I bring this one down a bit, you see that without
losing actual, a lot of things, we're
able to decimate the town, but it's not wounding
the geometry. It's the geometry that
we had previously. So I'm going to export this one and test to see if the tiling on this
one is correct or not. Again, I'm going to
export it as an FBX. And this one I'm going
to export selected. And let's take these,
bring them back. And I'm going to
import that again, which is this one, I believe. This is it. Let's duplicate
it to see the result. In here, we are having
a better toiling. See that there's not actually a visible
symbol in between. So this is a better way. If you're going to
keep your geometry untouched. You can do that. The amount of error
that we get in here is minimal compared
to the previous one. So we can bring this one
as the low poly and bring the actual 7 million
polygon as the high poly. So I'm going to take this one, bringing all of these back. Then I'm gonna take
this one as well. Go in here and bring the
subdivision to the third level. And I'm going to export
this as just a museum. And export selected. And it was exported. And now I'm going to go into the geometry and bring this one up so that I can export the high poly and bake this one on top
of the previous one. So this is the one
that I'm using. This one as well. So for this one as well, let me make it visible, go to the geometry. And in here, I'm going to drag
this one to four as well. So now I'm going to export
this one's separately as well, because these are
connected pieces that I'm going to export separately. So as always, I'm going to export and make this one museum. I selected this one as residential high, but of course I forgot
something and I didn't create the vertex colored
data for those. So after exposing this one, I will come back and create a vertex color data
for these as well. So that one got
exported as well. And now I'm going for
this decimated ones because I do not need them. I'm going to delete. I'm going to delete
this one as well. So I have these two. And I'm going to do a
duplicate from these instead. Duplicate from this
one. From this one. So let me hide those and go
work on the duplicate ones. I'm going to go, and
in the geometry, I'm going to bring
this one step down. And you can see in here that
is written delete higher. So if you hit that, it's going to make
this the default one. And you can hit Delete
lower as well to remove part of the lower ones. So let's go for
this one as well. I'm going to do the same thing. I'm going to bring
it one level down and freeze the subdivisions. Delete lower and delete higher so that it's
the default one. Let's go for this, which is the residential one. And I'm going to now work
on the vertex color data. So of course you
are free if you're going to add more
sculpting in these. But I'm not going to do that. So I'm going to bring
in the color in here and bringing the poly paint and make sure that when
you hit this fill object, this colorized becomes on. Now, we need to go
in this masking. And based on the cavity mask, I'm going to generate a mask. So something like this. Let's make it a stronger
and reverse it. Now we have the cavity mask. Let's see what we have actually. So let's make it a
stronger like this. Or let's reverse it. Grow the mask just a bit. And this is a
better cavity mask. And I'm going to
set the color to the red ones to 0 as
well. Fill object. Okay? This is the cavity and I'm going to bring this
smoothness as well, reverse it. And now we're going to
bring in green on this one. An object looks like the mask is so strong and I
do not want that. So let's bring the range
to something like five. Now to something like
this fill object. This is too strong as well. Let's go back. And Troy by using one
instead and inverted. Okay? Now we're getting a mix, blend between the cavity
and a smoothness. Okay, I'm happy with it. If you're going to invest more, he can go and do whatever
you want basically. So let's go for this one. And before that, I'm
going to export this as the residential low bone here. I'm going to bring
it here and make it residential low and
only the selected one. Now for the next one, I'm working on this. Let's make the color white
perfectly and fill object. Now we need to, we need to go into masking and by smoothness. Let's pick this one
up and this time give this one a red color instead of green color. This
is a red color. And for cavity,
Let's go bring it up to something like this, an inverted and give
this one green. Instead. Now we have a better mix of colors
that we can use. If you want, you can add
surveys masks as well. But I do not think that
that is rarely necessary. So let's go and
export this one as museum low and only the
selected one and okay. Okay. When I imported them in
Blender and separated them. And you see that this is the
museum low, this is high. This one as well as the
museum Excuse me, other kit. And low one high as well. So I'm going to take this, bring it back for naming a
really do not care for now. But let's do the naming as well. I'm going to copy the name
and paste it on this one. And make it low. And select this one as
well and make it glow. So now the only thing that
matters is selecting them and giving them each
separate material. I'm going to call
this one residential. So that substance knows what
to bake on top of what? This one I'm going
to call it museum. And okay, Then in here, if we test it to
see that both of them have the same
material, okay? Now these are ready
to be exported. I'm going to take high. And to make sure we go in here, turn on the statistics and
you see that they are high. You have high poly counts. So I'm going to save this
one as a separate file. I'm going to call it Polly and limit to select
that object and hit. Okay, It's going to
take a bit of time and I'll be back when
the process is done. Okay, they got exported
and now I'm going to select the low poly wants. Let's go back. And these are the low poly. And you see the
amount of polygon has decreased significantly. So I'm going to export
this one as low poly. Here we are in Blender. I'm going to create a new
one and important file, which is the low
poly first. So open. And we get them in here. No problem and everything
is working alright. So we need to go into
textures such settings first, let's add the ambient
occlusion to both of them. And I'm going to go in
here, Paik mesh maps. And from here I need to
bring in the high poly. Again, this is it. Let's do a test page to see if everything
is working or not. So in here, deselect all normal. But it two to k and bake to see if everything is
working or not done. And now he'd be cycled
through the break mesh maps. Or you can go for the
normal and you see more or less we have the
normal map going on and everything is alright. And now we need to go in here. I need to select a
mesh maps that I want. I'm going to bring in
the height as well, side2 for k. And this
one sampling 24 by four. And now I'm going to do a break and get back
when the baking is done. Now the baking is done. Let's go in here
and see the result. And the result is good. Actually. Let's bring in a test concrete
material on top of this. Because I want this one to
be based on the concrete. It's doing. Let's do on this one as well. Great. So now this is
going to be a base for what we are going
to be creating. And I'm going to pause
the lesson in here and do the rest in the next lesson. See you there.
54. Texture And Export Trims: In previous lesson, we bake
the trim sheets and now I'm ready to move on to
texture these as well. Now, as I said, I do not want these to have
really complex details. I want something generic so that we know that this one
is a tiling piece. So let's come in here
and start to layer. This one is a good one. And now let's go to smart masks and try to pick one to
see which one works. Okay, already a good amount
of detail how that here. Since these are going to be
visited from so far away, I'm not really caring too much about the close-up details. And I know that there are
some stretching in here, but because these are some far away pieces that nobody is going to
see from close up. I'm not really actually
carrying too much about those. So let's bring in the mask
and I'm going to bring the level down just a bit so that we have some
highlights on the edges. And from now on, I'm
only adding layers and add a smart masks
to see how they work. And if I needed
something, I pick it up. So this one is good. Let's go for the color and bring the color intensity down to
something in these ranges. You can go see, now this is the base color without any extra
details, and it's good. So let's go in here and
bring in this concrete. Again. It can hit M to go back
to the material preview. And let's go to see which one. Actually we can use. This one is a good one as well. It highlights the dusty parts. So let's go in here, bring the color down just a bit, and go into the mask. In the masking editor. I'm going to bring in the
amount down just a bit. Now, in the end, whatever we did on this, we're going to copy that
on the next one as well. So let's go and bring
in other ones as well. This one is a good dust as well. Let's go and this time, let's do another color
to see what it is. And after making sure
I'm going to go in here and choose a
different color. But since you see that
this is tiling so bad, I'm going to remove it
and use another mask, for example, let's see this one. This one is good
but too intense. Let's go for balance
and bring it down. And this already adds some of that points that
we can subtract. So let's go for the color. Absolutely, we need
to bring this down. And let's go for height as well. And bring the highlights
down just a bit. You can see we're
subtracting from the surface and you do
not want to go too much, just add some visible things. And let's come in here, and let's bring in from those that this one is good as well. So let's make it a
warmer color instead, something from this ranges. Something like orange. This one is good as well. Let's take a look
at that. It's good. Let's add another color and
this time, use this one. And this one. Let's go see
which color suits our needs. Like a black color
is a good one. And I can go in here and bring the global
balance down a bit. As I said, since these
are some generic pieces, I'm not adding so
much detail in these, but I need to have a bit
of edge highlight as well. So let's add this and go for these edges which are in here. These ones are very powerful
in highlighting edges. Let's go add a bit
of contrast to that, so that we have only
edges and bring it down. Let's bring the contrast
down and this one up a bit. This is starting to look good. And now I'm looking
at that from far away to see replace for that. And this one actually
is a good one. I added one concrete
and I started to add that edge to highlight
the edges even more. And I want that to look
good from far away. That is what I'm looking for. So let's bring in another
concrete material. And this one, I'm going to add some occlusion masks to make this one go in the places
where the dirt collects. So let's use this one. And it's doing a good job. Let's go and make
it a darker one. Not so dark, just a bit. So you can go in here and
bring it down as well. So let's bring in
another concrete. This time, this
concrete which is actually having a good color. So let's go and bring the
sand to see how it works. It looks like we need
to invert the mask to see a better one. Global invert. And balance. I need to bring it down a bit. Or let's add that and bring it down to add a bit
of sand into here. Okay, It adds the sand, but let's add not a lot of that. I do not want a lot of sand. Let's make it something like
this and even lesser amount. Okay. And I'm going to go here and remove some of
that color information. So let's go and bring in
now this concrete again. And let's use this edge just to highlight some
of these edges more. Okay. Let's see them.
I'm liking these. These are adding so
much cool details. So let's go to the
base color and the sand is a bit too strong. Let's take it and bring it down, okay, something like this. And after we made sure that
we have all of the details, but I'm only copying these
layers to the museum as well. Now I'm only adding
these concrete colors, changing the color, for example, to something darker
and trying to test the masks to see what I'm
going to get from this. I do not want that
to be so procedural. I only want some
cool extra details. So add a mask, try it to see what it does, and then apply material
on top of that. So I'm going to
bring the globe ball balanced down and
contrast down as well. As well as the global balance, a bit of color swatches, but in here that
is too repetitive. This is going to be
too repetitive in the future if we
try this too much. So let's go for this
one. And another. Edge highlights. I'm going to take this, bring it to a color
that we can read from far away and
stay neutral again. So this one, a good one as well. Let's see that. Yeah, This one is better. But let's bring the color
information down that is, having too much contrast. So now how can we the
shapes and information from far away as well
as the close-ups. So I'm going to take
all of these and bring them to the museum
and remove this one, this one as well, and paste the information and let
it calculate as well. So this one is done as well. We're reading information
from far away, as well as the closeups. Okay. Now I'm happy with
what we have here. Now the only thing
that I'm going to manipulate this,
the height map. So let it be the
sitemap is okay. So now I'm going to go to Export textures and
choose a folder. And then we need to bring in that sample that we created
this old GL which we have OpenGL normal map alongside with the masking that we
created as our HA mask. So I'm going to set the resolution to four K as well and the
format to target. Okay, I'm going to export and
see you after the results. And this is the result
of that one hand. This is the result
of another one. A good color information. Now, I'm in substance and
I'm going to take this. Of course before that I'm
going to save a new increment and remove the
hyperlink informations because I do not need them. So this one and this one. And I'm going to bring in those original ones
that we created from these because I'm
going to separate these masks, these meshes, and give them their own
pivots and export them and test them inside UE for
you if I excuse me, these are the backup
files that we kept. Now, I'm going to
separate these from each other and borrow the period
from these and do the naming, things like that and export
them to Unreal Engine. So the first thing
that you need to do is selecting these, go into the editing mode
and hit P and separate by loose parts so that they
get the individual objects. Now they all have the pivot in this area which we
are going to fix. And for this one as well, I'm going to go it P separate by loose parts to get the
individual pieces. Now, these pivot
needs to be fixed. Now it's actually time to
compare these side-by-side to see if they're matching in the proportions
and things like that. So this one is actually
the same with this one. I'm going to bring this
one in the center. And before that actually
let me go in here and put the period
right in here. I'm going to select this one
and put the pivot in here. And I'm going to reset the
location so that it comes up right into the center of the
world. And this one as well. Now we're going to compare
them side-by-side. And you see there's a bit of
softness in here that you can fix really easily. Because we want the
proportions to stay the same. Because in Unreal Engine, some parts are really a snapping together so that we
do not have any gaps. If you're going to
leave that to be like this, no problem actually. But if you're going to fix that, there's an easy fix. And to fix it actually, you can take your high
polygon, which is this one. And I'm going to select all
of the vertices from here, all the way to here. Make sure that this one
is the active vertices. I'm going, I'm
going to take from this and snap it to here. And I want to make sure that you turn on the
proportional editing. So now I'm going to
turn on snapping again, and this time to vertex and make sure that you
put it too active. So I'm gonna take
this one while having the proportional editing
to affect the other sites. Just go and snap it
to this vertices. So now you see that
proportionally they are the same objects once more and we have some displacement in here, which doesn't matter. Now let me go in here, select the name from
this and give it a random name and copy
the name for this one. Now, I'm bringing in
the vertex again. And this time it's a bit
tricky because we have two folders to
export objects to. For the first one I'm going
for the residential kit. So this is the
folder that I have. Put the finished
residential kits. I'm going to hit
Accept and hit Export. Now in Unreal Engine, I'm gonna go for this
one, which is the piece. And I'm going to go right to the study mash editor
and he'd re-import. And now it's telling us that
we have done some changes. And this is the result. Actually without any
extra normal map. This looks very good and adds
a lot of detail into here. This is it. And now want to think
about the vertex color. If you go in here and
this static mash editor, of course, let's
first go in Blender. And in here we can go to this
Viewport Shading and set it to a studio lighting and
then this vertex option, this gives you the
vertex color that we created in ZBrush and
that is accurate. So if you're gonna
see that in here, inside Unreal Engine
and visualize it. They can go into this. You can go down to vertex color, but you see that
everything is here, is white because
upon the exporting, we didn't change
the vertex cover. So this is a tricky piece
that you need to either do upon the export
or in this case, when we brought in the
measures from here, we actually created
some basic measures and then brought them in. It can actually go and do
the vertex coloring here. So just search for vertex color. And in here we're
texts color imports option that you have
couple of ones. One is ignored,
which is going to create a white one for you. One is replaced and
one is overwrite. This overwrite is going to overwrite the color
that you put in here. For example, if you
want to make it red, you simply make it red. And hit Okay, and then apply the changes to get the
vertex color that you want. So let's go back. And to make sure that
this gets affected, we need to hit Save. And if you're going to actually see the ones that we created, you want to hit to
replace this one as well. I'm going to make it white. You want to hit Replace
and Hadrian port base mesh again to get the vertex
colors in place for you. So this is the vertex color. And now I'm going to
go back and apply that vertex color
material that we created. Let's go to Materials. And I believe this one is the
vertex color or material. And you see that vertex color
has been applied in here. And we can do all kinds of thirds and stuff using
these vertex colors. And the tiling is great as well. But we need to apply the vertex color on
this one as well. Let's upload a vertex color. You see it's all blue. And it means that
we need to go into the aesthetic mash
editor and take it. And let's see the vertex colors. And of course this
one is annihilate and we need to convert that
to nine as has one. Vertex colors are none. Let's go in here from
ignore, hit, Replace. And re-import base mesh. And because all of
the directions and files and things like
that are in the place, we have really no problem
in getting those. So this is the vertex color
for this one as well. Let's give it a vertex color
material, okay, Perfect. From now on he want to make sure that every time we
bring in a mesh, we want to convert
that to navigate from these meshes and correct
the vertex color as well. If you're going to
import, for example, if you are going to import
this one for the first time, you're going to apply
the vertex color, which we are going to
do in future examples. But if you have imported
without vertex color, this is the way to do so
for this one as well. I'm going to go find
the static mesh, Right-click nano
and enable night. So it hides that and goes through some calculations to
make it a non eight mesh. So now it's shading is
wrong because that has a world aligned material which
we need to fix eventually. So let me go select them
all and reset material. It's not doing, let's
do one by one. For now. For this, we do not care
until we import all of these and start to give them the appropriate materials, okay? Now we have this one and we need to make sure that we bring
this one out of the way. And now it's time for
this one actually this middle piece and
corrected, which is this one. So let me go zoom on it and put the pivot right on
this bottom left vertices. I'm going to bring it here. And let's see about
this one here. This one is the
residential ornament. I'm going to bring it right in here and compare
them side-by-side. And this one, there is a
bit of softness as well. If you had a bit of roughness, this is a way to do. But if your calculations were right and you didn't
have any roughness, you're more than welcome
to do what you want. So let me select this one. And I'm going to
select this vertices all the way to the end
of the row in here. And again, I'm going to
use proportional editing so that it doesn't attach
only this one too. But it moves the whole thing
using proportional editing. So I have the vertex
and active as well. Let me bring it up
and snap it here. Okay, done perfectly
without any problems. So now I'm going to
take the original one, take the name from it, and give it a default name, and paste the name in here. Okay, now I'm going to export
this one. And it did it. Now let's go in here and find this right-click and re-import. And it changed that. Now we have these pieces
and now you see how really detailed this
building is becoming. Using this. Very good. Now, let's go and do
couple of things. One, converting this tonight, which actually is
giving us an error. And it means that this
material needs to be changed. Then fix the vertex color, hit to replace and
reimport base mesh, the co-vector we
think we imported. And now let's go
for vertex color. They are in place. For nano it as well. Let's enable that. And now we have it. Let's
save everything and apply that vertex color material to make sure that we're good to go. So this one, now, the vertex color
material is working. Alright. So now we have these. The first one is going
to be this top one. Now, from now on, we need to export these
all to the museum folder. So this one, again, I'm going to drag it back. Let's put it here. Now we're going to work with this one and these ones away. So let's select
this one as well. And I'm going to
work with this one. Let's apply the pivot right
on this bottom-left vertices. Snap it there. I'm going to bring in this one. We have a bit of softness
in here as well. That's very minimum.
On this one. It has done a better
job to leaving the vertices in
their own places. So let's select all the way to here using vertex
snap and that, I'm going to connect that here. Okay? Now let's select
the original one, bringing the just random name and give the name to this one. Okay, Now I'm going to change the folder because this
belongs to the museum kit, which is this one in here. So I'm going to select this
that we have and export. Let's go in here and find it
in the static mash editor, right-click and bring imports. And now you see how much
detail it added there. And even without
any extra material, this is popping up
very good and giving a very good amount of
detail to this environment. And you see that we're
using this approach going step-by-step and
iteration by iteration, we are able to do a lot
of cool things and start simple and make it more
complex during that time. So let's right-click night
and enable support for nano. Okay, this one is
getting converted and next step is to
correct vertex colors. So let's go. And this is already not
right. Let's go in here. Converts, kid replace and
bringing the base mesh. And now let's look at the
vertex colors and done. One thing that I
noticed is that when I bring in reimported, it removes the
support for nano it, and it means that we need
to check the nano it again. And I'm going to
go and check for other night measures as
well using the same method. Let's go go into View mode
and non-white overview. We have the masks in here. There's a mask as well. And now everything that
we have imported is nano. And first we'll make
sure that we change the vertex color and then re-import that to
convert that tonight. Another sign that
the mesh is night is that when we apply
that word alignment, so real that we created, it shows black because Nana
it for now do not support the borderline
materials in Blender. Let me take this
and bring it back. Now these three pieces. So let's start with this one. I'm going to give the
pivot to be here. And the first thing, we're going to pick this one up, because this is the default one. And these are some
variations that we created and we're not actually reinforcing these
because these are newly created by just now, we're going to import them. So let's go in here,
retaining the shape. So on these ones, we do not need to do anything. I'm only taking the
original one and copy the name and give it
just a false name. Something like this. And
copy the exact name in here, export. And done here. Let's go and find this peace
that is here, this one. And find it in a static
mesh editor and re-import. And we said to FBX, and it has changed. Now let's look at that you see, because the vertices
have stayed in here, the connecting piece
is really good. So let's go in there and try to change the vertex color
in the first place. And it reimported. Go for vertex color,
it's in place. And now then we need
to connect it tonight, which is still
makes it like this and telling us that
the knight is working. Alright? So now this is what we
have created so far, and now I'm going to
replace those ones that we created as a variation. So let me bring this back and I'm going
to bring this one. Again, select this one. Bring the pivot here. Just like always, compare
that to the high poly. It's actually good and
not change anything. So now I'm going to copy the
name from this and give it a default name and copy the
name for this one and export. It did it. And now the only thing that
remains is the last piece. This one is the last one. Hopefully. There's one more
thing again that we are going to fix right now. So let's compare this one. These are our right as well. Coffee the name, default name and paste the original
name on this one. So exports. And it did it. Now, we do not have
anything to re-import. It's time to go in here and
start to import actually. And they are in this folder and these two pieces
that we created, and this is the
name and the size tells us that these
have extra details. So I'm going to import
and upon imports in here, we can decide for the
nano it and vertex color. So I'm going to convert
that to nanometers. And in advanced
for vertex color, you need to hit Replace. And there's one more
thing that you need to do is disabling the light map UVs. You wanted to check this one off because
we're not going to use baked lighting and this is going to be an extra
cost on the engine. So when you are going
to make something nano, make sure that your disabling this if you're not
using a static lighting. So important, all the important, but I need to remove this one and find the
measures, bring them up. Check for the, I'm gonna
check for the vertex color. It's not showing me
the vertex color. I believe that it might be
a bargain Unreal Engine. So I'm gonna do one thing. Hit, ignore, and save. Again, hit Replace, re-import. Not feel like this should, this should be a bug. So let's hit that to get
the vertex colored going. And I'm going to
bring this one again. And here, replace report,
excuse me, re-import. Again, really important here. And let's check
to see if we have the vertex colored
data in place or not. So these are the two,
I'm going to bring it, bring them up and
just divide them. And I'm going to
apply the vertex colored material that we had. Okay, let me bring it, and from here, let me apply. The vertex material is in place, but it's not showing in the static measure
editor that is a visual block inside
Unreal Engine. So now let's go on
this bottom row. I'm selecting these. It looks like we have a
couple of ones overriding. So I'm going to select these. And the aesthetic mash editor, I'm going to details and replace
it with this second one. You see with only
a single click, we were able to change that and you see that it's
tiling perfectly. The tiling is great. For the second one as well. Let me select them all. And this one, I'm going
to replace it with the third one,
which is this one. And I feel like this one
is better one for here, it adds a lot of more detail. So let's make it 50
instead of hundreds. And take these, bring
them up in here. And take this, bring them
down in their place. Okay? Now this is it. And we have the
third one in here, the second one in here, and the first one in here. And in the top one
in here as well, we have the first one. Let me select it until the
end of the row and select, replace it with the third one. This one adds a cool
detail and it's everything including the tiling and everything is
working out, right? And if you see
something like this, you can go and start to
fix it there in Blender. But since this is not
going to be seen, we're not actually carrying
too much about it. The way in Go and instead
of doing the top one, you manipulate the
bottom vertices. Okay, This is enough
for this lesson. And in the next one we will
continue to add more details and maybe give this one the appropriate
material that it needs. Okay. See you there.
55. Quick Fix to Trim Sheets: Now one thing before
actually wrapping up this, found out that some pieces, when we scale them, we have a scale them too much. And that is why we are seeing some ugly seems in here
which we need to cover. To cover he basically,
for example, you can go to here and
check them when you see, because we have brought this one using the
proportional editing, we have also displays the
geometry on this part as well. So you need to go and take it. Let's take it to the
part that it needs to. Up until here, excuse me, make a selection and using the snapping again and
proportional editing. But now I'm going to actually reduce the effect
of proportional editing, not to make it so aggressive. Something like this. So that we stick this one
to the place and leave the upper parts
untouched as well. So let's go and compare them. And this is it. So
let me take this one. And this belongs to
the residential kit. I'm going to export it to the residential folder and
bring it back in here. Let's go right-click
and re-import. Note that upon when importing, I believe it's going to convert that into a regular,
a static mesh. Now the problem has been fixed. Now we're no longer seeing
those seams. Of course. There's a bit of problem in here which is
not a big issue. They can invest your
time into creating and making this
better to look at. And let's go for
this one as well. This one is doing
a great job and just go and search to see if there are any
problems and fix them. And now I need to select this one and convert that
into a nano it as well. Convert it to nanometers. Let's bring in vertex
color. It's doing alright. So if you ever saw something like this,
you can go and fix it. Now the next thing that I'm
going to do is actually bring in textures
and test them here. These are the files that I need. Now the thing that I need
to do is taking the normals and masks and convert
them into mask. This one again into Mask. And this one needs
to be flipped. The green channel, and this one as well
needs to be flipped. I think it's going to add a great addition into
the scene when we add this and textured
and preview it. Okay? And the base color is
doing the good thing. Here. I'm going to
bring in a material. And from this, which
is the main material, I'm going to create 100
score, museum and 00. And these are all
for testing for now. Let's bring this up. And I'm going to create once, am I underscore residential. Okay, now let's bring
this one up as well. I'm going to plot the
textures into here. And with the default styling because these are baked ones. So this belongs to the museum. And this one is the
museum as well. Normal. And later on, when we add those details, this will make a
lot more beautiful. We add a lot of dirt and basically lots of things
on the top of that. So let's take this one and bringing the normal map and the mask and everything
is alright now, so now I'm gonna go select this. And I believe these two were textured with
their residential kit. We're going to test that. Go in here. Am I a 100
score residential? Okay. This is doing this one
is doing are right. Now that I'm looking at it, it's doing a good job. But on this one, I feel like
the material is different. So let me find the first one where I should test to see which one actually
works with that material. So residential. This belongs to this one. It already takes her
dad pretty good. For these two. I need to bring in from
the residential kit. So for this one and this
top one. No, not this one. This one actually,
I need to bring in the residential
building. Material. Looks like how did
the wrong thing? I'm going to select this one
and apply the museum to it. So this is now much
more clear. Okay. This one, I believe is looking
good with residential. Let's test the museum on it. Now. It works with the residential. And for this one belongs to
the residential kit as well. And this one, I believe belongs to the museum texture
that we create it, not this one, exactly this one. So this is done as well. So now you see how much detail they added into the environment. And now let's go for
these and this one. And these all belong to
the residential Kit. Does me select them. And it added a lot of
cool detail and you see that how much detail it
added on the surfaces. Now that I'm looking at it, it's really starting
to work together. And even when you look at it
from Let's specific angles, it tried to give you the
best detail possible. And you see that now it's not
only about the flat plane, It's about all of this
geometry that we added. That gives a lot of
cool details in here. This is rarely done using the power of non-IT
inside Unreal Engine. This is going to be even better
when we add finer details and all those vertex blending
and extra prompts as well. In the next one, we will
continue to make this even better than See you there.
56. Shape Breakers: Now after creating
these trim sheets, you see we have added lots of
details in here and really removed a lot of that flood plains that
you are seeing in here. And the more that you can hide from these
floodplains to better. Because these sharp
lines are not really natural and cannot be found
in nature even for example, for this house, you see
without this pillar, it looks something like
this very sharp line. And as much as you can, you should avoid
these sharp lines. Make your work more authentic
and natural sulfur. Now, I'm going to do something
about this cave in here. And after that maybe we go to some pillars and
some caps as well. So for this one, I'm
going to hide as much from these sharp lines as I can. And actually before that, I'm going to bring this through substance displays it there. I'm going to go blender
now because these are, has a lot of sharp lines
and I'm not going to create any new geometry
to cover these. We're going to
reuse what we have already created
to remove some of these sharp lines and
make it really look much natural without actually
creating a new piece. So now I'm gonna go into
Blender and find this. And we are here. And this is the piece under textile density and
things like that. Alright. Now, in order
to tessellate it, I'm going to say tessellate it before bringing into
substance to make sure that we have quad topology everywhere and as much
as square as possible. With something like this, the tessellation couldn't be
so much useful cell phone. Now, let's bring this out. And I start to work on the
topology, something like this. And I'm going to remove that ugly colors that
we're seeing here. So let's go into UV toolkit and remove
all checker patterns. Now it's better to look at. So let's go for here. And let's see what we
can do about this. Saying by adding
an extra vertices. And here we are
getting quad topology and a square as well. Now that I'm
thinking about this, I can see that I can say this. Let me see where
the topology goals. Yeah, I can take this one, remove it and take this
one as well and remove it. I just want core
topology everywhere. So I'm going to add
some quotes in here. Now let me do
something like this. This is better now, I
added four in here. Let's add four in here as well. If you have quad
topology as well as a square ones later on when we subdivide this and tests
related inside substance, we're going to get
better results. So let's go in here. And I feel like adding. Now, let's go and
add more in here. Something like this is better before doing
anything because this has some bad topology and I'm
going to make the topology better and make them quad
as well as a square. And sometimes you need to just select this one and this one and connect them to each other. That's as easy as it can get. And when you reach to
a place like this, he can take this
one, for example, and join them like
this and slide it here without changing
the silhouette actually, for this one as well, I can
take these two and these two and join them together. And bring the slide just here. For sometimes see
something like this. They can go take the edge. Let me exit out of
the snapping mode. And I'm going to slide it to here and then join
them together. So it looks like I've
done the wrong thing. And try to make as
much code as possible plus a good distribution to
make them all a square shape. So this is for this one, and now for this one as well, I'm going to take it on a slide, it bring it here and try to
connect them to each other. It looks like these two
can be welded together. Okay, from now on, the process is
actually the same. You want to take vertices and
edges and try to move them. So I'm going to
pause the video for now and join some vertices together and make the
polygon distribution a little bit better than
then get back to you. And of course, the
reason that I didn't create a new mesh is that we have the UVs in here and I do not want to change
any of the UV layout. And if we didn't
have the UV layout, I would have created a cube with enough subdivision and then
curve the piece into it. The reason that
I'm doing this is because the UV is there. And I do not want some
extra work on the UVs. So now I did a better
polygon distribution. And in here, we need to do the same thing for
this one as well. If you have the same problem, you can take this
one and this one, hit J, it will connect through and get the
polygons for you. So the same for
this one as well. Okay, I did it and now we
have a cleaner topology. And for now I really do not care if the UVs are overlapping and out of the 0 to one UV space because we do
not want to bake anything. I'm just going to
displace this insight Substance Painter and using actually the same
texture that we have. For now, I'm going to
go find the holder of this one which I
have exported dad. And I didn't export to make sure that we get the same
result in here as well. I'm exporting on the same file. And then here we
are in substance, I'm going to open a new file and everything just the same. This is the arc piece
that we had there. So this is it. And now I'm gonna go and bring
in the material. And the thing that is mostly
that is the height map. But I'm bringing in the
material to preview of what it's going to be
in the engine as well. This is the actual result. I'm going to bring in
the ambient occlusion, base color, height,
normal, and roughness. And I'm dragging them in here. Just control a to
select all of them, make them texture, and
bring them to this project. So now I'm going to
create a new fill layer. And in this one I do not have want to have any tiling because the tiling and
everything has been said with textile
density in here. We know that we don't want
to get the actual UVs there. So mainly I'm going to make this one tile only wants to
have the default texture. So let's go in here. And as I drag the base color, you see that we get the same information that
we have in Unreal Engine, just like at the
textile density. And you will get the result. And of course in here, we're getting some problems. And that is because I welded
some vertices in here, which I shouldn't have. So let's apply the
checker pattern to it. And you see we have the texture distortion
in here as well. So to fix that, you can take it and try to
relax it a bit or better. He can take this row of
vertices that is causing this distortion and completely remove that hit X and it's gone. Okay, now I'm going to take
this one as well, it x. And then for here as
well, it removed, but we have a bit of
texture distortion in here. Let me see what I
can do about it. I believe that you can
take these vertices and try to drag it in here. Or it's better to slide it. You see how it tries to slide to this part and then
take this one as well. Now, this one, just
try to slide it here to get that
distortion going. And then I believe
we have something extra in here that I
can take and delete. Now, let's leave it
the way that it is. I'm going to fix this
one as well by a sliding this vertices or that may take them all and merge by distance. It merged a lot of vertices. So in here it cuts, caused a bit of issue. But since we can cover this part by a
pillar or something, I'm not going to bother
a lot with that. So let's go into painter
and try to re-import it. You can go to settings
and project settings. And in here, using the selector, you can bring in this arc
and try to replace it. And now let's apply that. Now that is, distortion is gone. So let's apply the
textures in the inputs. So the next one, let's
bring in the normal. All of these do not matter. I just want to be able to
preview the texture better. Let's go in here,
texture settings and bringing the ambient
occlusion as well. And that's activated. Now I'm going to plug the
ambient occlusion in here. And the most important map that we have for this workflow
is the height map. So I'm going to drag
the height in here. And now we're going to go in the shader menu in here
and make sure that you select a PBR metallic
roughness, which is this one. Okay, and now scroll down until you see
this displacement tab. And now I'm going to
bring the scale-up. And you see that we're not
having a lot of tessellation. That's why we're seeing this
displacement happening. And if you're going to fix that, they can bring in the
subdivision count a lot higher. Get something like this. Of course, after five, it's not doing a lot of things. And one more consideration
is that actually this part, we're not seeing that
because it's going to be hidden under the surface and it's not going to
be seen by the player. Because in here you can create wounds and
things like that. And for this part
that it's hidden, we can create something
to cover that part. For this one as well, we will create seem covers and use these breaks
to cover the seams. And since we are
going to use nano it, Let's pump up the
intensity on that a bit more and bringing the
scale down just a bit. We want only a bit of
silhouette going on. So this is about here, and this is for this side. It's doing a good job. And mainly I'm having
to work with this one. Let's go and try to export this one out of
substance as a mesh. Of course, if you're going to alter the height that you have, you can go create, for example, not Create. Let's create level in here. And on this level, we can go select the
height and we can manipulate the height
to alter the results. For example, you can do a lot of cool things
with this one, but mainly you're going
to have some bugs. Okay, let's look at it and let me just disable
the base color. And it's actually doing a
good silhouette in here. So let's go and apply some
changes to the Height channel. To get more definition between
the peaks and valleys. You can bring this one to bring in the valleys
in a bit more. But make sure that you do not do that too much because you're
going to get some errors. So let's go in the
shader and try to add a bit of
more displacement. So I'm going to export
this one as it is just using the file
and export mesh. And in here we have
couple of settings. One is without displacement
and tessellation, and we do not want this. We want actually with
displacement and tessellation. Now in here we have
couple of options. One is we compute
vertex normals. And this is good for places when you do not have normal lab. And I'm going to export
just with both of them so that they
can see one without recompute vertex
normal and one with it without re-compute
vertex normal is something that
we're going to use because we do not want to bake the normal map into the
vertices of this one. Because if you bake the
normal map on top of this and add the normal map in
the shader in Unreal Engine, it's going to make it pop out a lot and create
some distortions. So now first I'm going to export it without the normal maps, excuse me, vertex normals. I'm going to bring
it here and call it without vertex normals
and save it as FBX. We have so much triangles. And for the next one, I'm actually going to export
with the vertex normals. So just like this, I'm going to export and
import them in here. So let's take them all
and drag them back a bit. And these are the
files that we need. Let's bring in the
first step you need. And this is the first mesh. Let's bring in the second one and then explain
the differences. So in here now I'm
going to bring in with vertex normals.
And this is it. Now, I'm going to bring this one and turn
off the wireframe. And you see with
calculated vertex normal, it tries to bake the vertex
normals onto the mesh. Vertex normals have been changed to reflect that
normal map change. But in here you
see that although we have a lot of geometry, but vertex normals
are untouched. And this is something
that we're going to use, although this is going to be much more interesting
to look at. But then because we're
going to add normal map, we might have some problems. So let me bring this one in, the pivot and
everything is working. Alright, so I'm going to take
this one, this bottom one. I'm going to copy the name and
give it just a name to be. So let's select this one, give it this name, and I'm going to overwrite it with that. The reason that I chose this
one without vertex normal is that we're going to use normal map instead
to compute that. So let's go in here, take this one and
go re-import it. Okay, now you see we have something much more
interesting to look at. And when you come
closer to look, you see that it has silhouette. But we need to fix
some things to make the, make it look better. So for this one, let
me bring this one out. Of course, I'm going to
turn off the snapping. I'm going to bring this one
out and make this one bigger, just a bit bigger in
this direction as well, so that we can hide
this part just a bit. And now let me take this one, bring it back until we
fill out this space. Now let me take
this one as well. And I'm going to just do
a copy, bring it here. This is for this one. Now because these are a bit
smaller than what I wanted, I'm going to take these two and drag them back so
that we have a pillar or something of
that sort to keep this for us just to be
a bit more natural. So let me take this one
already and drag it back. This is good. Now for
covering these parts, I might need to take
this, bring it back, and let's go and bring the
scale down to the default. And I'm gonna just rotate this, bring this in here, and make sure that bring it to the top and cover this part. And not only it
covers that part, but it only creates a bit
of good silhouette as well, so that it's not so flat. And you see how the bricks
are merging together, it creates a beautiful shape. So for this one as well, Let's take seeing how natural it is starting
to get going. So let's take these two
and I'm going to drag them out just In this place. Now, you see how from
that boring shape, we went to something that
is looking more natural. And there's one
more thing that we need to do is covering the same. We do not want this to happen. So what we can do is actually using the modelling tools
inside Unreal Engine. Actually without
creating something, we can alter a mesh and use it. And to activate the
modelling tools. You can go to Plugins
and just search for it. And this is the modelling tools
editor, and it's in beta. And a static mesh
modeling editor, you might want to enable them. And then if it really started, Just let it with start and
comeback to the engine. So now let's tell that
we want to use some of these breaks and alter them to create arc in here
in this place. And let's just do a demo first because there's something that you want to
be careful with. And let's use a mesh
that we haven't used that much, for
example, this one. And if you're going
to change the mesh, you can go in this menu and
bringing the modeling tab. And this is the Modelling tab. You can invest time.
There are a lot of good documentation
is out there and you can use them to
learn about this. It's a great, powerful
node that you can use. So I'm going to select this one. And in here we have the deform. And I'm going to
bring in a lattice. And I'm taking this lattice and he can take
this, bring it up. Of course, you should
have a good amount of geometry to be
able to use this. So let's take this one. You see that it tries
to alter the geometry. And if you're going to accept
the change, you hit Accept. Now it changed that one for us. But one drawback of
this method is that it changes all of the
instances in the scene. So you want to be
careful with it. If you're going to
change something, make sure that you create a backup and do the changes
on that backup file. Well, let me remove this one and I'm going to
use this brick to create a cover in here without actually using any extra tools. So let's take this one, go here, select the Static Mesh. And instead of
bringing this one out, I'm going to right-click and duplicate so that
we have another one. And I'm going to call this
number six so that we have it. And now let's bring it in here. And I'm going to place
it just in here. So make sure that we apply
the material on it as well. So this is the material. It's the material that it needs. And try to make this
one bigger just a bit. And I'm going to make
it something like this. And now we have this one that is the extra piece that we are
going to form an arc width. So while selecting this one, I'm going to let us, since this one has
much more geometry, it's going to be a bit
more heavier to work with. So in order to
work with lattice, you just select the points that you're going to work with. We can rotate them, we
scale them and move them. So I'm going to
move it up just a bit and see that it tries
to form this shape. And this is going to
be more red triangle. And I do not want that. So in order to have more
points to work with, Let's go see what in which direction we
can add more points. To have controls and
the x isn't that. Let's why isn't as well. Looks like we need to work in z. And the z is actually
the actual z of this one because this has been rotated 90 degrees and Z goes
in this direction. So let's add more
points in here. And now you see we
have more controls over here to start
to work with it. So it looks like I saved it
and that safely, remove that. So it doesn't matter. Go to lattice and it's going
to bring this one for you. And let's optimize
the debate on x. I do not want a lot of
it around why as well. Let me see. Looks like why you
should be in here. Let's remove from the Y
as well so that we have only these two work with and to make sure that you get
the points that you want. For example, if you're
going to select the points, you see that it not only this starts to pick up from here, but also picks up
from here as well. So to work the best, we can go into one of
these Perspective mode. So let's go to left mode. And left isn't like slag, we need to go to front. Now. We're in the front view
ready to start to work with. So I'm going to take this one
and drag it up just a bit. And I'm going to make it rich. This top portion, okay? Something like this. And because we have
lots of geometry, it might be a bit
laggy to work with, just, but it's worth
a try that you do. Bring this one up
top until here. And now it's time
to work with these. And I'm going to bring
them up until here. And I'm going to keep that
arc shape that we needed. So let's select these ones. Bring it up. Now,
it's flowing better. So now it's time for these. It's only a matter of
bringing up the vertices. Just look at them to see how it works and your work, okay? Looks like we only
have some more. So this one as well, let me bring it up
just a bit more. Not that much, just a bit. And the next ones
are these ones. I'm going to click
two rows of vertices. So let's bring this up as well. And after some trial and error, I came up with this. So let's try to preview the
result in perspective mode. You see without any effort
and extra resources, we were able to create something from existing
shapes that we have. So just accept the
results and wait until the calculations
finish and it's done. We've got another
variation for free. Let's just bring it back until it covers
this part for us. And let me say get an, a star to re-scale it
in this direction. Let me freely bring it up in here and try to cover
what that looks like. This one is a better option. And you see how from that
boring and ugly shaped who went to something like this that has a lot of ups and downs. And it's more natural and
more beautiful to look at. And this is really the power of next-gen softwares that can allow us to do
something like this. Let's bring this one in here and try to look
at it from here. And you see how detailed and beautiful the environment is
going to start to look at. So let me take this one
to make it natural. I'm going to bring this
one in here to create a row of bricks that follow each other in
this direction as well. So let's do this way. I'm going to copy
that until here. And let's do this one in here. Try to re-scale it just a bit, and try to re-scale
this one as well. So let's look at it from here and you see how beautiful
it's starting to look at. And I'm going to
bring in once more. And since we are using nano
eight for these weird know, having no problem with
using so much geometry. This very good. I'm looking at that from different
perspectives. And looks like we
can rescale this one in x and y just a bit. So make the silhouette a bit more stronger to hide this seam in here and bring it in here. Now you see the
power of sin workers and how we can use
existing geometry to give the environment a
bit cooler shape and remove a lot of
that sharp pieces. So for now we have these
sharp corners as well, these sharp edges that we
can create geometry to hide. And in the next one, I
believe that we're going to go and create some of these pillar caps and do some more ornamental work to
bring this to the new level. Okay. See you in the next one.
57. Pillar Caps Blockout: Okay, everybody is C
Now how things are really starting to work together to make this environment
look beautiful. And previous lesson we
created this alloy, a piece with only using some displacement and
repeating some parents. But of course, using the
modelling tools inside Unreal Engine who
are able to copy one piece and alternate
data to create something like this without really actually
creating something. This is another
way to really use your imagination and
think creative too. For example, if
there's a problem, do we have something
that can cover up? If yes, we use what
we already have. And by using existing tools, we create new things to
really generate new ideas. And this is one way of them. And you see how from
that ugly sharp lines we went to something like
this that is more natural. And later on when we add the shaders to this
one, for example, vertex blending, an extra props, maybe we'll take this
one to a new level. So now what I'm thinking
is actually starting to look on this pillar
caps in here. Of course we have some
polar caps in here. But I'm not going to do
something with this kit for now, with this museum, period. I'm not actually doing something because I'm gonna do
that in another session. But we have these
pieces in here. And I feel like we
have two of these, that these two are repetitive and this
being repeated in here. And then we have
this one as well. After this one we have this woof crusting or roof
card as well to tackle, and we want to make this
one ornamental as well. So let's go to the references to see
actually what we have. So this is the reference. And for roof pattern, those roof crusting, I'm going to go for
something like this. I'm not actually going to
make it so complicated because that's an extra
piece that for example, if I play, the player is
going to be seeing from here, and you see that adding so much detail
wouldn't make sense. Of course, we can try to add
the best quality possible. But I think for
something like this, having something that
stands out is enough. And after that, we go for these pillars as well
as this one is not so intricate of a building
compared to this museum one. This one is a medium
residential building and we're not going to make
that really complicated. I want to let the
complicated stuff to be for the museum
kit. After that. After doing this,
I can tell that the architectural pieces of
this building are finished. And after that, we will
create a Windows to finalize this building and leave maybe these two special
pieces for the end. And the dog showing
here is to create the most generic pieces,
the tiling pieces, the modular pieces that
get repeated all over and get them finished first and then go for special pieces. For example, these doors, they used window shop
and things like that. Okay. Now what I'm going for is this pillar that belongs
to the residential kit, and this one as well belongs
to the residential kit. Took them from here. I'm going to Control
C to copy them and open a new scene and
paste them there. And I'm going to bring them
right in the center so that we have the blackout to work
with for this one as well. I'm going to make
it ornamental but not so ornamental
because as I said, this one is a medium
residential building and doesn't need
so much ornament. In fact, if we have
something like this, it's enough for this
building because if we use ornament
too much on that, it wouldn't make sense. So for this one, I'm having this as well as
this one in mind. So now let's see
what you create. And the good news
is that we have the naming convention that we
had there present in here. So I can do the changes in here and reflect the changes
inside Unreal Engine. So let's bring this one up. And first let's start
with this smaller one. So I'm gonna go in here and I
start to add some vertices. So since this one is right
in the middle of the scene, I'm going to bring in the mirror modifier so that when I do
changes on this side, it reflects does change
on that side as well. So the in the Modifier Tab, you simply go find a mirror. And let's see in which side
we want a mirror to happen. So x, Nope, NY, I want to change to happen in y. Now let's go in this side
and bringing the box x-ray. And I'm going to bring this one here and try to give
this one a shape. After this one. I'm going to take this to take
them all and extrude them. So let's say the flip and
bisect are turned on as well. And I'm going to extrude this. Or if you're seeing
something like this is because we are in edit
mode and if I go out, you see that the
topology gets better. So now let's look and try
to give this one a shape. And you can even take these and give them bevel to
make it look rounded. And you can hit C to make it
cap to where it actually, and something like this. And now, select every vertices
and merge by distance, we have three vertices
to be merged. So I'm going to just look at the silhouette in here and
try to do something in here. And do not want to be so exact. So I'm not really caring about the topology because this one is going to be fixed later on. Okay, let's select this one and drag it out and
Bevel that a bit. Something like this. If you're seeing these vertices, just take them and
align them to right? No, I shouldn't have selected these are only need
to select these. Only align them to write and then bring
and close the gap. Now, I'm starting
to look at that without wireframe
present, right-click, Shade Smooth, and then make it too hard on the normal
based on 30 degrees. And just look at
the silhouette from all sides and do not worry
for the geometry for now. We'll fix it later on. So hit M, nothing happened. Then let's take this
one, bring it up. And I'm going to take all of these vertices and extrude them and scale them
in this direction. Okay, Now we're going somewhere. Now let's go again
to one in here. And I'm going to take this
one now scale it in and do a bubble to
create this shape. Now we have this piece and I'm not going to do just this one because I'm going
to do some changes again to make it
look more beautiful. So let me drag copy in case
we did something wrong. And I'm going to select this
one and do another mirror. But this time not in y.
I'm going to mirror in x. And let's move it to see
if we get something. So x is not doing anything. Z is not what I'm
going to go for. So make sure that this one is really
centered in the world. Then I'm going to
bring in an empty, just shift a, bringing
an empty and plain axis. And I'm going to do the
symmetric based on this one. So that one, I'll take
this one and rotate it. The symmetry rotate as well. And I'm able to do more
beautiful designs. So let me take this one, take the mirror, mirror object, select this plane,
this empty, excuse me, undo an x and select the empty. You can do something like this. For example. Let's do in 30 degrees. Looks like 30 degrees
is a good one. Or we can go for 45
degrees instead. Okay, Now this is 45. We created this shape. And let's turn off the
flip and select Empty, try to rotate it to see the new designs that
you can come up with. So let's do in y instead. So let's select this one and
do the mirror and again, bring another mirror
this time and why? And again, I'm going to
use the plane this empty. Let's take this one
and hit Alt and our deactivate the rotations
and do the rotation again. So now what do you need to do
is actually rotating this. It looks like 60 degree
gave us a good result. So after this one again, I'm going to add another one. Let's add another mirror. This time again,
I'm going to go for y and pick up this empty. Or let's create a new empty and use that because if
I rotate this one, it's going to ruin that part. So if this is empty or one. And in here from
this drop-down list, picking up the empty O1
and try to move this in 30 degrees or 60 degrees
to get the result. And it looks like it's
not doing anything. Let's try that in x instead. So let's go in and try
to rotate this force, also an R to deactivate
the rotation. And now we can change the design to see what
you come up with. And it actually, it's not
doing what I'm looking for. And using this symmetry
is really a great, powerful way to change a design into something
completely new. And I'm flipping the x and
picking up this again. And trying to rotate this. So it looks like this one
is now a good result. Now that I have this one, I need to mirror this
once again in x. So let me bring in the mirror. I'm going to select this one, bringing the mirror and
try to do in x flip. We created something now. And also again, I'm going
to create a new empty, empty O2 and go in here and make the origin of this one empty
O2 and pick it from here. Now there are, select
this one and rotate it. I'm able to swap
the design to get something else.
This one is better. But I feel like the top
part actually is too wide. Now that I'm liking
everything about this, I'm copying the whole thing. And I'm just going to remove every empty
that I had there. So I'm gonna go in here, take the top part, take this, and try to expand the selection by
hitting Control and plus. And try to scale it in all directions so that they
have something more uniform. Okay, this is now much
more interesting. Let's do one thing and export this and use it on one of these. The only thing we need to
do is actually setting up the vertex so that we can
overwrite it on the same file. So this one belongs to
the residential kit, and I'm going to accept that
folder and export this. And right away, Let's go
and try to bring it in. Excuse me, I should
have selected the geometry instead,
right-click and re-import. You see now it has
added a bit of silhouette and form
change into here. It looks like I need to
take the whole thing and scale it a bit so that it
fills these areas as well. So I'm gonna go in here and
only in this direction, not in hold directions. Only in this direction. I'm gonna make it up and
scale and rotation as well. I'm going to export it and
test it to see how it works. Okay, now this is looking good. But I feel like I can take this one and rotate it in
this direction instead, because this is looking not
the way that I want it. So this one to here as well. It looks like I
can take this one and duplicate it all
over to use that. So let me take this and using the 50
centimeters increments, I'm bringing this down
and I'm deleting these two and replace this
one with this, okay? This one here as well. So now we've created
the base for this one. And the next option is actually
going to create this one. Let me see what I can
do if I bring this one up and try to scale
it just a bit. It keeps the consistency,
it actually worked. So in here now you have
couple of choices. One is actually going in and replacing this with this
one, change the name. For example, taking this
one, duplicating two here, we scaling fit the size to create something like this and then detail
it in ZBrush, bring it in and actually
create two pieces. Or the faster way that you
can use is actually using this piece because it's
working with geometry in here. Since player is never going
to see that from up-close, we're not wasting too much
time to actually create a piece that is not going to
be visited from close up. So I'm going to remove
this one and take this one and bring this one up. This is another cool
muscle that you can use. Instead of creating
something, you can duplicate, resize, and use the
existing geometry to do what you want to do. So I'm not going to
actually create two pieces. I'm only going to create one. And when we imported this one, this one gets reimported
and V scaled as well. Okay, now let's go for the
base for the roof card. And when I'm looking
at the references, I really like the
shape of this one. It's simple as well
as ornamental. So let's go and actually
delete this one. This one as well. And
now we have this one. I'm taking this, bring it back and bring
this one in here. And now I'm going to
bring in a cylinder. Just shift and a, and from Mesh menu just
bring in a cylinder. And this is way too big. I'm going to make it just
the same as these ones. So looks like this
one is a good one. So I'm going to shade smooth. And a smoothie based
on 30 degrees as well. So let's place it in here. And I'm going to place the
pivot in here and bring it up. Of course I need to place
it right in here and I'm not going to actually create
eight individual pieces, or maybe create
three or four from it and duplicate
it across rotated. Create enough variation. Now I'm going to take this one, bring it up until the
size of this one. And I'm roughly mimicking
the shape of this. So in here, let me
take this cap part, remove it and take this
one as well and remove it. Okay, I'm going to
bring in some vertices. And using the box x-ray mode, I'm selecting some vertices and using the
proportional editing. I'm going to bring it back. Of course, the proportional
editing is way too big. Let me re-scale the size so that we can do
something like this. This is our right. And now let's go for
here. Bring it down. Or instead of, instead
of bringing down, I can take this
and extrude them. Proportional editing off. I can bring it down, maybe act as a base for that. So let me take this and
bring it back so that I can work in this one
without any barriers. So select this one. And while having this one, I can bevel and do not
actually be shy to add a lot of geometry
because this is going to be a non-IT mesh. And we can add as much
detail as we want. And it looks like it has a
base of a square as well. So I'm going to bring in
a cube, re-scale it way, way smaller than that, and bring it here roughly. And I start to create
a base for this. So space is going to act as a base on the ground
and the top level as well. So let me increase
the size in here. And I'm taking this one,
I'm bringing it up. It looks like this one needs
to be thinner just a bit. Okay. Now this has a base that can
replace this one as well. So let's look at this. It has a round shape to it. So let's go in here, take this one and bring a bit
of roundness to the shape. By re-scaling these. I can take this one, take these two as well, and try to bevel them to add that roundness, which
is looking alright. So I need to take these
vertices and extrude them. Right-click to confirm that, but in its own place. And I'm going to bring this
in here to create this part. And then I'm going to
extrude once more, bring it up and re-scale it, and do another
extrude, bring it up. And in here I need
to add vertices, make it bigger, and add Bevel. And now this is the halfway
of what we wanted to create. Let's now apply the scale and rotation and bring in the mirror modifier to
do the top piece for us. So mirror, and I feel like
I need to do that in Z. So it's inverted. Let's lipid. It looks like we need to
bring in an empty as well. So in order to bring
an empty on this, instead of the
center of the world, I'm going to hit Shift and S and origin to select it so that
the origin moves in here. Now I can spawn an
empty on top of that one right in here. And let me bring my cylinder and use this empty
as the origin. So I'm selecting that
one and bring it up. Or let's disable the flip. Bring it up. Or exactly do the lip and
bisect at the same time. And do something like this. Okay, now, let me hide everything else and
try to look at this. And this is basically
something like that. But I need to actually take
this empty and bring it down just a bit so that this
part isn't so pronounced. So let's go in here. And actually, this is a good
base that I'm happy with. I'm going to apply
the modifier and go back and compare the
size to this one. And actually this one
needs to be a smaller. So I'm going to take this, bring it down until
something like this. And of course I need
to scale this down just in here to create
something like this. Okay? Now you saw that actually
we created that. So I'm going to copy this and bring it up in here
to be the base. And now I'm able to
control that from here. And I do not want that. I'm going to go for bounding
box centers so that I'm able to move and rotate anything
based on its pivot. The bounding box of the
object itself. So this is it. And now what I'm going to do in order to make that so grounded, I'm going to connect all
of these pieces together. So that later on when I DynaMesh that it creates a cool effect. It removes any unnecessary
geometry, including these, and create a nice variation and addition of pieces together. So I'm going to take
this one, this one, and this one, Control and
J to join them together. But I want to pivot to
be in here temporarily. So I created one of it and I'm going to duplicate it twice. Excuse me. I'm going to duplicate it twice. And create enough
variations so that when I duplicate this rotated create
different variations as, as, as I said, this is actually not going
to be seen by the player. For example, if you
add a small cracks and a lot of cool details
of sculpting on this. Nobody is able to see that. Why wasting time on
something that nobody would ever be able to see
if this was a hero piece. And for example, the player
can see that from here, go on a sculpt, eight
different special pieces. But now, what matters
the most is the time. So I'm going to select
this one, remove it. And let's compare
the size exactly. Pick up from here. Because I want to create
a top piece as well. I need to make this
one is smaller because this is now extruding a
bit out of the borders. And if you go in here, you see that this is
the border of that. And on top of that we have this window piece that
enters the balcony. So I need to make
that a bit smaller so that I'm able to add that
copying of stone as well. I mean, this stone piece. So let's take this one, re-scale it down just a bit so that we can add
that cap is there. To add that copies. I'm taking geometry from this
Shift D to duplicate and p by loose parts or
selection instead. So I'm going to take, excuse me, I'm going
to take this one, bring the pivot in here, and I'm going to take the geometry Gaillard up
until roughly the site. We created the basic cube. And now I'm going to go add enough tessellation so that we can add details that you want to this and it's not going
to be so detailed. Let me take this and
all the way to here. And I'm going to hit Alt
E, extrude along normals. So that's something
like this happens. And now I don't scale
mode and try to scale it down in z to
create this piece. And then actually,
let's do one thing. Let's do a clever thing. I'm going to remove this and actually use
this one instead. So I'm bringing this, although this one is larger, that, um, that I wanted. So I'm bringing
this up and instead of making this six-sided, I'm going to make
that four-sided. So let's reuse geometry as much as possible to save
much more time. So let's again bring the
center of the world to hear and applied a
scale rotation as well. So I'm going to bring in the
mirror and do something to make this one four-sided
instead of being six sided. So the mirror is here. And of course I'm going to
bring in an empty in here so that I can change it
by using this empty. So I'm going to scroll through different methods
and use this empty. And then take this for example to see if we can
create a new thing from it. So instead of that, let's
actually do one thing. I'm going to remove the empty and remove the symmetry as well. I'm going to bring this one
in here and place this one right under the piece
that it needs to be. I'm going to create
something that follows the boundaries
of this one. So it looks like that a square in here
can be larger or a bit. So I'm going to
first re-scale it depending on its bounding
box in this direction. Okay, Now let's see
what we have in here. It's alright. And now
what I'm going to do is actually take this one
and cut the piece in half. So let's do from here. I'm gonna go in here and
take this middle line that goes all over the piece
by holding down Control. And of course,
first select all of the vertices merged by distance. It's working. Alright? So I'm gonna select this, select by control, select
through all of the mesh. And I'm gonna go throughout all of the
geometry up until here. I'm going to Control be to
do a chamfer or a bubble. Really tiny one. I'm going to look at it from this side view and
using the box x-ray, I'm actually selecting
this half and take it and extrude it
until we get there. So let's go back until
here, basically. So let's go in here and try
to bring that until here. So let's take this
one, bring it back. And we created
basically a good thing. And if you look at that, it has enough geometry,
enough detail. And if we take this one for example and duplicate
it eight times, we get a fairly complex detail
that is looking alright. So let's do something. I'm going to take this, take all of these
vertices, bring them here. And I can do one more thing. If it doesn't destroy
the geometry. I'm taking this one, bring it up to create basically
a square shape. Now, this one, Let's see
what it has created. It ruined some of the geometry. That was because we
didn't select these. I'm going to go on
top of this and select any geometry
that we have in here. Bring it up, test. It's working. And basically take
this one as well. To create this shape. We did this. And now let's hit Alt and
S to bring, of course, I have a custom shortcut for bringing in the pivot in
the center of the object. Yours might be different. So I'm going to do a
mirror based on that, so that you do not have to do the same thing I'm going to do and why the changes
on there as well. So I need to hit
Flip and bisect. Just one more thing.
No, it's good. Or we can take these vertices in here and drag them up to
create a bigger portion. And this one as well, from here. Drag it in there to
create one more thing. Okay? Now we created a good one. Let me take this in here. Take it all and make
it smaller just a bit. And in this direction,
It's looking alright. Okay, we created the piece
and now I'm going to take these and remove them because I feel like doing
only these pieces would do. And we add variations
to these Duplicate, rotate and basically
do our thing. And I'm not going to delete
this because later on we're going to copy the name as
well as the pivot from here. And this piece is
right away that it is. So I believe is turned
off for this lesson. And in the next one, we
will actually try to sculpt these in ZBrush with them
and those kinds of things. See you there.
58. Pillar Caps Sculpt: Okay, everybody, in
previous lesson we created the base for this, and of course we can now
export these into ZBrush. But I found out that adding a bit of more
ornamental to this and later on Dinah machine to stick to the surface
is a good idea. And instead of using
the mesh separately, I'm going to bring in ornaments, place them here so that
when we DynaMesh them, they get welded than the geometry work
will be done for us. And I can actually select
some of these ones, for example this or
actually this one. This is a better one.
So I'm gonna copy that from this project
and use it in here, control V to paste it. And I need to align
these two here. So let's bring it up in here. It looks like we need to
re-scale it quite a bit, scale it, and rotate it until it matches the
proportions of this. So I'm going to make it white to this and I'm going to snap it to
the surface as well. So let's here. We have vertices in here so
that we can snap it to here. So I'm going to turn on snapping
and vertex and study too active so that we can connect
this in here. Totally. Rotate this in this direction. And let's rotate it until we get the geometry lines up
correctly in here. And in order to move that
in the direction that we want instead of
world directions, we can go in here. And instead of cursor, let's set it to local so that it follows the
local rotation. And every time we rotate
this to a different normal, it tries to match up to
the proportion and you can hold down shift to make
the work a bit more precise. So let's take it
and bring it out. This is a good one
and we can take this actually and
duplicate it across. But before that, I need to add some more detail to make
sure that it works. And before that, I want to
take this geometry in here. I only want to be able to
select the backside geometry. So the one way to select things that are
completely aligned is actually hitting
Shift G. And you can basically select similar
based on what you have. And the one that we're
looking for is the normal. So if you hit the phases that have the
same normal gets selected, which is in this one, in this case, this one. Let me disable the snapping
and I'm going to make this go into the geometry
so that later on when we work that we
do not get any x. You do not get any
extra unwanted result. Something like this. And I'm thinking, Actually, if I can add more
ornaments in here, well, I'm gonna make this
one fluoride as possible. So I'm going to take this
one and paste it in here, bring it, make it smaller. And activate the vertex, and bring it right in here. So the rotation is alright. I'm gonna rotate this
in this direction, 90 degrees and
make it a smaller. And you see how this
normal direction is easy to work with. So I'm going to take
this and re-scale it just so and drag it
back into the surface. Of course, for this one as well, I'm going to go select this one, Shift G based on the normal. I'm gonna take this
one and drag it back. And I do not care for
this one because this is going to be removed when we
do the DynaMesh operation. So let's go back. This is enough for that. I can rotate this just a
bit more and bring it out. Let's look at the
bill that it creates. And I'm going to bring
this one again here. Or I can make this to this
side and do another duplicate, but this time is smaller. Now let's use the same one. So I'm going to take this, this, this, and this one as the
last Control J to join them. And let's hit Control three
to sub-divide the geometry. And I'm going to
bring it out just a bit. And this is good. Okay, and now
actually let's remove the subdivision and
first to the mirror. And then when we made sure
that everything is alright, we do that as well. So let's bring in this one. I'm gonna make this
one the object that is one is going to roll around it. So I'm going to take this and first scale and rotation needs to be fixed and I'm
going to bring in a mirror. So the first thing
I'm going to do in y and make this one the object. Now, you see that it applied the geometry
under perfectly. So now I need to do one thing and bring
into mirror again. And this time let's do in
X and select this one. It looks like we need
to turn off the flip. Okay, it did it. Let's do once more. I believe we're gonna
do once more in x based on this one. Now, x isn't going to do. It's why it's not working for
now for an unknown reason, I'm going to make
this one the origin, origin to select it. And I'm going to bring
in an empty again. And this time I'm going to revolve this one
against the empty. So let's select the
empty and I'm going to rotate it 90 degrees. Or let's do this. And we need to assign
a direction for it. So let's do NY. Instead. It's not working. I don't know why. Let's
take these, delete them. And because now the center
of the world is in here, I'm going to go in
here and select these. I'm going to do a selection. Let's do one selection only. And that's due from the above, so that we're able to select
everything that is in here. So select everything
and it can hit Alt and G to select the
remaining elements. Though this one as well, Shift D to duplicate, and I'm going to hit
P hand by selection. So I'm going to
take this one and since the center of
the world is in here, I can actually rotate
this 45 degrees. Now, let's do some more. Looks like this is good. Now, I need to duplicate this one and rotate it 90
degrees in this direction. Excuse me, a 180
degrees, not that one. So let me see that. Now we have some detail in here. For the rest of it. I think we do
something in ZBrush. So I'm going to take
all of these and Control and J and scale
and rotation as well. And now I'm going to
take these, excuse me, take all of these and export them as the normal
FBX that we do. Selden limit to select
that object and export. And I'm going to import
the files as always. And they are here. Let me bring them. And just with the default
setting hit Okay. And drag once in the scene so that you can see
them and go to Edit. And here you are. You can start sculpting, but there's a problem. And that is some normals
needs to be fixed. If you go in Blender
and try to see the face orientation and some
normals needs to be fixed. So let's take this
and apply the scale. And you see now after
applying the scales, the normals have changed. It's important. Always do that, upload
your scale and rotation. Ever. Do the scale and
the rotation as well. So now we need to fix these
two problematic ones. So let's select this
one and this one. And now you need to hit
Shift and N to recalculate the selected normals back
to they actually should be. So I'm taking this one
and bring it here. Now, I'm selecting all of
them and do another Export. As always, I'm going to just
delete these sub tools. Just delete one by one
and do another import. And now they're okay. Now we're ready to
start working on them. Now what One, One thing that I'm going to do is actually taking this mesh and hit Control
D while having the smooth turned on so
that it is smooth. The result for me. So like this, okay? See that we have enough
geometry on this one. And after that, I'm going to go into this geometry
tab and make sure that I delete every
lower subdivision so that this becomes
the subdivision that I'm looking for. And I'm going to take
this one using this menu. I'm going to bring
it up until here. And while having this one
selected and this one in here, it looks like I should
select this one, okay, Now this and
this are neighbors, and while having this one
selected, I'm hitting a smooth. Now, let's not hit a smooth. I'm going to merge
these two together. First, I'll do a smooth
without everything. And then after that,
Let's do with that. To see, no, this is not a
result that I'm looking for. I can actually do
a smooth without that at the amount of
subdivision that I want. And use this Polish feature, add a bit of a smooth to make
the surface smooth ER bit. This looks fine. Now I'm going to go
in the geometry mode and delete the lower subdivision
for this one as well. Now, I'm going to select this one while having
that one selected, I'm gonna go merge
and merge down. Hit Okay? And these two are now part
of the same geometry, but they are separate. Now, if I start to
sculpt on one of them, they do not follow each other. And that is because we
haven't DynaMesh these yet. So what I'm going
to go for DynaMesh and set the resolution to 1024. And I do not want the blur, Let's say DynaMesh, DynaMesh term but with
a bad resolution. So we need to up the
resolution more so that it DynaMesh is the
whole geometry while connecting them together. So you see that now these are really
connected to each other. And if I go inside of the
geometry, It's taking effect. Now, this is a good resolution. Now these ornaments are
actually a part of this one, but they have
different poly groups. For example, if you
want to export them to stop stance and having
these ones as an ID mask, you can use that but
hit Control W to make them all the
same Poly Group. Okay, now we did this one, but also we need to
make it a smooth, something like that, not
so strong and do our work. So let's go for
this one as well. I'm going to add lots
of geometry to that, but let's do that with DynaMesh. I'm going to set it
to 1024 dynamics. And it added this
amount of geometry. And now you see,
let me bring it up. You see these are connected
together and they are part of a single piece. So let's do 22048 instead. Read DynaMesh again. Now we have more geometry. And now the only thing that
we need to do is use polish. So let's use a very low amount so that it publishes a
bit of geometry for us. And we can use Shift to smooth out the geometry
bit like this. And now on this one again, I'm going for 2048
and hit DynaMesh. And now all of these
are part of the same, but you see that we have
lesser amount of geometry. So we need to go back to 2048. And now DynaMesh, now we have
a good amount of geometry. Let's smooth this part out. Let's before that,
even before smoothing, let's add a bit of subtle
polish on everything. And now the smooth it
using Shift. Okay? Now this is a good base and only piece that has
remained as this one. So on this one, I need to add
DynaMesh right away, because if I add
two, add a smooth, it's going to do bad things
in here, which I do not want. So let's go DynaMesh again to 48 and hit DynaMesh so that I get a strong
polygon distribution in here. Okay, perfect. Now we have the holly PolyBase that you can start to work with. And now we have 1234 pieces. And as always, I'm
saving in increments, creating new files so
that if I lost something, I have something as a backup. So first, let's go for this one and start
to work on this. I'm hiding everyone and only start to
concentrate on this. Hit F. To zoom on it. You can bring in your pen tablet to be able to do
a lot of things. So first, let's make
the brush smaller and use the smooth brush to
smooth some of these areas. I do not want that
to be so sharp. So a smooth only in one direction so that
you do not make it, turn it into a triangle
or a circle, excuse me. So in here as well, I'm going to smooth these parts only so that those
jaggedy lines go away. And one way to prevent
this is actually adding the subdivisions inside Blender whenever you try to bring this. We see that because
these are now part of the same geometry, we do not have any problem
to smooth things out. Okay? Now, I believe that It's this one. And then after that,
I start to work with the pen tablet to have ultimate
control over everything. Now, as always, I'm trying to bring in the room smooth border. And with a square alpha, square alpha that has
a bit of follow up, not that sharp one. I'm going to do some edge damages to make
it more interesting. So let's try to do those age damages to make it really look like a stone piece. And this really can
sometimes take a bit of time and practice to get perfect results
that you want. And after a bit of time, we can really get used to that and adding a
lot of details. And as I said, this
piece has not going to be seen very
closely by the player. So why adding a lot of cool
custom details into this, into something that
the player isn't going to ever see from close up. So we only try to do some damages so that
when we rotate this, we get cool details
from every side. And this ornament as well as
the parts of the geometry. Okay? So let's do some damages
on this part as well. And when we wanted to UV this, I'll bring in the
low poly in Blender. You'll be there
because right now we do not have any
UVs for this one. So let's try to wash out
some of these surveys parts. And if you want, you can bring in
custom alphas and try to really alpha
this one out. But as I said, wasting a lot of time on
a sculpting things that the player isn't ever going to be saying is
a waste of our time. And you can spend this time
wiser on someplace else. Now, let's go in
here and try to hit this place a bit to give it
a bit of a stone building. And I'm not actually doing
anything with floral pieces. Let them just be the
way that they are. So I'm gonna hit them
so that they're not so round and soft like this. Just a bit. And later on, when we wanted to make hero pieces in ZBrush, maybe we start to
add lots of details. But now really on a
generic piece like this, it's not going to be a good idea to waste a lot of time on
something like this. So whenever you wanted, just make the brush
size bigger so that they can sculpt
aggressively. So let's look at that. And I feel like it's
enough for this part. Let's do the sculpting on this. But that's before that
hit some of these edges. To make them look cooler. You can do one thing. You can bring in the big, bigger sculpt in
ZBrush and leave the medium part and
a smaller parts for for substance, excuse me. When you try to add details, you can bring in
height map there and start to add details
there in substance. And that makes sense
if you want to use procedurals for the medium. And a small shapes, just do the biggest
sculpt in ZBrush. And of course we are
going to give this one the vertex
color data as well, because this is going to
be a non-native mesh. So we added a bit of
undulation to the surface. And now you can actually use
the symmetry brush as well. For example, six-sided symmetry. So that when you sculpt
something on this, it becomes available
on all of the parts. And to bring in the symmetry, you can press X
to bring that in. And you see now we have
symmetry on both sides. So let me go and bring in the clay buildup so that we're
able to build some volume. So hit X so that you
press something in here. It becomes available
in here as well. So if you are going to have more customization
over your symmetry, it can go into this transform
and hit Activate symmetry. Just hit X. It deactivates and hit X
again, it reactivates. So now I'm going to
sculpt in x and use radial symmetry and put the
radial in six for example. And now when I try
to sculpt in here, now, let's hit X again. Looks like x isn't
direction that we want. Let's go and try Y instead, bringing a transform and use y. And this is y. And since this one is
off to the center, and if you remember
from Blender, this has been offset
from the surface. It might have some problems
finding the symmetry. You know that the problem with
the symmetry in ZBrush now is that this model is far
away from the central tour. And ZBrush by default, is looking at the center of the world and do the
symmetry from there. And if you try to
symmetry there from, for example, try to paint
some brush in here. It's going to apply to
the counterpart based on the location that this one has to the
center of the world. So temporarily, one way to fix this is actually
taking this local cemetery. Now using the radial symmetry, if I try to sculpt, you see that this
is the location, this is the center of the world, and this is based
on that location. If you activate the
local cemetery, It's going to look at the
local object that you have. And now using this
radial symmetry, if I tried to painting, you see that all of the
details that are painting in here are being applied
in there as well. Now let me start. I believe that the number of the radials that we
have is too much. Let's bring it to 14 and try to paint some parts in
here. Smooth that out. The good thing is that
whenever you do that, it's going to apply
to all of the parts. So just try to smooth that out. Let's see what we have created. Let's go and try to paint
negatively in these parts. So that we have
some parts that go out and some parts
that are coming in. And it's going to
affect your geometry fully without any problem. So now that we have done this, let's smooth that
out and bringing the trim smooth border
and the subdivision, Excuse me, the symmetry
is still in place now. And try to sculpt these
parts a bit to give it that really rocky shape that
we are expected from this. And of course, I'm not
going to make it really prominent because I
want this to stay relatively flat after this one. How can take them, make them better, smoother? And try to add some more details by using
the trim smooth border. Just to add some
bits and pieces. As I said, these parts are not going to be
seen by the player. So this is a believed the underweight for adding
some details on this. And if you want, you
can go and start to ship a lot of the
areas from this model. But let's not do that. And let's use the
bigger portions for Substance Painter excuse me, into smaller portions for
Substance Painter to add. And let's try to
bring in some of that dam standard brush to give this one more
detail as well. Okay, Now that I'm
looking at this, I can go and start to
hit this area as well. So it make it a bit
more chaotic than then. Trim smooth border just to
fill out some of these areas. Okay, now, smooth that out. And I believe that
this piece is enough, looking good from far away, looking good from
close up as well. And for this top part, since we're not adding, the player isn't
going to be seeing that on this bottom
part as well. It's going to be
covered by break and this one pointing
towards the sky. This is enough. And if you want it, you can actually go and start to hit some of these parts to give that rocky look to it so that it's not so
uniform everywhere. I believe this is
enough for this piece. And now I'm free actually
to read DynaMesh it again to make the polygon
distribution a bit better because we have
changed the polygon a lot. So let's bring the blur down. And just now it DynaMesh that. And it's a good piece. I'm happy with it with all of
the details that you have. So now it's time to move
on on these parts as well. This is not going to
be so complex either. So now let me bring in the local cemetery and in here activates symmetry
as well. And on x. Okay? It's alright, and let's
increase the amount to eight. Now, I believe we should
set it to be in y instead. So why is better? So let's try to DynaMesh this. Now, we have DynaMesh
that already. And let's try to give
this some details. I just want this
shape to get going. You say how much detail we added only by some
simple strokes. Just try to add a stroke
to wherever you want. And let's do on this
one as well a bit. When you made sure
that it's good, he can go and try to add
some custom details. And this one really turned
out to be very good. So let's try this
stroke some more time. You see that it
starts to do that. So let's do some more here. Although it's trying
to be chaotic, but it's trying to add in
goods some good details. A bit. On this top part. This is enough for it.
And I believe that since the player
is not seeing that I'm not adding too much detail. So let's break this off
just a bit in here. And now it has a very good
shape when I'm happy with it. Let's go for this one as well. And for this one, let's
do something else. For example, we can
bring in the transform, activates symmetry,
radial head NY. Let's do another detail. Wow, it looks like we
had a lot of them. So in x and y, just turn off the X and try
to paint directionally, for example, on this
piece so that it's different from other
piece that we have. So it can make it directional. Make this a smaller a bit, for example, move
it, just add detail. And you can go diagonal as well. So let's go reverse on this one. And just like this, we added some detail
on this one as well. Then you know, the rule. As I said, I have said
this 1 million times. I believe that this one
is not a hero piece. So adding a lot of
custom details would be insane to add something to this that the player never sees. Waste your time on something else and do not
waste on this time. Okay, Now, this is enough
for this piece as well. Let's do some edge damage to
make it different from that. Okay, now, it's
time for this one. And this one, I really
do not want to add a lot of details because this as well is the one of the hardest pieces from the player and the player
isn't going to be C. So I'm only adding some general strokes to
make that look good. And after that, I'll
make sure to hit the DynaMesh to
redistribute the polygons better to make sure that we
have enough detail on this. As I said, not detailing
this one too much. Just trying to something. And in the next lesson, we'll actually start to create the lower leaf
version from these, because this has a lot of
polygons and you'll being, this would be two times, too much time consuming. So I'm not actually trying
to sculpt lots of details. Only want to have
some general shapes. Something that reads
from the far away. It looks like we have
some problems in here that the DynaMesh is
going to take care of. Okay, now, let's try to add
some damages on these parts. And this is, I believe, the end of this session
after detailing this. And in the next lesson, we will create the low poly
from these and UV that starts to bake and texture inside
Substance Painter. Now, I believe that this
is enough for this piece, for this whole piece. And congratulations on
finishing this part. If you want, you can go on to start to add custom details. But I feel like that
this is enough for this. The next one who
will start to create the low poly from these as
well. Okay, See you there.
59. Unwrapping Caps And Guards: Okay, We did sculpting part
in the previous lesson. And as I said, we can go on and start to add as much
detail as you want it. But because these are
some distant pieces that the player is never
going to see from close up. This is actually enough for it. And what we're going to do now is creating the low poly
version from these. And I mean the Nano, it's low poly that is still
relevant, still high poly. But locally in terms that it has lesser amount of
polygons that this, so I'm going to create
a duplicate for all of them so that we can
create a low poly from them. What I think for this one, because this one also
is a distant piece, I might cut this
piece in half and use symmetry to save
some texture space. And we're gonna
explain that later on. Now, let's go for
the low poly ones. I'm going to hide all of them. But low poly of this one. And we're going to go to decimation master and we do
not have any UVs to keep. The only thing that matters is actually decimating this to a reasonable number so that we can use easily inside Blender. And the more polygon you have, the longer the UV creation
process gets actually. So, of course, before actually
creating the low poly, he can go and start creating
the vertex colors first. So let's do that as well. I'm going to bring in the
color menu and bring in this poly paint
to make sure that this colorize gets activated. It fill object. Now, you're good to go. So now we're going to masking. And by smoothness, I'm
going to create a mask. It's pretty good. Then I'm going to revert
it using control and I put red mask in here. So he hit Fill
Object and go away. Actually now this is too much. Let's go and try five. Now, inverted. Now it's better. Now the next mask that
we're going to use this day cavity
actually inverted. And in here I'm going
to put the green mask. So it looks like we
need to add more. Let's try instead and invert
the mask and fill object. And now you get more. And you see that it
changed the tone of the object to a greenish
piece of thing. And I do not want that.
I'm going to go back. And while creating the masking, I'm going to press sharpened mask couple of times
and now inverted, give you the color. And now you see it has retained that white shape that
we had previously. That this is for vertex color. And now I'm going to go
Use the decimation master. But in order to
keep this in place, you need to hit this option, use and keep poly paint and
then preprocess and decimate so that you do not
lose the poly paint or vertex color that
we created in here. So it completely just in
a short amount of time. And now if we decimate, you see now the
amount of polygon has reduced to something
like a 1100. And let's try to
look at the polygon. And it could. And we have the poly
painting the place as well. So let's go for
other ones as well. Let's see about this one. And I'm going to hide this to be able to focus on this one hit F, so that you're able
to focus on this. For something like a four-piece
are as good details. So again, let's go to color and bring in white color
or the default one. And you see the color
changing because this is going to be a preview of the base color that we're going
to give it a fill object. And then the masking. I'm going to go in the
smoothness and invert it. And I'm only going
to use the red color fill object and then mask by
cavity to something like 20. Let's test it. And sharpened mask wants
and make it green. Make sure that you use green completely and 0 out
the red and blue. So this is, it looks like we need to strengthen
the mask just a bit. So let's go higher. And now inverted fill object. Now this is better.
We're getting a good mix between the red and green. So now we're gonna go for decimation master while
keeping this quality paints, I'm going to preprocess
and then decimate. And now we have lesser
amount of polygon. That's what we're going to do
for the next piece as well. Let's leave this one to be, I'm going to go for this one, which is relatively similar
to what we had there. So let's go in here. And again, I'm going to set it to be white
as the default space. And now reduce the G and B, the only separator red mask. And in the masking tab. Again, I'm going to
do by smoothness, invert and give this color. So let's look. Now, it looks like
that this amount of mask is too much actually. So let's try why. It's better. Okay, this is going
to be our red mask. And in cavity, of course, we can bring it up to
something like this. Invert. Excuse me, I should have
done the green mask, not the red one. Now fill object on this
one. Okay, it's good. Then of course you can go for
ambient occlusion as well, but this one takes a bit of time to calculate
and I'm not going to waste my time waiting
for those calculations. Just put your time
on something that you're going to get
a good result back. So let's go for this one now. Of course we need to
decimate this one as well. So make sure that always
have this poly paint when you have vertex color on so that you do not lose that. So now the amount of polygons have been
reduced dramatically. Let's see what the
problem is actually. Now, it's good. Now it's time for this one. And I'm going to cut this
piece in half in Blender. Because if I am going to
texture this and UV this, it's going to take
a lot of space. And as I said, this
is a distant piece. I can actually remove the half of it and
texture this one. And later on, after
the texturing process, I can symmetry that
and use it that way to use some texture space and
have better resolution. This one fill object as well. As always remove the green and blue to work
on the red mask first. And for the objects that are
not non-native, later on, create the mask inside substance painter in the
second movie channel, just wait and see. So the masking, I'm going
to go for smoothness. Looks like this is too much. Let me see. Yeah, this is too
much completely overriding the default material. So phi y think it's going
to be a good value. Five is too much as well. Let's go for something
like 33 is better. Let's go for cavity,
this cavity. Let's strengthen that up
to something like this. Controller and i2 inverted
and use the green mask on it. Okay, Now it's a good mixture. Now I'm going to go and
decimate this one as well. Decimated. And now we have
a good amount of polygons. And of course, if you want, you can actually try to reduce the amount of
polygons even more. So that's what I'm
going to do now. Pre-process the estimate again. And of course, the
more you decimate, the more the vertex color is going to be manipulated because this vertex color
is dependent on the amount of vertices and the more amount of
vertices you have, the sharper vertex
color you have. So this is what I'm
going to keep a now I'm going to activate all of the low poly ones that have the decimation and
vertex coloring in place. And I'm going to export these on blender and start
to work on the UVs. So as always, I'm
going to export as FBX and just call it LP. Caps and guards. Okay. Now I'm going to mask by visible and with these settings
I'm going to hit Okay? And it did it. And the rest of the process is going to be done in Blender. I'm going to take all of
these and drag them back. And important if we X4, which is in here, How we do not have a lot of polygons
to deal with. So now this is it. And let's go for this one and
actually cut this in half. And the pivot is off for
now and we do not care. So let's go in and try to
add the symmetry modifier. Now, let's add mirror. And I'm going to actually
mirror and y instead of that, looks like the rotation and things like that are messed up. And I want to activate
rotation and scale. And now let's use y. Yeah, Now why is working? And hit Flip and bisect? Or instead of this, Let's go because it needs
a bit of extra setup. I'm going in and
right in the middle, use the knife to cut
and make sure that you hit C to make it
cut through the mesh. So that when you cut, it's going to cut
the other piece, other half as well, that is not visible
to the camera. So execute hit Enter. And now we have
something that is cut in half through all of the mesh. So let's go on top and
start to select vertices. We do not need right in here. After some trying,
are able to select this mask and I'm going
to delete the other half, and I'm going to use this one instead because it's easier. And it's going to
save lots of time for me as well as texture space. So let's take this one and
let's see if it has a UV map. Now, I'm going to create a
default to you before it. Let's go into the UV
creation process. So first things first, based on the angle, I'm going
to create the UV for it. Let's select this
and hit Control and plus to select to see how much we are able
to actually select. Okay, now because
these are narrow it meshes and have lots
of details we can, we can actually try to be a
bit relaxed on the borders. For example, on a
piece like this one, which actually doesn't have
a lot of new vertices. We need to be exact on the
placement of the UV borders. For example, the
UV borders should exactly be on this place
because it's a sharp corner. But in Nana it because we
have a lot of geometry, we have a bit more freedom. We can use a lot of these
lines to cut the UV in. And it would actually make
no problem because we have a lot of choices to select. Now instead of using
actually that I'm going to select one and using
the Control select, I'm going to go and create
the UV just this way. So it gets a bit of
trial and error, but you will be able to create a good uv using this method. If your UV becomes
something like this, just doesn't matter
because you have enough detail to
cover the mistakes. So I'm going to separate
this part by cutting it. And I'm not going to be
exact about the placement. Just hit Control
and shortest path. Select. If the path
didn't work exactly, you can go step back and try something else to see
if it works or not. So I'm going to go around. And the only thing that is
important is actually going into the same place
that you created the first line to
close up that gap. So I'm going to mark this as a C. So if I select this
and hit Alt and g, I'm able to separate
based on the seams. So right-click and unwrap. And you see it created
a good on-ramp for me. Let's go for this
bottom piece as well. And I'm not going to actually
make this one a big one because this is
mainly going to be hidden under the bricks. I'm not going to give
that much detail to it. Because you know,
why giving detailed to something that
nobody is going to see. This is a rule and make sure
that you follow when you're creating content,
especially for games. Okay? Now let's try to
bring it in here. Make seam and separate
it and hit on rap. And now I'm going to cut each of these pieces into its
own separate piece. So I'm going to start from here. And using the first selection, I can go in the
middle and cut from these flowers all the
way down to here. So let's try one click. Okay. It has done a good job. I'm going to mark it as seam. I'm going to go around and do the same process
for all of them. So let's come in here and go
down until you see this one. This one is good as well. Let's do the same for all
of the remaining pieces. And you see how low poly that we created is highly detailed. We're going to do a perfect
baking side substance. Mark this one as a seam, and I believe that we have
three more remaining. So let's do the same
thing in here as well. And the reduction of the poly count is just
useful in this way. We reduce the polygons
so that we're able to work with lesser
amounts of polygons. And it's pastors to work
with because blender older, it has progressed a lot in terms of working with
high-quality content, but it's lacking a bit when it comes to UV creation
and things like that. So this is not actually
what I'm going for. Let's go back and
do the selection to here and then all
the way to here. And make sure that you mark
the seam and make sure that you close the gaps as well. Because if you don't close it, you're gonna get all
sorts of problems. So let's take from here all
the way to here to close it. Okay, mark scheme,
and now this one, we did it, this one on rap. And that's true for all
of the separate islands. And it looks like it's
giving some problem. Let's go back and see about the sizes and
things like that. Let's apply the scale
and rotation as well. And let's try to check
our pattern material on that to see about
textile density. Looks like it has done
a good job in here. And I'm going to select this one again and do another unwrap. And it's given us more
resolution in here, unless a resolution in here. Now you know what? Let's go. And before doing any unwrapped, Let's first remove
the mask and start to use some themes in these parts as well
in these middle parts. So that we get a better
separation in there. So I'm gonna go all around
and use this place. And just skip a couple of them. Because by using
Control and select, you're able to actually
select your way through. So let's go in here
and one more to close the gap and mark seam
in this place now you are able to get a
better UV this way. So for this area as well, I'm going to cut from
here so that you include all of the floral
details on same sheet. So let's bring all
the way to here. And I start to cut
the UV down in these parts to make
sure that all of the floral details are
in the same place. We do not want to keep them and cut them and separate them. Okay. This is good. Hannah believed this way. It's going to give us more accurate results in terms of pixel density
and all of the details. So let's go and bring
it here to close it up and mark scheme
and make sure that you save frequently so that
you do not lose any problem, any progress, I mean, excuse me. And in here, I'm going to cut and make a UVC or lacrosse to
separate this part as well. But the general rule is that the lesser amount of UV islands you have
on a piece of paper. But in here, we really have to separate
these because there are a lot of planar changes
happening in here that we have to take them
into consideration. So let's cut this
all the way to here. And right-click and mark scheme. And now there's this piece
that needs to be separated. You see this is a plane that we see a planar
change in here, total 90 degrees angle
with some variations. But we need to take this one
into consideration as well. So let's turn around
and do our work. If you skip a couple of points, it actually doesn't
matter because it's no, it did matter. Let's go back and start
to pick from here. So sometimes it works,
sometimes it doesn't. And if it did
something like this, just make sure that
you go couple of steps back and start to
select from there. Okay? Now we have a lot
of seams on this place, on this one mark scheme. Now, we have this one to
be dealt with her as well. Again, you know the rules all
across to create the UVs. Okay. And I believe that we have
couple of more seems to place. You see, we have a lot
of these crossings seems they're gonna create
their own individual islands. But I feel like that in the end, we're gonna get a
better pixel density. And I believe that
the latest seam is going to be placed on here because we see a huge planar change
happening in here as well. I believe that in these
things that we created, this one is the most
difficult one to UV because it has a lot
of ups and downs and a lot of planar changes
and things like that. So it's the most difficult, but I believe that
the other ones are easier to dealt
with to be dealt with. And let's put one
more same in here. Because it's a huge
planar change as well. So you see the decimation Master inside of ZBrush has done a great job in separating the details to the places that we have
a sculpting scene. Here you see that
we have a sculpt, we have lots of details, but in a place like this, you see it's
relatively low polygon compared to other parts
of the mesh that we have higher amount of polygons. So this didn't work. Let's go a step back and do another selection all the
way through the mesh. Uv creation process is not. Most favorite part
of the process, but it's an important one. This is actually going
to make the difference, the textile density
and all of that is going to be so prominent
when texturing. So I'm gonna go to polygon mode, select everything,
Right-click and unwrap. And depending on the
complexity of the scene and whatever polygon
and UV seams on islands and all of that, it's going to take a bit
of time to calculate. So I'm gonna pause and get
back to you when it's done. Now, it did it. Let's go check the
pixel density on it. And now you see
textile density is now more relevant all across. And we do not have those
pinched ones where we had a lot of details in here and lesser amount of details up top. So this is actually
what I'm happy with. Let's go see it
bringing the UV packer. Then I'm going to bring
the padding to one so that they have lesser amount
of space in-between them. And put the type
to high-quality. And of course the UV Packer
as well as a free one. And you can grab it, just
search for UV Packer blunder, and you're gonna get the link and all of that
to do your thing. So I'm going to pack with this one to see how many percent of the UV shade
you have occupied. So I'm gonna go pack. It looks like this is the best that it can do because we have a lot of islands and there's a bit of a
space in-between them. But the good thing is that we have the textual density all across and we can make sure that we get consistency
throughout the mesh. Okay, now I'm going to
start working on this one. And this one I believe is
relatively easier to create. I'm going to create a theme
that goes all across. And I'm going to control select all the way to
here and see the results. I'm not actually
carrying too much. Now, let's actually care. Let's separate this part
from the rest of the body. I'm going to select
this outer circle. That is the result of a Dynavox. You see, this was, these were two separate measures that we blend it together. And using DynaMesh, it
created a nice transition. And looking like that,
these were similar pieces cutting from a regular piece. Okay, now let's bring it
up until here, mark seam. Then I'm going to separate this top part from that as well. So let's go and try to pick
from here all the way around. And as I said, because
we have lots of geometry and a lot of
complexity in the mesh, placing the same is no
longer that painful. Of course. The UV creation
is still painful. It takes a lot of time, but there's no way around that. So now I'm going to create
a seam that goes all the way to here. And it's a good one. Right-click and mark seam. Now I'm selecting all of that and we do not
have a UV for now. Let's create a pi QV that
it created a UV for us. Instead of going in here
and trying to create a UV. And I'm going to
right-click and unwrap. And it did a good job in
creating this UV for us. And for now, I'm not caring
about the textual density. Just want to place my UV seams. So here I'm going to separate
this from the rest of it. So let's go and try to
pick all the way to here. And I'm going to
separate this plane from the rest of the piece
that we have in here. So in here we need to be careful about UV
placements because we have lesser amount
of polygon and we need to be more exact,
something like this. But it's going to be easier all across in places that
we have a lot of detail. And the UV creation process is one of the most painful ones, but there's no way around it, especially in pieces like this. And it looks like we did
a bad selection in here. Let me go on top and try to
remove all of that detail. And I'm removing this one
and this one as well. And try to have a
better way around that. Looks like this is better. Now, let's try to be a bit more exact and
select all the way to here. So I'm going to mark scheme and make these corners
mark scheme as well. This one as well mark scheme. And I can do something to
prevent some problems. And you're going to
understand just in a minute. I'm going to mark scheme. This one. It looks like
this is the latest one. Let's go and convert this
one to a siem as well. So before actually doing anything and creating the
same on this bottom part, because this is always
going to be hidden. And I mean that it's going
to be placed on top of the building and this part
is not going to be seen. So I'm gonna go and
select right-click, just hit Shift G
and do a normal. I'm going to remove that because this place is
never going to be seen. So I'm going to get just the remaining
ones and delete them. So this is another way, optimize a bit of more to get the best
texture resolution. Let's select all of
these remaining ones. Looks like you need to
do couple of ones from here so that we're able to separate the
pieces from each other. And after that, again, this has a connection still. So let's do something
more clever. I'm gonna go in here and
using the box x-ray, I'm going to select
this bottom piece. Let's see the selection. Delete everything. Now let's go hide it. Now let's go in here and try to raise things just like this. I'm going to delete
them and just go into polygon mode so that whenever
you delete something, it gets deleted completely. So now this piece has
came to an end as well. So let's go for this one
Shift G, Select By normals. And it's selected everything
that has the same normal. And I'm going to
delete all of that. And let's remove
anything from there. Actually, let's go
and try to pick up this top part completely. I can take this part
and delete it as well, because this part
is connected to here and nobody has is still
going to be seeing that. So let's go in here and try to remove these
ugly extra pieces. Just break the connections so that they are
separate pieces. And whenever they became an
island, just delete them. I'm going to do the
same for all of these.
60. Baking Caps And Guards: So in previous lesson, we arrived right in here
and delete this part. And now it's time to actually place the seems to
separate this as well. So I'm going to mark
seen this one and let's first go around and place
the same everywhere, and then do the
vertical seams as well. So let's try to place the seams because
we have a lot of detail. It's easier to pick up
the same in these parts. Okay? This one mark seam. I'm going to select
this one mark scheme. And I believe that we are
already done with this piece. I'm going to do a
test on rap and make sure that you close
all of these gaps as well. I'm going to do a test on
route to see what happens. And I believe that we're gonna get some bad
results in here. Then if we did, I'm going to
cut that in half as well. So let's select all of
them going polygon mode, select everything on, unwrap. It, did it. Let's apply
the checkered pattern. Now. We're getting good results. And let's go in and see
what we have in here. I'm gonna go into UVs sync mode. And it looks like we haven't
closed the gap in here. This one. This is making some problems. Always make sure that
you close the gaps. So let's do another unwrap. This time we should
get better results. You see these parts have been separated from each
other perfectly. And actually there is no
problem If you ever tried to break the pixel
density by putting the most resolution on the piece that is
going to be visited the most dynamin that this is the most visible
part of this element. And it actually, it
doesn't matter if I take this and do a hand pack, place it in here, and
increase the resolution. And decrease the resolution
of other elements as well. So I'm going to select them all. And I'm trying to manually pack them in order to maintain
a bit of textile density. So this is enough for these. And let's unselect them. And I'm going to bring
these on top here. Let's just do
something like this. And this one can
come up in here. Let's resize it, make it bigger as much as possible as we can. So let's take this one and bring it until this part
meets the borders. Okay. Now, let's take this
one and bring it down a bit. It looks like I can take
this bring it up and take these bring them closer
to the border. Okay. Now I have more
piece for this one. Actually live in. You see that it has a lot of cool spacing from the
neighboring pieces. And let's see about this one. This one is important as well. Let's take this one, Bring it out and bring this
one in here instead. So this is about it. And about this one. I can take this and rotate
it to make room for that. So sometimes this handpicking
is a good option. If you want to give custom detail to a piece that
is more important to see. So let's rotate these and
place them like this, and take this one and
place it in here. Let's see if you do not
have any ugly pieces. Okay, It's good.
Let's take this one. Looks like it's overlapping
in this part and you want to avoid overlapping
as much as possible. Using this hand manual method, we were able to put more
resolution in here because compositionally
this is the place that the player is
going to be seeing. Displaces already
pointing towards the sky. And by putting the
most detail in here, the player is going to read a lot of details in here better. So let's go for this
one and already, Let's select everything
on the top and bottom. Just select everything and
using the bugs x-ray mode, I'm going to exclude a lot
of them from the selection. So let's go in here, remove. And there are some
ugly pieces that need to be dealt with, including these ones just hit Alt G to select
everything similar. This one and only this one. And this one at last. Looks like we have. Tiny little piece in
here and removed. Now, let's select these control plus two in Greece
the selection and go back on one of these orthographic views and
exclude from the selection. Now, this one is done as well. Let's see if we have any of those islands which
we do not have. So now, again, I'm going to put the scene and these
places and make sure that you close them so that the latest vertices
converts to a siem as well. So that we do not get one of those ugly results that we
got from the previous case. So this one mark scheme as well. This one mark seam again. First things first, I'm
going to separate this from the rest of the stone pieces. And you see DynaMesh created
a good transition between the blood place in here and a detailed places
that we have put there. You see that unwrapping, although it's still painful, but using these techniques is a lot more enjoyable than before. Not enjoyable, but less painful. Because I didn't see a lot of people who like
unwrapping at all. So take this one, remove it and mark it as same. And I'm going to separate
this top piece as well. I'm going to go around
this bigger circle. And it didn't do a good job. And if it didn't
just go back and try to re-select this one. And just hold control
and select to get a faster selection. Okay? This one, again, mark seam. And I'm going to create the
same in these areas as well. So mark scheme looks like
it's a bit tricky in here. Let's find something
and mark seam. This is the last
vertices in that row. This one all the way
to top mark scheme. Now we need to do
one more in here. And now it's time to
separate this bottom plate. That's easy. You know how to do. We only need to place
the seams so that we have connecting pieces in
here to create islands. Okay, let's go in here. And I believe that we should be a deeper sense of this piece. So Marc see it in
good. Two, a good one. Let's select from
here and mark C. And I'm going to cut
through from here. Let's pick up this
one all the way here. Mark scheme. Now I need to separate
this part as well. Okay? And make sure that you have
connection points in here. To create separate islands. Will select this
one, did a good job. One last one did a
good job as well. And this one all the way to here, right-click mark scheme. And now I'm gonna go
into polygon mode, select everything, Right-click
and we do not have UV. Let's create a UV. Right-click and unwrap. This one also did
a good job for us. So let's select all of them. Bring them out. And I'm going to select this one, bring it in. And try to give it as
much detail as we could. It shouldn't go outside
of the 0 to one UV space. I'm keeping that in-between
and let's bring it, lock it in y and bring it up. Okay. Now, let's take these and try to manually place them
and find places for them. And if you could, you can
increase the size just a bit. And although it's
not recommended, so let's see what we
have done in here. We have this parts. Yeah, This is good.
Let's bring it to here. And make sure that you
leave a bit of padding in the places for meat
mapping to happen. So I'm gonna bring
this one in here. Now let's go bring these
two more important ones. Looks like this one
leaves burning here. Just bring it down and
decrease a bit of resolution. And as I said, this one is never going to be
seen by the player. So I'm going to
bring this one up. And try to manually bring this in and make sure that you do not have
any overlapping UV's, UV's that go outside of the 0 to one UV space and hold
Shift to be more precise. And let's bring it in. Again. This one is completely n, and let's select this one
and move it just a bit. Okay? Now I'm going
to take these and bring them in
just like this. Let's take this. And I'm going to
bring it in again. And this one is a
good place for it. Okay, We have done a great
job using this one as well. Let's apply the
checkered pattern. It's great. Now we're left with this
last piece in here, which actually I'm not going
to put a lot of time on. So let's select this
and I'm going to only create the corner vertices. So we can do a better job by
doing something like this. I'm going to select
the corner pieces. And I'm going to see the
highlights in here that is guiding me to put the
seams in these places. First, I'm going to
try as low amount of seems as possible
and do an on-ramp. If we got textile
density errors, I might go and try to
separate it even more. So first I'm going
to try a simple one. Another scene needs to go from
here all the way to here. And make sure that you
exactly connect them. Just like this. Okay? Now, since this one
is closed in here, and I mean, I mean
closed for UVs. And I mean that if you select
all the way through here, we do not need to
go any further. It will separate that for us. So let's pick up exactly from here that has a connection points all the way. Here. It looks like you need to do a couple of more seams
and we're good to go. So let's separate it first and start to
work on this area. I'm going to select exactly this one all the way to
the end in here. And we need only one more scene to try to see what
we have created. And if we had some
textual density problems, which I'm guessing we're having, I'm going to place more
seams and test again. Okay. Let's go from here. No, they don't do a good
job. Plus one is better. Let's see, we have siem, siem. And one more thing. I forgot about this place. Once I know this isn't good. Let's go from this
route and make sure that it's closed. Mark scheme. And now I'm gonna
go polygon mode, select everything
and create a UV. Unwrap. It didn't unwrap. Let's apply the
checkout pattern. It looks like we're
getting a good one. Not a lot of texture distortion. And I'm actually happy with the details that
were getting in here. But one more thing that
we can manipulate is, let's select this one. Now. It's good. It has done a great job in
separating the UVs for us. I'm not actually needing
to cut a lot of more seems when we made sure that
we texture this symmetry, this, so that we get
the other side as well, so that I can put a lot of texture resolution
on this one. And we had a bigger mesh, we would have had a lesser
amount of texture resolution. So, you know the rules. Now, I'm gonna go remove
all of the jaguar patterns. And now I'm going to bring in ZBrush hyperlink voids and export them to substance
and try to texture them. Okay, Now we are in ZBrush. Let's do one thing
to make sure that the vertex colored
data is in place. I'm going to go into
solid mode and from here, choose vertex color. Here, it's in place. We've done the good thing. So I'm not going to move these
because if I move these, the hyperbola is
going to respond and we have a bit of upset. I'm going to offset, excuse me. I'm going to now select the
high poly wants and I don't care about the vertex color
that is reviewing in here. That is not actually weird. So now I have these
as the high polygons. And if you're wanting
to corroborate that, just select a preview in here. It's a preview and
not actual thing. So I'm going to export
as HP caps and guards. And just like with
these settings, I'm going to export it. To exporting is done. And now I'm going to
import them again from here, this
high-quality file. Now they're in place and very
detailed and high-quality. So let's go back. And for now I'm not
actually carrying about the naming
convention on all of that. I'm just going to add these, the material that they need. For example, I'm going
to name this one caps. Just give them a material. Substance, knows what
to bake on top of what. Actually I'm gonna make
this one a single UV, and I'm going to
take these two and make them a single UV as well. So let me first pick up the
low poly wants, not this one. These are the two low
polygons I'm going to go in. And while having the UVs, I'm going to pack
them using PACU v's. And let's set the rotation and three rotate, deactivate them. That to high-quality
and rescale turned off. This is the result that
we are getting. Perfect. And let's apply the
checkered pattern on them. Yeah, trigger pattern
is doing a great job. In order to save textual space, I'm going to make these
to use the same texture. So let's remove all of
the maps and go back. And select all of these four, including the low
poly and high poly. And I'm going to give them
a material and call them just so that they
bake with each other. I'm going to select
this one as well. Give this one a separate
material as well. So name this one guard caps. And this makes a
complicated situation where this piece that is going to be exported as once as
to material IDs. And if you are going
to export that, you need to disable this one
material ID upon the export. Because if you
export using that, because these two have
to match a real IDs, they're going to be mixed
together and give you some ugly results
in Unreal Engine. So you can leave all of
that for the later parts. I'm going to select the low
polygons that are these ones. And I'm going to create
a new folder for him. Hit em and make it LP or low poly so that
they're easier to select. So this is the low poly folder. I can toggle them on and off that I'm going
to select these. Of course, let's de-select
this and hide them. And make a folder
for these called HP. This is optional and for
having a faster selection. So I'm gonna take these and export them as a
single FBX file, call it caps HB, and limit the selected
objects and export. Now I'm going to deselect this and hide the folder
handwriting in the low poly. I'm going to export
this one as well. Just name this one LP. Again, limit to
select the objects. And now we are in painter and I'm going to select
the file as always. So this is it. I'm going to import the LP and we're getting no
problems, which is great. And we have pretty much
a real IDs as well. When is recap, when is for guards and one is
for the guard cup. I'm gonna go to
texture sets, setting, and activate ambient
occlusion for all of them. And as I said, this
ambient occlusion doesn't matter for
now, right? Excuse me. It doesn't matter for lumen, the Unreal Engine
default lighting system because it calculates the ambient occlusion
on the fly and it doesn't rely on ambient
occlusion maps. But if you're going to create
a baked lighting situation, for example, for a mobile
game or for a PC game, that you want to have just one lighting
condition without changing and using the
calculated lighting, prebaked lighting, then
the ambient occlusion map is going to be important, but we are going to
include that anyway. So let me go into
texture such settings. And in here I'm going to
bring in the high poly piece, de-select all of them, and do a test based on normal to see if we have
any problems or not. Okay, now, let's go to
B and go to the normal. Of course this is the normal. Let's go to the actual normal. And you see bake
details taking in here, which is great, but not
with high-quality detailed. So let me go in here, increase the resolution and bringing the other maps as well. And I'm going to bake
the height as well. So with these default settings, I'm going to hit bake and see you when the baking
process is done. Okay, Now the baking is done and we're
getting good results. But in the meantime,
before texturing these, I'm going to export these measures to unreal
and try to test them. And I have this one in place. Let me see that. And because we have imported
these from ZBrush, the pivot is actually
not that correct. So I have the default ones in here that I can borrow
the periods from. So let me select this and bring the world
origin to the selected. And I'm going to take this
and bring the pivot to cursor so that now the
period is still here. This is the place of the
pivot. It's alright. And this actually belongs
to the residential kit, and I have that in here as well. So let me go select
this one and export, and it's going to overwrite
that file for me. So this is a tricky situation. Let me bring this one back and I'm going to take this one, bring it back as well. This is the piece that
is holding the pivot. And this piece is in
completed as well. So let me take this one and
bring in the mirror modifier. And I need to mirror that in y. Now let's do something first. Let's go in here and
select this piece, which is the
centerpiece in here. And I can shift and bring
the origin to this edge. Or let's select this one
because this is more centered. So I'm selecting this one and bring the
origin to this edge. Now, we have this in here. Let's bring in an empty right
on top of this shift on a, bring empty in here. So now I'm going to do y and put the pivot in here so that we're able to create
this piece completely. Now, let me go
isolated and view. And we might have some
problems in here. That doesn't matter actually, I can go back, take this empty and try to
bring it back. Just a bit. Too close these parts again. And now, let's go
select this one. Bisect and flip. Let me see if I can bring this back to
something like this. It's great. Now I'm going to
take this one, delete it. And we need to
duplicate these pieces across as well to create,
complete this piece. So I'm going to bring
the pivot right in here. And I'm going to duplicate
just couple of times. And put this to global. Okay? Now I'm going to actually, let's take these,
bring them back. And I have to default pieces that I need to
bring back as well, so that we're left
with these two pieces. So let me take them
and bring them. I'm going to rotate
this 90 degrees. And rotate this one
negative 90 degrees. Okay? Now that we have these, let me take them, bring them here. I'm going to rotate
negative 180 degrees. Now let's do a better
placement in here. I'm going to place
this one in here and looks like we can
do one more in here. We have six pieces. Now. Looks like I can duplicate some more
extra pieces as well. So seven is enough, I believe. So now that we
created this piece, let me select all of them. Just select them all. And Control and J
to join the mesh. Now it's again one piece and
I'm going to bring it here. And now these pieces are exactly the same size
that we expected, but much more complex
and you can compare the blackout with the actual
mesh that we created. Okay, let me bring
this back. Then. I'm selecting this main
one that has the pivot. And I'm going to bring the
center to the selected and select this one
pivot tool cursor so that the pivot
gets in this place. So I'm going to take this one, copy the name from
it because this is the actual name and
rename it just in case. So I'm going to
rename this one to here because this is already belonging to
the residential kit. I'm exporting that exactly
to the same folder. And again, the
mistake that we did, I didn't activate one
material already. And I mean, I didn't
deactivate it because this has to materialize
if you go in here, we have one guard, we have
one guard caps material. So if we activate
one material LED, it's going to collapse
them both into one and creating lots of issues. So for this one, exceptionally, I'm going to hit Export again
without one material ID. This is the 100 projects. Let's go in here, find this encountering browser,
right-click and re-import. It didn't. It looks like we have
done something wrong. So here we are in here and looks like the name of this
one is coroner two, which is in here
corner too as well. So we need to go in here, take the name from
this and change it, go back and select
this one that we need and put the name in here, okay, now, what material ID again and I'm going to export. And I believe that it
should now start working. Yeah, it's working. Now. It has imported and we were getting all of
these cool details. Of course, we need to bring in the texture so that
this one really shines. And if you're not
seeing a lot of that shapes that
we have created, that is because they have
been placed in shadows. So later on in the
lighting session, we might create a
lighting condition to insist on some
of these forms. For example, if we bring
in the shadow in here, you see that a lot of
those cool details that we have created are now
showing themselves. So let's go back for now. I'm not really caring too
much about the lighting. And now the placement
of this is great. Working on rights in anywhere. And now it's time for this one. Let's go find it. Right-click and re-import. This one is done as well. And you see how great details
it's adding to the mix. Pretty good. Let's go to the Details panel. And in here you see, let me select this one. And you see we have
two material IDs. Now let's go bring in the
vertex color material. Let me go and find
that an uploaded here. We do not have the vertex color activated for these for now. So let me apply one in
here and one in here. So first things first, let's go and find these aesthetic measures
in a static mash editor. And do another really important, we need to set this
one to replace. And we import base mesh. Now that should be
taken into account. Yes, the material
has been imported. And now let's go for
this one and go in here. And again, I'm going to replace and we import
the base mesh. Again. This one is working as well. So let's go and the next
thing that we need to do is actually converting
them tonight. And make sure that
whenever you convert, convert tonight and
re-import the mesh, make sure that you
check to see if the nanotube connection
is broken or not. Sometimes when you re-import, the mesh is no longer
going to be a 981. And I'm going to convert this
one to navigate as well. Okay? Now, it has converted
to this black one, which is telling us
that it's working. Alright? So I can take all
of these materials. And while having
this one selected, I can go select everything and select
everything from this as well. Bringing the materials and
apply that material in here. So those two materials as well. And now we have this setup. And you see that now
we're getting a lot of more cool details
as well, okay, In the next one, we will
take that and bring you take serum iron will enter
state. See you there.
61. Texturing Caps And Guards: So in previous lesson, we bake these unimportant, untested and Unreal Engine
and all of them works fine. Now it's actually time
to start working on the material itself in substance and then export
it in Unreal Engine. Now we have three materials. And I'm going to do couple
of things because these are not primary measures and
some important measures. I'm going to go a bit easy on them and not adding so
much custom details pizza, because these are
going to be repeated. And adding lots of
custom detail will too obvious tiling
repetition as well. But what I'm going to
do is actually creating a base material and apply
some general dirt and then copy that dirt on top
of all of them so that creating the illusion that these belong to the same location. So I think I might use marble
material for this one. Let's hide these two. Let's go for here. If we have a marble
material, no, we do not. Let's go in here. There are
multiple materials in here. Now, this is a great base, and let's use other
ones as well. And these are smart materials
and they already have some level of dirt
applied to them. So not actually this
one. Let's use this one. But the color is too saturated. I'm going to go in here, right-click on the folder. Or instead of that, I'm
going to go in here and create a painting layer and make this paint layer
pass through so that whatever we do on
this is going to be applied on the bottom layers. So I'm going to
bring in a filter. And this filter, Let's
find the hue saturation. So let's change the
heel to something else. Bring the saturation down so that this is a good base
to start to work with. In order to make
these shapes pop up, We're need to bring in a
lot of custom details. So let's go back and bringing
this concrete material. And we can tie that to, instead of wants to give it more detail than I'm bringing
in these smart masks. And let's bring in this edge. Now. It's actually
not doing anything. Let's go for a strong,
this is better. But we need to change
the color of this one because it's really just
like the layer beneath it. So let's change the
heel to something else. So that we get some
more definition in the luminosity down just a bit. Let's not use marble for this. Let's actually use one of these same concrete
materials beneath sad so that we can have
the details that we want. So I'm going to
place another one. And from these, let's bring
in this concrete edge. You see that it's adding a beautiful
detail and go in here. And instead of using
a single color, I'm picking up the material. And let's bring up
something on the bottom to highlight the
occlusion parts. So I'm going to
bring in material, make it darker and use one
of these occlusion masks, for example, the sand. And it's actually doing
a good selection on these occluded, occluded parts. Let's go in here and bring in one of these
concrete materials. Again. This one is darker
and doing a better job. So let's go on top and
bring in another material, change the color to
something visible and use. Some of these are smart masks. For example, this surface. It's adding lots of cool details and highlighting
that ports for us. Let's go select the material
and use this one instead. You see, it tries to separate
a lot of shapes for us. So I'm gonna go and
bring in the colors down so that we can
visit more of the color. Or we can go and try a
more saturated color. Insist more on the forums. And let's do that again. I'm going to bring in
another material to a huge color and try to bring in some of these
surface properties to make that really pop up
in a lot of the places. So let's use different
concrete materials on it. For example, this one is good. But let's go and bring in the concrete color
down just a bit. Another thing that you
can add on top of that, it's actually adding
a darker color and bringing a bitmap mask. And from this bitmap mask. I'm going to use the
ambient occlusion that belongs to this mesh, which is actually the caps mesh. And let's hold down Alt. Left-click on here so
that you see this is the ambient occlusion mask and this is actually
where it has created. So let's go in here
and I'm going to bring in level and try to invert that. So you see, it tries to separate the shapes from
each other even more. So I'm going to
increase this soda. We have more separation from the shapes and this
is a good addition. We'll add more depth
into the material. So let's go and apply
another material on it. Let's select this one. No, This one has more details, but definitely I need to
make this one darker. So let's go for
luminosity and make that darker so that the
shapes are more pronounced and can be
visited from far away. And if you want, you can go
and try to apply more levels. Increase the
contrast, or decrease it to create the
shape that you want. So something like
this, It's better. One more thing
that you can do is using another big mesh map, that is curvature map. So right-click instead of
black mask or anything, I'm going to bring in a bitmap. And let's search for curvature
and use the map from this. And let's visit the mask. And this is the mask that it has created and we can isolate
a lot of the data from it. So I'm bringing in another
level, invert or not. Let's separate some of that. And you see it has separated a lot of these curvature parts. And I'm going to go and select this and make it
lighter bit so that we have more concentration on these parts that are experts. You can see that the
shapes are more readable. Now, we have the separation for the occlusion parts and we have the highlights on
the edges as well. So let's go to see if we can
choose another material. And let's bring the saturation
up or something like this. Now you see we have a
lot of cool details. And on top of everything,
I'm going to bring in this layer and set it to pass through another
filter and sharpen. Make it sharper. But just a bit, not so much. Okay, this is the result. And another thing that you can do on top of this is actually right-click and
bring in a filter and you can bring in
contrast luminosity, for example, at a bit
of contrast to that. For example, change
the luminosity to something else to give
this more definition. And let's check that
before and after. And I definitely
like this one more. So we created this piece and I'm going to select
all of the layers, copy them, and bring them
to other parts as well. So let's go for this card
and guard cap as well. And you can hit F
to focus on that and paste the materials in
here to see the results. So this is what we get. And actually I'm
liking this one. Let's compare them. And you see that it
creates the illusion that they are belonging
to the same area, to the same location. And they have been affected by the same weather conditions
and things like that. You can see how beautiful
piece that you have created. So let's go in here and
paste the material again. And it looks like we
created a good one. But if you want, you can add more custom details to these. If you like it, you
can right-click on all of these and group layers. And I'm going to change the name to something
that I remember, for example, dusty concrete. And while having this one on, just right-click
on the folder and choose create a smart material so that it creates
a smart material. And every time you
create a new thing, for example, we have
this one as a new piece. If you drag it in here, all of those
materials get applied to the surface pretty
fast and pretty good. And you can save a lot of
time using this technique. I'm happy with the details
that you're getting in here. And now I'm gonna go in here and export the
textures as always. And I'm going to use the
GL format that we created, target and use for k. And everything is set up
and we can export them. Okay, it's going to be done. And this is the result
that we are getting there. Okay? Now I'm going to
bring in the textures and start to import
them in here. And since they belong
to debate folder, I'm going to import
them in there. These are the files. I'm
going to select all of them. And as always, I'm
selecting the masks and the normal to correct the
compression for the masks. I'm going to set
them all to mask. And this is pretty
important so that the color doesn't change. For the normal. You have to do all
advanced detail and do a flip green channel to make
sure that all of them are converted to direct x2
format that Unreal Engine supports red-green channel on this one and this one as well. And you do not always have
to flip the green channel. You only live the
green channel the moment that you
bring into OpenGL. But if you bring in a dark x, you really do not need
to convert a normal map. So let's go in the materials. And I'm going to
take from this and call it caps and open. And again, one from
this roof garden. Taps and open again. And once more. Just roof court. When I'm going to plug in the textures into their folders. So I'm going to
activate all of this, and this belongs to caps. And this belongs to
the roof guard caps, which is this one. And this one. The wolf court without anything. Okay. This is it. And do not worry. Later on, we're going to create the
actual materials themselves. Let's go select this one. Shift a to select everything. And I'm going to search
for caps material. Okay, this one is
in place perfectly. And just select
this one Shift E, and it has repeated
all over the kids. And for this one, let's
try roof guard and see. Yeah, this is working
for this one. Roof guard caps, which is
this one. You see that? Now it's getting more
detailed and detailed. And you see that because we are getting far away from that. You see it doesn't matter
if you have added a lot of cool custom details because player isn't going
to be saying at all. So you need to
invest your time in places that the player
is going to be seeing. So it's great. And we did another iteration. And I believe that
the structural pieces of this building are finished, of course, besides
the windows and the doors on this tour
shop, window shop. And I believe that
in the next one, maybe we'll start to work on this building to make
it more intricate. Because the pillar that we're
going to create on here is one of the most complex parts that we're going to create. And of course, we're
going to create three players for this 11 is no, actually, we create one. This is six meters, this is four meters, and this one is two meters. We might create
three fillers for this building and maybe
one extra pillar that goes in-between these
two hide this ugly seem that is a result of
the variation that we did. So he said, but in this, we have added a lot
of custom details. If you want, you can
bring in this one, bring it to the top. Place it here, and here as well, and take this to bring them up. Now, it didn't do. Instead of that, I can
make this smaller and place it right in this area. To give the illusion that
this is a custom piece. We can add it in here
and one in here. And look from far away these little things at a lot of things into
the environment. Did the same thing for
all of the buildings. So police, these are small, wants to add a bit
of more detail. Okay, This was
about this lesson. The next one, we will continue adding details to this building. See you there.
62. Blockout The Museum Pillars: Okay, everybody, congratulations
for coming so far. And now I believe
that it's time to go and do a pass on
this building as well. We have some kids to create. We have first pillar that
has six meter height. And after that, this one, the four meter piece, and then it gets repeated
couple of times. And then we have
another piece in here, which is a corner that has are
believed to meters height. But all of them belong
to the residential Kit, excuse me, Museum kid. And this one is different from the ones that are above
that because this one, I'm going to create
a stand for it as well so that it can
stand on the ground. And maybe I create another
variation and copy that on these sites as well so that
every of these pillars, we have window excuse me, on every of these windows
we have a pillar. Maybe we do the stairs and
this total standard as well. So these are easy to create. I mean, these are
stairs, understand. And what I'm going to create
is actually these pillars. And maybe I'll create two
variations from this. One for the corners and
some for the middle part. In between that is a
bit different to that, maybe are resize it or
maybe I create a new one. I'm totally in this lesson, we have maybe five
or six pieces to be done to wrap up the general construction
of this building. And then we are left
with these panels and windows and these custom
shapes to create. Now, we are in the
museum kit in here, and I'm going to copy these. Let me bring them back,
bring these two back. Because later on we're going
to do some things to these. Okay, we have these three
pillars and let me take this mannequin and remove it. Now we have these three pillars and stare, let me bring it. And this standard
as well. We have.
63. Circular Pillar Caps: Okay, everybody, in
previous lesson, we started this blackouts. And again, since these are
a bit closer to the player, we're adding much more time and effort into
these and making, making them a bit
more complicated than what I have already created. And let's look at the reference. And you see a pair of
extrusion happening in here. And I'm going to do that. So let's go in here and
try to add these vertices. And I'm going to select them and separate them
from each other. And I'm going to
place one in here, place one in here as well, so that we only use
on these portions. And I can take this one, handles it as well, this
symmetry line that it created. So I'm gonna hit I to activate the insert
and just confirm it. And I can take this
one and drag it out. And to give it a bit of form, I'm going to bevel that just
a bit. Just a tiny bit. Now let's look at
that. And it's okay. And now what I'm going
to do is actually creating a line around this and pushing this line back
to create a bit of form and shape so that when
you look at this from here, guess some of the shapes out. So let's add a bit of
purple in here as well. If you're going to make your
bubbles more beautiful, they can apply the scale. After that, do the bubbles
to get beautiful shapes. But we have done the
thing and we do not know, we do not need to do
any more of that. So we have created the details that we
want it for this piece. And in order to make this asymmetrical from
the top to bottom, Let's add one in
here, drag it out. And I'm going to
add another bevel and hit C so that it
clumps completely. And I can drag it out so that the bottom and the top are
not perfectly symmetrical. So let's shade smooth. And by 30 degrees, again, I can go in here,
select them all, merge by distance.
Everything is okay. So in order to be faster a bit without having to create
all of these sites, I'm going to go select every side and delete
them until we have this. And let me do one more undo. And instead of that I can
use symmetry as well. So let's go and use symmetry. And I believe that I'm going to use the symmetry in x axis. I don't know. Let's apply the
scale and rotation as well. And do the mirror.
It's not an x. So let's do that in x and in y. And of course I can bring
in another empty in this area to make that a bit
more clear to work with. So I'm going to bring
in an empty set, this one as the symmetry object. Well, it looks like in
x we have good results. And let's, before
applying, actually, let's go in here
and take this ring. And I'm going to take this
and bring them back a bit, the bit, a bit of
more silhouette. So let's select these instead. Something like this
so that this has more shape, pronounced shape. And in here it's the
same thing as well. So now I'm gonna do another
mirror on this one. Mirror this time let's do NY. Of course, let's activate y. And I'm going to select this one as the symmetrical object. And let's take this one
and rotate it 90 degrees. Now this is exactly what I want. I want these two parts
to be in that place. And when we're sculpted these, we're able to symmetry
that on that place. Well, so I'm going
to use this one and take the empty
and delete it. So in here now, looks like we have
ugly geometry in here. It doesn't matter. It's going to be fixed
inside of ZBrush. So rhythms connecting
this to here to here. Okay? Now I'm going to go to the top one and select these vertices, all of these vertices,
and remove them. And actually before
that, I can take these symmetry lines and
delete them as well. It gives me a better result. So now let's go and test it. Okay, this is
perfectly in place, and I'm going to take
this one and delete it. Now later on in ZBrush
when we DynaMesh this, it's going to fill this space as well for us, not symmetric, but it's going to
create a face in here with a good
amount of geometry, but you are going to remove that as well if you want it to. So now it's about time we add some ornaments to
this one as well. So again, I'm referring to this ornaments and I'm taking this one or this one instead. And copying that here, bring it in the center and rotate it around and
bring it in here. And I'm going to resize
that, fill this space. Okay, this is how you
add details into models. Pretty easy and warmly
DynaMesh, this, this is going to be a
part of the geometry. This is pretty good.
And now let me add the detail that
we want from this. And let's add much more
geometry for this side as well. Let's do something else. So that when we
rotate this, we get, instead of having
only one variation, we have two variations. Now, let's take this
one and this one, I believe, create a
good combination. So Control C and
Control V in here. Now, this is it. We created this one. And now I'm going to
apply geometry to them, upload a modifier
hymen and go back. And later on inside ZBrush,
we will take these, merge them together and
apply the DynaMesh to really stick them together to beat a part of the
same geometry. Now one thing about these, when I'm looking
at the references, do you see that
they're not perfectly the same size all around. They have a bit of
variation in size as well. So let's add some. I'm taking this one
and just adding a slight variations in the
size of the circles all around and make this one smaller so that it's not
really that boring to look at. Ok, now in here as well, Let's resize it just a bit. And there's actually
one thing about these, that you can create
them inside ZBrush or you can create
them inside Blender. You can sculpt them,
or you can use Polygon Modeling to get going. So instead, I'm going to use Blender because I believe
it's going to be easier. One in there and when
in here as well. And I'm going to select
every other edge all the way around. Just like this. And I'm going to exclude these top parts from
the geometry though, this one as well. And now I'm doing a bevel. So let's do a bubble. And I'm going to
make it rounder. Or let's make it just like this. And you can also
hit P to be able to change the profile a bit. So I'm gonna go scale. And while having dad, I'm going to bring
them in just a bit. So let's go see, looks like we have
done that too much. So let's go back and let's
not make the bubble so much. So let's add just
a bit of bubble, not so much,
something like this. And now I'm going to drag it in. We could drag it in just so. Let's add the
subdivision modifier and increase the iterations. And of course, to make
this part but better, you can go in here
and start to insert, just wants to create some faces in here to
prevent that problems. Let's go in here as well. To an insert again. Now this is more
or less like that. But if you want to take an, add more details in that, and actually let me go in
here and take these vertices. I'm going to drag them up and isolate this
without turbo smooth, excuse me, without
subdivision surface. So I'm going to extrude it down so that I have some
vertices to work with. I'm going to select all of these vertices,
extrude along normals. And let's drag them down
to something like this. And again, do another
extrude from this one. And take these as well. Do another extrude and scale it to create some
profile for it. For the bottom part, let me
take this and bring it back. So you see the profile
is actually there. And if you want,
you can actually, I feel like there's not good
amount of contrast in here. I'm selecting all of these outer rings,
excluding exactly. These. Include everything from here, and exclude this
top part as well. So I'm going to go in a scale mode and drag
these out just a bit. No, not in this direction. Let's drag them out
in x and y only k. Now, this is too sharp. And just like a
military or something, Let's say Good, Bring it back. And I can add a bubble to make that sharp
or a bit as well. So let's see what
we have created. And smooth. Okay, This one looks
better and more detailed. So now let's do
something clever. Instead of modelling
this part out, I'm going to take
this one, delete it. And let's isolated,
select this bottom part. It's like everything until here. And let's see what
we have selected. Let's go once more
and once more again, and now exclude these from the selection so that we
have only these parts. So I'm now hitting Shift D. Let's bring it to the
top and invert that in this direction and make
them closer to this part. Looks like actually I can take this bottom portion
and delete it. So let's go for selection. Now I'm taking this not that. Let me take this one, only bring it up. And I'm going to delete
this bottom one. So let's select everything. And this comes after this one. Okay, Now we have this one. Let's take all of these, bring it down until we get
to the place that you want. And now I'm going
to take this one. And in here we have some faces. I believe that we could delete. So again, let's take
them out, bring it up. Let's put an exactly, I can take all of these vertices and activate
vertex and active. Bring this down. And after
some trial and error, I was able to bring these
n. It looks like I need to make this smaller to
something like this. And of course, I need to rotate it in a direction to
match these vertices. So let me go rotate
and I need to make sure these vertices a line
on top of each other. So again, I'm going to
take it, bring it down. Now. I'm going to
select only this row of vertices and hit N by distance and bring the distance up until they connect
to each other. Okay? Ruined the shape a bit,
but doesn't matter. We have something like this now. This is something that you're
going to see in the game. And actually it's a good
one for this one as well. Instead of doing all
of this trouble, I'm going to bring
it and resize it. So let me bring this into place. And I'm bringing this
in and make sure that I duplicate this isolated, put the pivot in here, bring it to the ground. And I need to take this
one and bring it back. And it looks like this is larger than the
height of this one. So I'm taking this and we
scale it in this direction, just like this one. And now I'm taking the name from this and delete it and paste
the name for this one. This one has done as well. And I can take this and make it smaller a bit in this
direction because I do not want this one
to be as large as this may be half the
size of that is enough. Okay. This is better now. And let me bring it here. And let's make it larger
a bit just like this. This one is enough and apply the modifiers for
this one as well. I'm going to go and we scale the size in this direction because I do not want that
to be as big as this one. I want to be similar
but not so much. So just control and apply the scale and rotation
and all of that things. Because this is going to be in the middle covering some pieces. And now one thing that
we need to care about is the actual kappa of these. And I'm in something like this. And for that one, for this
one we're going to create a round piece that is going to be used for a
couple of these. We're going to use
create one and use it twice on this round
cap that we have here. And we're going
to use and create one a square piece and
use it on these two. So for the square one, I have this one in mind
and something like this. And for the round one as well, we'll have something like this. And when I'm looking
at this here, I can see that although
this is a six meter piece, we subtracted a bit of a
space to add that platform. And in this one as
well, we need to subtract a bit from the top and make it a smaller so that we
can placing that ornament, something like this, but
maybe extend that a bit. So now let's go in here and we're going to
do couple of things. One is taking this one and
resizing it just a bit, or it's better to go
in here. Take this. And select everything. Or instead I can come in here, select this one and
make it the center, and select everything and try
to rescale it from here so that we scale this based
on this word is in here. So let's try to re-scale it in z just a bit. Actually what? Let's keep this one and do a copy so that we have
this original one in case we lost something so that we know where to
place the geometry. So this is going to be
it for this one as well. Let me copy that. I'm going to take this spring, the center to this vertices
so that I can scale this one and bring it
down to something like this so that we can actually
add that top piece there. So now I need to do
about this one as well. So this one has the same ground. Let's go in here and
place the pivot in here. And try to re-scale this
down to something like this. And I'm taking this
one actually again and bring this down as well. Now when we created
those campuses, we re-scale them and place
them on these parts as well. So for this top gap, let me take this one and
actually let me take this and copy the name from it and change the
name to something else. And take this one as well and
give that the actual name. And this is what I'm going
to do for this one as well. This one that we re-scale is
going to be the main one. So I'm going to take
the name from this and paste the name on this one. And I'm taking these
two backup ones and create a folder and
call that backup. I'm going to keep
them for one hour. I tried to put the
caps on there so that we know where the size
is actually going to be. So I hide them. And for the base
geometry, for the cap, I'm going to borrow
them from here. So let's go in here. And actually, let's
bring the center to this virtuous vertices and
bring in a plane in here. So this is the plane. I'm going to re-size it to
the scale and rotation. And I'm going to
subdivide this and exactly use this mode
instead of the simple mode, because I want to have a circle. It looks like this is not giving me the circle that I want. Let's make this one better. Now let's try to
bubble the vertices. And if it doesn't, just
do something like this, clamp it and try to round it
using middle mouse click. Okay, now we did it. We have the base for it. And now I can actually
give this shape. So I'm going to extrude it to have the shape. Let's go back. And this is the cap
is that we have. But we need to make this
one bigger just a bit. And I'm going to make it smooth
and based on 30 degrees. So now let's look at the
references to see what we have seen that in here we have
some leaves that are bent on, some extra leaves
on top of them. And they are all
surrounding this. So let me make this one a smaller so that I can place
everything around this. And I'm going to choose the ornament from the ornament
library that we have. And before that, let's apply
the scale and rotation. I'm going to choose
from these leaves and use them in the process. So I paste, I'm going
to do the vertex blend. And actually let's take
this one and do an insert. And we scale it down until here, and select all of the vertices
in this portion only. I'm going to select this
and convert it to vertices, hit em, merge by distance
and bring the threshold up. Now it didn't do.
Let's right-click on this and hit collapse. Or he can hit M and collapse. Now we have a center
vertices to use. So now I'm going to select
these and use this one. Bring it here, and I'm going
to activate the vertex snap, snap it right on top of here. So I need to bring this so
that it's centered in here. So I'm going to rotate it in here and bring it
right into place. So we need to make it
a smaller, just a bit. And I can do one thing
and that is scaling this up in Z just a bit and do
scale and rotation as well. So let's go on top
and bring it in. It looks like we need
to do a blend on this. So go bringing the
simple deform. And I'm going to use band, not in this direction, but in Z. And make it more just a bit. Something like this. I'm going to shift the
on this to duplicate it. And this time I'm
going to bend on. To have something like this, Let's go for negative 90. Let me take it and bring it up. Let's use another degree. It looks like this
one is a good one, so let's apply all of them. Now I'm going to place
it right in here. And let's bring it up. The next thing that
I'm going today is actually duplicating
this around. So I'm going to
duplicate, bring it. Or instead I can
use this in here. Let's go and set this one to 3D cursor so that the
pivot is in here. I'm going to duplicate and duplicate it around
just once more. Now it's completed. So let's look at that. We have a good in here, and now we need to add
some more pieces in here. It looks like this would be
a great addition to that. I let them select it and
Control V to bring it here. But since the pivot
is now in here, if you do not know how
to bring the period, it can go bringing the
vertices down in here, Shift and S to bring the origin two vertices so that the
pivot comes in here, the sensor I'm in the
center of the world. And now having
this one selected, I'm going to hit
Shift and S again, this one to cursor. So it brings it this in here. So let's do something like this. And try to rotate this one based on itself,
not based on that. So do something like this. And 45 is a great one. Let's bring it here
and make it smaller. And I'm going to bring it
here, blended with it. So let's set this one to global, or let's set it to local. So let me bring it out. Looks like we need to
do another one in here. So let me see what we got here. I'm going to bring this up. Just like this. It looks like I need to do
another rotation as well. Exactly like this. Okay? Now that we have this, let me bring it out. And I'm going to
scale it just a bit. Now. I'm going to apply the scale and rotation and
give you the simple deform. And I'm going to burn this
one as well this time and z to make it sync with
the other pieces. So let's look at
it from far away. And it's a great addition. So now I'm going to
bring the pivot, bring their transform
pivot to the 3D cursor. While having this one selected, I'm going to activate modifier. And I'm going to copy
this 13 times again. Okay, I believe I should do 120. Okay. This is it. And once more, 120. Now, it's looking a lot better. And one good thing
about this pack is that they already have
the UVs in place. And if I select it, you see
that the UV is in place. And I do not need to care about the UV and seams and
things like that. But you know, if you have ornaments that you
do not have UV, you know how to
create UVs for them. Just follow the borders, plays the same, and separate
them from each other. So now let's bring
this backup file. This is exactly as tall as
I want the piece to be. Exactly what I'm looking for. Great. This is the top of it. And I believe that I'm going
to finish this lesson now. And in the next one, we
will continue refining the blackout and then finally
we import them into ZBrush. Okay, See you there.
64. Finalizing Caps Blockout: Okay, Actually,
after creating this, I'm going to maybe finalize
this with creating a queue. Because when I look
at this reference, you see that there is a
cube coming up in here and then taking shape the created. Let's go and create a cube. Shift a and bring the cube. And it brings it right
in here that we want. Let's bring it in here. And I'm going to bring
it out, extrude. And I'm going to bring it
up and do vertices in here. All of these and extrude
in their normals. Something like this. And now this acts
as a cap for that. So I'm going to select all
of these and bring them up. Now I can do one thing.
I can actually go. First, let's set all of these to their defaults that I'm
able to work on this. Now actually, I can
take these in here. And I'm going to do
a bevel on them. A bubble, but not that much. I'm only going to add a bit. And I'm going to
make it like this. And I'm going to add vertices
in here that I can connect them just by using j. I can connect these
pieces together. There's a bit hidden
in there that I can isolate this and start
to work on that as well. So let's add this
one in here as well. Select these, join them. And this one as well,
it'd be joined. Now I'm going to top
view and select this, and select this one as well, put the scale and bring it in. Let's see about this one. This already has the
vertices that we expected. So this one and this one. I'm going to bring domain. Now, let's go and see
what we have created. Okay, not too bad. Thing in here is that
I can take this, all of these vertices and
all of these as well. And I can bevel them
to give them a bit of circular shape,
something like this. And now that's my kid. By having this one selected, I'm going to make it as
smooth and 30 degrees. While having this selected, I'm going to bring
in a vertices here, the vertices in here, and one vertices in here. So I'm going to scale
this one out at a bubble. Not so much just to
make it circular. And I'm going to take this one, take all of these, and I'm going to
bring it down and make it beveled as well. I'll leave that one to be. This just looks
like a cap that we created and this one is
already not looking too good. This part, I mean, I can bring in some ornaments to cover
these parts as well. But this cap is
doing a great job. And I can go in here and take that cylinder that we
created for blackout. And I'm going to drag
it out and delete it. Maybe later when we
added ornaments in here, I delete this one as well. This cube, not this cap. And let's compare
it before that, it looks like I need
to take it and drag it down just a bit. So no problem. We will do that later. I can go copy this one because this one has lots
of details or this one, this one is very busy to
look at and it makes it really have the illusion that we have a lot
of details there. So I'm going to come
in here again Shift and S to bring this one in
here just on the pivot. And I'm going to bring
it in, re-scale it, bring it out so that it looks like it has a lot of details
to create that illusion. So now I'm going to apply
the scale and rotation. And again, I'm going to bring in the simple form and I'm
going to bend it in z. And let's go negative. Okay, Now this can cover a lot of those on
detailed parts for us. Now what I can do is
actually taking this and removing this ugly
cubic CG shape. So let's go back. And now I'm taking this one. Let me see if I can
go to negative 90. Okay, now I'm applying that. And again, I'm going
to bring in the pivots right in the 3D
cursor temporarily. And I'm going to copy
this one. This one. I'm going to copy
that 90 degrees. So it means that we need to copy that four times to
cover all of the ports. And you really do not
need to care about the geometric count
and things like that. The non-IT is going to
take care of all of them and maybe even do not import this in ZBrush because I like it
the way that it is. I mean, this cap, it's
actually the way that we want it so that I can take it
and bring it down a bit. Let me re-scale
them and bring them up and take a look at them. It's doing a fantastic job. And again, to make this
even more beautiful, I can take this. Again. I'm going to
bring in the vertices of the boundaries and do
simple the form again. But I'm going to
this time make it an x to make it come
out just a bit, to give it a bit of
shape and formation. Like something like this. This is better blending
this one greatly with that. So I'm going to take
these delete term. And it looks like
I'm happy with this. This is the latest edition on that I'm making to this one. And of course let me
see if I can do more. No, this is great. So let's apply this and again, bring the pivot
temporarily to the cursor. And I'm going to copy this one. It's fully times by holding and rotating it 90 degrees
each time. Okay. Now you see that we created it and it is fairly
detailed as well. Now I'm gonna go take them all and make them
one single piece. The only thing that I'm
going to do is actually using this one out because
this doesn't have a UV. So now I'm going to bring
in the UVs, UV editor. And before that let's
actually apply bevel. And using this pebble, I'm adding a bit of
offset to the vertices. Let me see if I
can make it more. And after this purple, I'm adding a subdivision
surface to make it a smooth. Now, let's look at that. Without all of these
shading issues, It's good. It's doing a good job. So
let me select them all. Merge by distance. Now, it did a
horrible thing under, and there's a shading
issue in here. Let me see what is
causing the problem. Deactivating these. It looks like this is because of the shading issue that we
have. So doesn't matter. Let me add the bevel
and smoothing. This one actually doesn't need turbo smooth or
subdivision surface. This will do the way that it is. So now, after applying this, I'm going to go in
and select one of these shift G based on normal so that it
selects what it can. And I'm going to do all
of the selection by hand. So we have a bit
of UV work to do. And since this one doesn't
have a lot of details, it's a bit harder to UV. So I'm going to right-click and unwrap to separate this part. Then I'm going to go
for these points, make this one mark seam. Then I'm going to
select this one. Mark, this one as well. We have some more
to do. This one. Then. This one. Okay. Just a couple of more to do. So this one and I'm having all of them
selected at the same time. Now that I have these legs
like this is the end of it. So this one and this one. Now I'm selecting
the mark scheme. And of course let
me select all of them and select this one. And let's go into UV
active mode, UV sync. Select this, select all of them, and you can go to select and bounds so that
you can select this go to Edge mode mark scheme so that it separates
that as well. So I need to select this bottom piece as
well to separate it. This one is easier to create and now I'm not going to
detail that too much. We have these vertical
ones and now I'm doing some horizontal seems to
make it really happening. Now, this is it, mark scheme. And now right-click, go to
polygon mode and unwrap. Did a good job in creating
all of these UVs. Let's go and apply
our pattern to see the textile density
if everything is working, great, okay, it's
alright. I'm going back. Let's look at the UVs. And all of these, again
have the UVs as well. So let me take all of them. I'm taking them
without this one, actually, just like this. And I'm going in and let's actually give them turbo
smooth by hitting Control. And three, you are able to
add subdivision to these. And now you can go and apply them modifier
on all of them. So I applied modifiers
on all of them. I'm going to select them all, including this one
because I want these to have a single material
set so narrow, we have them all. Let's go to UV Parker and
I start to pack them. Okay, The packaging
is done and you see how complex a UV it
has created cell. Now this has done. And now
I can go back and join the, all of these pieces together. Now, I'm going to bring in the pivot right in the
center of the object. When we made sure that we
create those two pillars. I do couple of
variations from this. One for this 11, a smaller one for this one, but since now, it has a
lot of extra polygons. Let me go bringing the
statistics to take a look at. And you see this only
has 4 million polygons. And it's a heavy piece. And it's very detailed. And of course, I'm going to export that to
unveil as well. First we texture this and
then imported to unreal. Okay, now this is just
like a piece that is done and I'm going to duplicate
it across four there. And now it's time to create
one for this one as well. That is the same process. We're going to bring
in some ornaments and create one UV for this. See that, although
for other kids, we didn't do a lot of
times just like these because these are going to
be visited by the player. We're adding a lot of details so that the player can see
them from close-up. So let's go back and start
to work on this one. And I'm going to save increments so that I have extra file. So that'll do not lose anything. So now I'm gonna go in here, select these vertices and bring the world origin to this one so that I can bring
everything in here. So again, I'm going to bring in a plane and I start to
work on this plane. So I'm going to take
it, bring it up. Not this way. Let's extruded only in z, just like this one. And this is the cap. And as large as we can go
about creating the height. So I'm going to go now bringing
vertices, Then this down. And let's go to the global
bounding box center. Okay? Now, I'm gonna take these as well and make
them the same size. Now I'm going to do one
in here and a slight top. Select these vertices, extrude and re-scale
them in this direction. Okay, Now, let me see. I'm going to bring them out
and I start to slight bevel. So let's go and
select all of these. I'm going to select the
vertices in the row as well. So level, not so much. Let's do something like this. And I'm going to add a
cut right in the middle. Or I can do something
like this and something like this and join
them together. Let's see what we have here. This is alright, now,
let's go up top. And I'm going to select these vertices and
these vertices as well and bring them in to
create something like that. And let's hold smooth
and 30 degrees. Okay? I'm not going to actually
make this on circular. I'm going to make it
cubic and a squared. And instead of
rotating them around, I do actual 90
degrees rotations. So let's leave this
one V and start to work on the ornaments. So let me go select this one. I'm going to bring it
here and right away, bring it up top in here. And I'm going to
re-scale is rotated in this direction and
make sure that I bring it out to something like this. Now I do not want it to
face in this direction. I wanted to face here. So it looks like 45
is a good degree. Looks like you can do more even. Let's do one more. This one is a good angle, but this one is
going to be hidden under loads of
ornaments as well. So let's select it and
make it a smaller, a bit. Okay, now I'm adding the scale reset and
things like that. And make sure that
duplicate this around in all directions. Okay, I'm going to bring in an empty writing
this sensor part. So let's go bring in an empty so that I can
base my mirror on that. So let's go bring in the mirror. And I'm going to make
it based on that empty. Now we have this part here. Let's do another one, and this time let's go in Y. This is it. And I can take this, let me again do the
duplicate and see if I can do another one
using another empty. So I'm duplicating
this empty again, applying scale and rotation. And on this third one, I'm going to go for this
empty one and set it to be used in y. I'm going to go for the empty and
rotate it 90 degrees. Okay. Looks like we need
to go and inverted the end results.
So let's do an x. And this one looks like better. This one is great. And now I'm going to apply all of them. And again, to mirror so that
I can mirror this around. This time again, I'm going
to go for that empty. And I'm going to hit bisect. Lets do flip. Now we
have these two in place. Now, mirror. And this time I should go in Y, I believe, to get
the thing going. And let's go for
this empty again. And bisect. Now in all of the ways I have
that geometry happening, and I believe that it
has messed with UVs. Let's come in here and try to
look at the UVs to a pack. And let's select to see if
the UVs are in place or not. It looks like this
needs to get unwrapped. It has some
overlapping geometry. Let's bring it back. But we will see if an error happened or anything
in the bake. Now I have this one in place. It looks like we can
do some more ornaments to make this more
complicated as well. So let's go back and try to pick some of
these floral ones. This one, be great. So I'm copying that and bring in here and right away
someone that on this part. So let's do something like this. And I feel like I can rotate
it in this direction, 90 degrees or 45
degrees instead. So let's select it
and bring it here. It's doing a great
addition to this part. Actually. So I'm going to take this, bring the pivot
temporarily to 3D cursor. After that. Before
that actually I'm going to apply the
rotation and scale. I'm going to rotate
it 90 degrees. And again, I'm going
to select these two and duplicate them, rotate them a 180 degrees. Okay, now, let's look at the silhouette to see
what we have created. It looks like we can do some
more to give it more detail. Because this is not right. It can optimize loads of
geometry very easily. And in fact, maybe instead
of creating this guy, go and resize this
one, who knows, maybe who create something like this to save a bit of time. So again, I'm going for this
one or this one instead, control C. And I'm bringing that in this scene. And
you're not creating. Each of these ornaments alone
would take hours to create, and this is why I decided to use ready-made ornaments
instead of creating them. Because otherwise this tutorial would have taken more than our, more than a 100 hours to create. And by recording, I mean, okay, Let's bring it here. And I need to re-scale
it and bring it in, make it a smaller. But let's see what we have here. Though. It's adding
a good detail, but instead of having this, Let's duplicate it first. Ninety degrees. And again, 90 degrees. Again 90 degrees. Okay. Now, let's take them all. Because they are in, they're not being shown. So I'm going to bring this
one to the actual object. And I'm going to bring
this one in so that it gets shown something like this. Okay, Let's go in and try
to remove those ones. And it gets a bit of
collecting and things. But we're going to find
them and delete them. Okay. I did it. Now, let me see what I
can do with this one. Looks like I can take it at a simple deform and again
use bend in y or z. And let's apply the scale and
rotation to make that work. Okay, rotation is pretty important for the
form and Ben to work. Something like this is okay. And now I'm going to activate. And again, having this
one on the 3D cursor, I'm going to rotate that 90 degrees and
select both of them. Duplicate 180 degrees. Okay, now, this one is done. And now I can take this and rotate them so that
they fill this space in. So it looks like, let
me do Shift D again. Looks like negative
45 degrees is okay to fill this gap in. Okay? Now, this is good and
I'm happy with it. And I'm not going to
actually do another thing. So let's go in here and
remove this ugly piece. And before that, that's
actually give that some WPS. Let's do that all based
on the bounding box. Bring it in and
bring this one out. Bevel. Bring this one in again. Bevel, bring this n, create something like this. We don't want that
to be so complex. And now go in here and apply a slight bevel to the results. So this is great. Now, let's apply that. And there's a UV to be created. And that's pretty easy. I'm going and selecting the
horizontal lines first. Now, I'm going to mark
this seam in here as well. I need to select this
this one in the middle. And maybe I select all of
these in the no, not this one. And this one in the middle
should be selected as well. There's one more to be
selected, I believe. This one and mark scheme. And this bottom
part isn't going to be seen by the player at all. So let me take them and I can
go up once and remove that. So I'm taking all that, unwrap. This is a decent on rap. And now I'm going to go
select all of these, except for this one. Isolate them. And
I'm going to give these a subdivision surface. I'm going to give this
to control and to, okay, this is white. And now I'm going to go to
the object, convert them. Looks like it doesn't. It looks like we
need to take them all and apply the
modifier on them. We did it. Now I'm joining them. First, let's select
them and join them. And I'm going to place the
pivot right in the center. And let's go back
to see the results. Okay, it's good. And I'm going to do
the UV again though. Let's go in here, or the UVs. And we already have the UV, but you need to pack them. First, select them
all and hit pack. Packing on this one
is great as well. And I'm going to copy that. And then these
pieces are finished. I'm going to drag this out, drag this one out as well. And I'm not going to create
this part because it takes too long and we're
already too long into this. So now what we have to create is actually taking this one, delete and taking this
one as well delete. And we have these
pieces that need to go into ZBrush and get a sculpted. And of course I'm not
adding too much detail, but this one needs to get a
bit of detailing as well. And I might just bring in a custom height map maybe
to detail this one out. Who knows? I don't
know, and maybe not. So I'm going to
select these all, bring them right in the middle. And I'm going to take them
all and export them as a single FBX and
abroad them all in the center so that when we try
to work with the symmetry, radial symmetry
inside of ZBrush, we have no worries so that
all of them are centered. Okay, I'm going to
export regularly as FBX and allow me to
select the objects and export. And it did it. And for some of them, we DynaMesh them because
they do not have UV. For example, this one is
going to be DynaMesh buffers. But for some ones
that have already have UVs, we do not do them. But one more consideration. And that is I'm going to
find these two ornaments. And while having them selected. First, I'm going
to bring this in. And I'm going to bring
it up and make sure that I place this one
right in here and up. Do not want this to make
this one's centered. So let's take this one. And this one also can come over here so that we place
it right in here. So let's bring it in. And these are two
pieces that are offset from the
center and because they need to really
stitch to this part. Okay, let me see if there are n enough or the DynaMesh to
make them one piece. So this is enough as well. Again, I'm going to select
them all and we export as FBX. And I'll see you in ZBrush
when we start to detail these.
65. Sculpting Museum Pieces: This lesson we started
in ZBrush and as always, we're going to import them. This is it. And
I'm going to open. And we need to drag them and hit edit so that we can bring these. Okay, Now let's see
what we have in here. I'm going to hide all of them. Just hit Shift and
select one of them so that you select only
once. We have this one. This pillar, this piece, that of course needs a bit
of attention to create. This one. This one also needs
some attention. This one. And this pillar, it's
okay. That is it. We have only few pieces in objects that you see
something like this happening. It's because of the
problems in the geometry. So we can go open that and
start to look at this. And first, we can
take all of them, apply the scale and
rotation as well. Now let's go see about the face orientation to see if we have any problems or not. So let's select this one. Now. It's alright. If you see
some problems in these ones, you can go and hit the
triangulate button. Of course, triangulate modified so that it triangulate stem. And then important to
ZBrush to work on that. Of course, when you DynaMesh it, it's going to do that as well. So let's see this one. Triangulate as well. It looks like I can
go take this one. Take these steps,
select them all. And p by selection so that they are a single piece that's going. So now this one is
the same piece. Now let's apply to triangulate modifier and this
one, and this one as well. Now let's go back a step
and I'm going to take this one as well and apply. Now I'm going to do another
export to make sure that we have as least amount
of poly problem as well. I'm just going to select
these and overwrite the exported file exactly on top of this one and
select that object. Now, it's time to delete all of these to say if you have
any problem or not, ZBrush crashed and I'm
going to re-import them. Let's do bring domain. Let's try and hit
Control and drag again. Now I'm going to see if you
have any problems or not. I'm going to hold Shift, click on one of them, and then go through to see if
we have any problem. And this one was the
problematic one. And now you see
by triangulating, it has fixed all
of the problems. And if you go into the smell, do you see that we have
the triangulated mesh. Okay. Now let's go for
this one as well. This doesn't have
problems as well. And this part may
be problematic. We're going to DynaMesh
that and maybe we deleted because the player isn't
going to be seeing that. So let's go for this one and for this measures and attach
them to each other. So I'm gonna take this
and using this one, bring it up until these
are neighboring pieces. So let's find the other
one, which is this one. And I'm going to
bring this one up. Now. I'm going to merge down until these become part
of the same sub tool. Now, this is the same sub tool. I can use it the
way that I want. And now what I'm going
to do is actually bringing in the DynaMesh. So the DynaMesh is going to be starting with high
resolution in this case. Although in a lot of
cases we wanted to start with a lower
resolution and slowly go up. But in this one, because
we have already a lot of detail and we want to
preserve these details. We want to start
with a big value. So something like 2048. And I can bring the blur
down and hit DynaMesh. So now this has
been done emerged. And let's go see. This is the amount of
detail that we are getting. This is exactly the
transition that it has created between the pieces
and on this part as well. It has kept at we need to remove this cap art as well because we do not want it and we want
to symmetry this one. So if this is something
you're happy with, we can go and keep this one. But if it's not,
you can go and try, for example, 3,500 instead. Or you can bring it
as much as you want, select a value and DynaMesh. So now we have much
more nicer transition. The amount of polygon has been
increased to two millions. And this is better to work with. Okay, now let's go for this one. And this is the other piece
that is a bit problematic. So let's see if the DynaMesh
could fix it or not. Let's go for 28. Dynamesh.
Dynamesh fixed it, but it still has some problems. Let's go back one
step and do another. 2048. And now it's better. You can make the draw
size, smaller bit, and try to smooth this area
out to make it a smoother. Now, this doesn't have problems at all.
Let's look at that. It's okay. Let's try this one. I'm going to do the 2k a
resolution for all of them. Dynamesh. And we have 2 million polygons
on this piece as well. This has been already DynaMesh. And let's see about this one. I'm going to set to
k for all of them. And one good thing about
DynaMesh is that when you put two k on
a smaller piece, it's going to give it a
lesser amount of polygons. You see, now we have a two
k DynaMesh resolution, but we're getting less than a million polygons on this one. Although on this
part, for example, this one that has the similar shapes but
it has a bigger size. It's giving the more
amount of resolution, but in the same two k that
we are using, this is good. One, It's just like the textile density depending
on the amount of the mesh, on the complexity and
all of that things. It's going to give that details. So let's go for this one
and see what we got here. And I'm going to do two
k for this one as well. Okay, Now we got 3
million on this one. And on these areas also, we can go and try
to smooth them out, something that we
will do later on. So let's see about this
one, these hero pillars. Let's go to k for
this one as well. Now we're getting more than
a million polygons on this. And the good thing
about DynaMesh is that it's going
to solve a lot of the geometry issues
for you and give you perfect topology
to sculpt with, for example, on this, on this one where we had
a problematic geometry. It's fixed it and placed
some extra polygons in here. And you see this is the
polygon that ZBrush created itself and it has
a different polypeptides. And if you are going
to unite that, you can hold down control and W to make it the same thing. So now this is it. You see we have ugly geometry, even topology, and a lot of
problems on here as well. You see that we have a backflow. So let's hit DynaMesh and
see the result of that. It's going to be a very good for distributing the polygons. So now you see we have even
co-opt topology everywhere. It's perfect. Dynamesh
is a game changer. Let's go for this one,
which is the last one in here because we have some
uncapped geometry in here, it's going to cap it, I believe. Let's study to k and do that. Yeah, It kept it in these areas, but looks like we need
to remove these as well. So let's go and try to see
what we are going to do. We have some of these
parts to be sculpted. Especially this one is to C, G and has a lot of sharp lines which we're going
to take care of. Okay? We have DynaMesh, this one. This one already
has the details, but some edge damages
and things like that might be
necessary for this. And for this one as well. We're not going to
do a lot of things, just some vertical horizontal page damages to make it better. And the same goes for
this one as well. And you remember that we had these cap pieces that
we're not going to do actually anything with because these are going to be
exported in Unreal Engine. Of course, before that, exported to substance and then textured and important in
Unreal Engine directly. Okay, now we have a bit of a sculpting to do. For this one. I have the references
and I'm going to make it something like concrete. Basically. This is going to
act as a panel that everything is going
to stay on top of. And I have something like
this one in mind for it. Nothing too special. It's going to act only
has a standard platform. And I was just thinking about
carving this window in it. But I feel like that
we already have a lot of windows on that museum kit. So I'm not going
to carve a lot of windows in it. This one as well. It's going to be a generic
piece because this is only one piece that is tiling horizontally and only in
horizontal direction. Since we have only one of it and it's going to be so tired. I'm not going to add
lots of special details, only some wear and tear. To solve some of these sharp
lines in here you see this doesn't have a silhouette in here when you're
looking at that. You say it's only a rectangle, but we are going to give
a bit of silhouetted add. Just like always,
I'm bringing in the trim smooth border and start to solve some of these edges so that
they're not so sharp. So if you want to make it as smooth as it
can use without alpha. But since I'm going to be a bit more aggressive sculpting
some of these details. I might use this Alpha. Just try to be vertical
and direction. And try to hit some of these edges to give a bit of feeling of
concrete on this one. Okay. Let's make this one
bigger a bit so that we are harsher
when sculpting this. And as I said, I'm
not going to add too much special detail on this one because it's
only a single piece. And it's going to
be repeated across. And it's going to give us some problems and unnatural
things happening. Let's do some shape
breakup in here as well. And do not try to be so special about the sculpting
these modular pieces. The more generic they
are, the better. It will be. For example, if you have
something like this, bringing a dam standard brush. If you have something like this and it's going to be tiled over, it's going to really
break the immersion. And everybody is going
to notice that this is a single piece and being
repeated all over again. Okay, let's try to
make this bigger and try to give this one a
bit of more shape as well. And for the backside, I'm not going to actually
do anything because that is going to be hidden and
nobody's going to see that. So I'm not going to do anything. And maybe to save a
bit of texture space, we delete that backside as well. I'm talking about here. We may delete this one
because this is occluded by the building staircases. I believe this is
enough for this piece. And notices getting
specialty bit. Let's go and try to make these
areas refined a bit more. Let's trim smooth border
is really a special brush. It can do a lot of cool
things with it and get amazing results every time. Then you really do
not need to always be subtracted using the soap. You can hold down Alt to add a bit of volume and
then knock that out using the same method to make it really
look like concrete. And using this trim
smooth border, you can do a lot of
things from woot, from concrete and from a
lot of things that you can imagine of how you can create them using this
trimmed smooth border. And I'm giving some shape
breakup in here so that in normal map they appear
as strong as possible. So you see that now we
have some breakup in here that makes it look
more good, unnatural. The previous one just
was like plastic or really fresh iron piece. So let's make this part
a bit more like this. If you want, you can try to add some of
these edges, okay? I feel like it's already
enough for this one and the rest of it we're going
to deal with in substance. And we might add a lot of
special details there. But if you want to
add some details, you can bring in this
term standard and do some general things like this. Make them as directional
as possible so that this one flows in
this direction. Just something like this. And a real thing happens
when you bring in the trim smooth border and
start to sharpen these. You're going to see just in a minute why we're
adding these lines. It doesn't matter if you add some stronger lines
and some weaker lines. So just go and try to be directional with this
trim smooth border. It can make it a stronger Andrew additive and subtractive. All over. Ready to add some details so that the normal map,
we'll bake better. So although it's not
adding so much detail, it's going to be prominence
where you're going to take the normal
map inside substance. And of course, they
can be additive in some places and subtractive
in some places else. Okay? Now, this is a good amount of noise that we added in here. And if you are going to visit the details that you have added, you can bring in other math
caps and try to use them. For example, this one, you see that it preserves
a bit of more details. It's not going to do
anything to the details. It's only going to sharpen
them for the viewer. And it's not actually
doing anything. It's only showing you the
details a stronger or weaker. So you see this one shows
more of what we have done. So I always make sure to check them to say if you have
added enough detail or not. Now let's bring this one. Let's see what it is. I'm not going to do anything
with this one. Let's leave them for later. Let's go for this one. And this one already doesn't
add lots of details. Because if we had
add detail, again, it's going to be hidden
under this piece. And if we bring this, you see that a lot of these parts have been
hidden under this one. So actually, we're not going
to do a lot of things, but only some small shape
breakups in these areas. So I'm going to bring this one up and having this
one on as well. Okay, let's go and try to
hit some of these edges. And I'm going to turn this
off so that I'm able to select these edges better and do some shape
changes on them. Okay? I'm gonna go slightly. Move these edges so
that they are not so uniform and plastic created. You see all of them are so sharp lines that are
really not so natural. So instead of using
trim smooth border, you can go use the Move brush, which you can find
by hitting B and V. Okay? Now it can
displace these a bit more so that they
are not so sharp. Just a slight bit. You don't want
something like this. Just try to be slight with them. A bit easy and add a bit of shape breakup
so that they are not. So CGI created and
plastic looking. Okay. And let's go
for this one as well. If you're going to add
some procedural noise, ZBrush allows you to do so. You can go in here
in this tab and you can bring in the surface tab. And in here we have the noise. So you can go and
start to preview the noise that you're going
to create. So this is it. You can bring in
the noise scale up, you can bring it down. You can do to fall off, you can title it, offset and all kinds of things
that you can do. And of course in
here you can add a curve to specify which
details you want to add. For example, this is good, but let's make the noise go
in instead of paying out. So let's Control Z once. And let's do their strengths. Something like this. This is a scale. This is the strength. Let's bring that to a negative
way. Okay? This is it. Now, hit, Okay. And now you are previewing
the noise in here, but this is not
the actual noise. In order to get that
apply to the mesh, you can go and hit
Apply to mesh. So you see the amount of noise. Let's go once more
applied to measure. So now we have some noise in here as well today
Condon normal map. But in here I feel
like on some of areas, I have moved them too much. The rock isn't going
to displays so much. So let me bring them back
on their own places. This is good. I'm leaving. Those are special
pieces for later on. So let me hide this. This is it. I'm not going to do anything. And last piece to be wrapped up in this
lesson is this one. So this one, let's go and apply the noise as well,
the surface noise. Let's do this one. Would the default noise. And let's zoom on it to
see what we are getting. And apply. Once again, apply. Now we have a bit of noise. We can use to add
the turbo smooth, excuse me, the
trim smooth border and try to hit some
of these edges. It can make it smaller. And try to beat up these edges. Just try to be so
random about it. And for some areas you
don't want to hit them. For example, if all of
your edges are hit, nobody is going to enjoy that. And you gotta just leave
some resting points for the player so that it's
not pure noise all over. And you see some of
them are bigger, some of them smaller. Some of them actually who
have done nothing on them. And basically things like this. Now, let's go and do some
edge breakup on these. And this edge breakup is one of the most compositionally
powerful tool steady can use to make your composition better and make it more natural. Let's go for this one. And in here, for example, we can add some more detail. A bit more beat up. Okay, now let's look and try to beat up some places and
leave some places on beaten. So some of these edges, again, it looks like we're
about to get done with this piece and with
this lesson as well. So you can go on to
start, add more details. But I feel like that this is enough for what
we're going to do. We have those special pieces that need a bit more attention. And we're going to do
that in the next lesson. These pillars and these
are standard as well. See you in the next one.
66. Sculpting Museum Pillars: In previous lesson,
we did these parts, these more generic parts, and now it's time to go
for these special ones. Because this backside was empty and we did DynaMesh
to fill this. This now has a
separate poly paints. And if you hit Shift and F, You see that this has a separate color to
all of the mesh, as well as these ornament parts that have been connected here. And this gives us an advantage. If we want to actually
delete this part, you can select a poly paint, whatever actually is on this
poly paint and deleted. For example, you can
hold down Control and Shift and selecting
this poly paint. This already isolates the
piece that it has created. And given that new PolyBase, if you want to invert mask, you just shift Control, left-click in there
to erase the mask. But if we want to actually
invert it and show other ones, you can hold down
control and shift and drag so that it
inverts the mask. And now you are seeing this one. And now we have a shortcut in
here that is delete hidden. And now that we have hidden that part, it's going
to delete that. And if you're going
to bring that, he can go in the geometry tab. And under this Modify Topology who have this delete hidden. And I have taken that and
brought that in here. And just mind the active points on this one when I
press delete hidden, and you see that the total
number of drops down. So now if I again hold down
control and shift and click, nothing is going
to happen because that part has been removed. And this is basically what
I'm going to do and I'll Control Z couple of times
to bring this back. When we made sure that
we finalize this, I'm going to come
back and remove this part with only
a single click so that we do not need to put extra geometry and texture
space for this part. This is why actually, I'm not going to
go there and hit Control W to unite everything. So for this one, I actually
want these to be separated. Now again, shift and
F to hide everything. And I'm going to do some
general sculpting on this one to make the shapes
a bit more interesting. So again, I'm going
to grab this fall off and let's make the
fall of EBITDA stronger. You can hit a space and
hold down the space. Actually bring this focus
shift all the way to the hundreds so that they get the sharpest
scopes in there. So let's try that and see now the Skulpt is a lot
more aggressive. This is basically
what I'm going for. Hitting some of these edges to really knock that CG fill out. Okay, let's go and see the
results from all sides. And you see, it's now becoming
a lot more interesting to look at then what is
actually was before. Generally one of the weaknesses
of these modular kits is that I'm not able to put a lot
of custom details in them. For example, if these were
some hero pieces that get used only once or twice
throughout the whole game. You can actually put a lot
of more details in them. But since these are actually pieces that are going to be
repeated a lot of times, if you put so much
custom details in them, it would be really bad for
the immersion of the game. People are gonna notice
that you have put a lot of special detail in them. And they're also going to repeat over and over again
throughout the game. And everybody is going to
notice that you have used the one-piece to create a game. And it's actually going
to kill the authenticity. So you want to only build up some general shapes to make it more interesting to
look at actually. Let's go, hey, these
parts as well. Right now, I'm only
going four edges. And this has just sculpting
as well is one of the most important
ways to really kill that CG look that we know from all of the things
that we have created, these sharp lines actually are not so common in real life. Even if you're going to create
some sci-fi things that have a lot of panels and a
lot of things like that. Sharp edges will kill
the authenticity. And you want to avoid
them as much as possible when you're
going to create a game. Okay? Now you see, you can compare this part too. Upper part and see how, how realistic this one is as a real life object
compared to this one. Let's go to the top. And actually I'm going
to smooth this part. Alphabet. This looks actually
nothing like a concrete. Just hold down Shift
and try to paint the smooth in a lot
of these areas. And let's smooth this
part out as well. Just drag a line and
it will smooth it out. Now, let's do for this one and do not make it so chocolatey in
terms of a smoothing. So let's go. Again, I'm going to
bring the turbo smooth, excuse me, trim smooth border and starts to hit these edges. And this alpha really
makes it aggressive. The way that iron, Excuse me, concrete has been a sculpted. They will actually look
great when we later on bake them onto the low poly. And we'll add a lot of
details on the normal map. And as well as when
we're going to build masks inside substance, that is going to be very good. And make sure that
whenever you have some of these CG lines, just go. And a sculptor and soda, you do not have a lot
of these sharp lines. These sharp lines belong to the previous generations
when artists were limited to using only some limited
amount of geometry. But now, nowadays in nano, we can actually sculpt
lots of details and bring the film quality
prompts into Unreal Engine. So really, actually there's
no point in bringing lots of CG lines in there. By CG lines, I mean
the lines that are so pixels sharp,
just like this one. So try to add the sculpt
as much as you can to make it really
more lifelike object. And you see that
it's all starting to look better when you
sculpt details on it. And actually sculpt
small details. And if you are
going to be better, uh, sculpting in a
single direction, he can hold down Alt while dragging in the
viewport, excuse me, shift to snap it to a certain view so that you're
able to sculpt better. Or if you're going to
do something like this, you can do in
orthographic views as well and start to
sculpt on your project. I believe that and
all of these parts, this is going to be the most, the most difficult to UV. When we bring this into Blender. It has a lot of
paneling and a lot of planar changes that need
to be taken care of. So let's try to get all
of these areas so fast. And something like This
isn't good for that. So I'm going to, we'll make it look
like concrete. And it can actually bring Ziad with the term
smooth border as well. Okay? Now, it's time for this one. Just try to hit the edges
and you're good to go. You can, in some places at some details and in some
places subtract some details. And it's subtracting and adding work together,
pretty good. And that's as easy as
holding down Alt to make it additive or subtractive. Contrasting to the main
motorists in if it's Ziad, a new hold Alt, It's going to make it
this up temporarily. And if it's this up just
like the trim smooth border, it's going to make it Ziade. Okay? Now you see how much realistic this is
starting to look at. Okay? Now, I'm going to
sculpt this top panel. And for zooming out, you can hold down Alt
and drag and left, leave the Alt and then drag
again to zoom in and out. Let's bring it here.
And I start to sculpt. And since this one is
a directional piece, I'm going to sculpt directionally only
on horizontal ways. And do not be so short
on them as well. Only break some lines. Okay. We could do some sculpting in here to make that
line better as well. Okay, Now, I believe
that this is going to be it for this phase. And the next May 1 be in this center piece
that we have here. Okay, Let's not be so
radical and sculpting these details in here as well. I can come in and start
to paint some details, smooth it, and paint some more. This panel lines as well
need a bit of a sculpting. And let's do this way and
try to hit these lines. I'm a lot happier a sculpting
horizontally always. When I find something that
is vertical but actually rotated the other way around
to be able to sculpt better. And always I'm going to
sculpt horizontally. That's really a matter
of personal preference. And really what you prefer. Something like this. I'm always, you see that from always a sculpting
horizontally and when. Facing an awkward direction, I simply rotate it to sculpt in another direction and sometimes vertically as well, for example. Just like this one. Let's add details so
that it doesn't like CG. And this is good. Only. I need to sculpt on some of
these outer panelists as well to kill that CG lines that are really bad
for composition. So let's make it additive
in here, smooth. Then sculptor bit more. So you see that this is now
becoming a better special. I'm going back. I do not want a lot of really noticeable patterns in my sculpting for modular kids. Okay. The reason and I'm
not going to insist that I've already told
that a lot of times. So let's go and finish this one. And for this part, now that I'm looking
at this, it's alright. And then after that,
I come in here and do a bit of publishing on
these ornaments as well. But for now, let's go for
this paneling as well. And hit that a bit. Make it more realistic. This trim smooth
border is one of the greatest brushes that
I have ever worked with. It works in a lot of situation. Hard surface, natural, organic, concrete,
wood, everything. You're gonna do, this trim smooth border is the way to go. And even combining the
true smooth border with **** Standard brush will give you a lot of cool
results in everything. And you can sculpt, hold kids only using these two. Okay. Not that one. Let's look at this and
this is good as well. So now in order to make
these ones authentic a bit, I'm going to go and
start to really sculpt some general details
on these so that these are not so sharp as well. Just some general
sculpt things to make things look like they have been living in centuries
or things like that. So a bit in here as well. A bit of a sculpting
these parts as well. Okay, let's go see it. This is a very good
and I'm happy with it. And now let's go for this 1. First, I'm doing
the outer shape. Later on, I believe
that this is going to be a single part for the UV. Uv, this one only to
us, simple Ireland. So let's go back and try to paint some
general damage details. And just smooth stem
cell that is not so visible and smooth these areas. Now, I believe that we're
happy with this one. Now I'm going to
go Control Shift. Select on this one, Control Shift and
left-click on this. And on the outer part where
you have no geometry, you can hold down Control Shift, drag to invert the mask
and delete hidden. It's going to delete that part. And then whatever you do, it's only going to
maintain this piece. Okay, this is done her now
I'm going to save this. If you want some general
dirt and grime on this one, you can go to surface
tab, bring the noise. And let's visualize the
noise that we are adding. This is too intense. I'm going to make
it a smaller so that it looks just like
the concrete with a lot of these noises spots,
something like this. And let's do some
profile changes to make that more prominent. Now you see we have some bigger spots and
some smaller spots. So all of this is good. I'm adding that. And let's see. And apply to mesh. Bring one small apply until we're happy with the
amount of noise that it has. Okay? Now, this is pretty good
and it's starting to look like really concrete piece. So let's go back and
see what we have here. A lot of geometry. And now we have these pillars
ready to be sculpted. So let's just start
with this one. You see that it already
is looking like just a sci-fi object with a lot of CG lines that
we're going to sculpt. Okay, Let's go contrary to give this a bit more shape.
And I'm going to be. Fast on this one because this is only going to get
the edge treatment. Not a lot of specialists, cops on the surface. It's going to be all about the details that we
add on the edges. So hit some edges, leave some of them untouched. And do something like this. And really sculpting, get
some time, get boring. Especially if you have a lot of pieces to be sculpted out once. It might get borrowing a bit, but this is unnecessary
parts of it. And now you see we have a bit of silhouette change in there. And now let's go for this and try to hit
this parts as well. So let's make the brush
bigger and try to hit some of these
edges. If you want. Again, he can bring in
the dam standard brush. And I start to
sculpt using that. Now. I'm only adding these exterior edges
that contain the shape to really alter them and create a normal feeling for those cylindrical pieces
that we had there. I'm not actually going to do
a lot of details on them. I'm going to rely heavily on radial
symmetry to do a lot of a sculpt and maybe doing some specialist scopes on them
to make them feel unique. So on this one as well,
you can go and bringing the radial symmetry to help you, although this is
another radial piece, but you can get some sculpts in a lot of places pretty fast. And if you love them, you can keep them and if you hated them, you can delete them. Pretty easy. Let's go. Let some of these edges as well. I'm going to do this
row by each other. So only some more remaining. I'm going to try to be a bit faster on this so
that we sculpt. Maybe in this lesson and in the future one, and finish it. Again. We have some pieces
to be sculpted again, maybe we create a door pieces and bring them and
try to sculpt them. Let's try to be a
bit faster on this. And just take a look at the
silhouette. It's great. You see that now
we have a lot of gray curve in here,
which is great. So for this top part as well, Let's go and try to
hit this as well. Only some general strokes. Now, I believe that this
is enough for this part. You can go ahead and
start to bring in that surface noise to make
it more refined as well. So you go to surface and bring the noise scale down and try to make it a
bit more specialized. Something like this. And applied couple
of times to get more details on the
surface that will show up in the normal map
and substance bake as well. This is good. Now
the next pillar is ready to be sculpted. Let's go for this
one. Then this is it. And now we're on
this one as well. We're gonna do
some general edges sculpting to break
their shapes as well. So you have seen me do this. I'm going to pause this one and a sculpt some edges
and get back to you. Okay? Just like this one
and not so special. So let's go to surface
again and start to add some details to bake
in normal map surface. Then you can start to
invest more on this to add lots of details. So the noises can
definitely bring it down and try to add some subtractive and
some additive details. And let's make the
noise a bit smaller. I mean, in terms of toiling
and added a couple of times to get some more
surface breakup as well until you are
happy with it. Okay? Now I believe that we are
left with only these pillars. And since this one is
a cylindrical piece, we can really rely on the radial symmetry
to add some details. So I'm gonna go and
transform, activate symmetry. And since this one is
really in the center, I believe that it's going to be a sculptor
without any problem, but if it had problems, we can simply go to local
cemetery and do the sculpting. So let's do NY. Now. Let's try z. I'm going
to make it radial. Node z isn't working. Let's, I believe that
it should work in why? It's working, why? But actually it's not working. The way that we wanted. So we have to go
again and bringing the local cemetery so that we're able to sculpt lots of details. So I'm gonna go make it
something like this. And I start to
paint some details, only some general details. And I'm going to bring the
number of radial count down. Do some sculpting
on some places. And then after some time, I go back and refine
these better. If you want to actually, if you do not want it, just leave it the
way that it is. Okay. Some really general details. Now let's go. I hit this more. In some places. It's some of the edges so
that it's not looking. So plastic. I believe that
this is good for this piece. Let's go in here and
start to hit some of these edges and break up the shape on this
top part as well. I can take this and
smooth it out and try to sculpt it just a bit to make that surface
that we liked about it. So let's go and try to
hit this one as well. And you say How fast? With this symmetrical detail, you can add some more
details in there. So let's go back and
try to paint some more to make it more like
the piece that we need. Okay? This is enough for this piece and the rest
of it is going to be handled by the normal map and the substance
detail as well. So let's go. This is the latest
one. Let's take it. And local symmetry turned on. Let's go activate
symmetry, radial symmetry, and bring the number 27 or
six. And tries to paint. You see, this one gets good. Sometimes you're able to add some custom details
in random places. When you were happy,
you can actually go and try to bring it in here. And maybe later on, I will add this radial symmetry
shortcut to the viewport. Who knows to use that better. So this is the latest piece
that we're going to sculpt. And again, he can be
additive on some places and subtractive on a lot of places to make it
really look cooler. If you want it, he can
go and start to paint some extra details By hat, but I'm not actually
going to do that. So this lesson is already done. And now I'm going to
duplicate this so that we can create locally
by decimating them. So let's do the duplicate now and do the low poly
in the next lesson. And then alongside
with the low poly, we're going to create a vertex color data for these as well. I'm putting extra chapter
only for shaders. Shaders are pretty
important parts of any modular environment.
Any environment. And modular, especially because modular has a lot of
repetitive shapes in there, you need to really
take care of, okay, now we duplicate it
anything and have something like a 30 million total
polygons in here. So now I'm going to stop this. And then the next one
who will actually create a vertex color and
decimated as well. Okay, See you there.
67. LowPoly Pillars: Okay, we sculpted all of these details in the
previous lesson. And now actually, it's time
to go and decimate these. And of course, as
I'm always telling, nano it could handle this. But to make the UV
process a bit faster, I'm going to decimate this. So as always, we go to the decimation master and we
do not have any UV and poly paint and things like
that for now to be kept on this preprocessing decimate, to get so much polygons, really the 1 fifth of
the actual project. Now I'm going to bring in
color and drag it in here. So for this one, I'm going to hit Fill object. And now I'm going to go
for masking, masking tab. I'm going to bring
in the smoothness. And it's not doing
a good thing on these parts because it has decimated them and we're not getting good
results in here. So actually, I'm going back
to get the full resolution. And then from here
I'm going to separate this so that we have
this back part masked. Just hold down control and drag the mask to separate
the parts that you want. For example, this, because
this is not going to be seen. So now I'm going to go delete
it so that we do not get those problems in the
decimation process basically. Okay, now I'm going to invert the mask by control
clicking on the viewport. And then I'm going to
hold down this height unmasked so that it removes the part that isn't
mask that we created. So now I'm going to hit Delete Hidden as well
so that we have this. And now let's go
fill the object with white and now try to
bring in the smoothness. Go reverse the mask. Now we're going to paint
red in just like this one. Now I'm going to bring in the cavity mask to see
what we get actually. So let's bring this,
reverse it again. And this time I'm going to
bring in green all over. Looks like a black. So let's go back once and
bring in green fill object. This is a good mixture. Now one thing that we can
do is actually go here. Keep poly paint so that it keeps poly paint
on these areas. So now I'm going
to preprocess and having the poly paint activated, you can really prevent some of the problems from happening. So you see that we
fix the problems and now have all of those
problems solved. So this is another way. If you encounter some problems, so you can try to poly paint
vertex colors in there. And then based on that, you can pre-process and get
the result that you want. But of course, I
think we can do more. So let's do one preprocess
more, decimate again. Now we're not losing anything. And basically
everything is okay. And the amounts of polygon
has dropped dramatically. And it's a great optimization. So let's go for the next piece, which is this one. So before actually
preprocessing and decimating, I'm adding the colors first, looks like it gives
us better results. So I'm keeping this one. And the masking tab. I'm bringing in the cavity. And first while in this mode, just grow mask and
now do the reverse. And now I'm going to
bring all of them down and paint with green. Now we have lots
of green in there. Now let's go for smoothness. And for this one, I'm
going to paint a red mask. Just by smoothness, reverse
it and bringing the red. We get this pretty good. Now I can go. And while having the use
and keep poly paint, it's going to preserve
a lot of details. And do the summation. We get this amount, but this is too much. When we try to UV that. Of course, I'm telling you
that you can use this. But in order to save some
bit of time when you, when I'm going to
decimate it once more. So that we get
something like this. Now if you go hit Shift and F, You see that the
number of polygons has dropped dramatically. Okay? This one is good. Let's
go for the next one, which is this piece. So now it's all
previewing the red color. Let's bring it to white. Fill object. And now again, we're gonna go masking. Let's first start by smoothness, reverse it and give
it a white color, excuse me, a red color. Fill object. It's great. And you see a lot of the
red on the surface as well. And that is because
the noises that we added using that
surface noise, if this is something
that you want, you can keep it or if
you do not want it, you can prevent adding
those surfaces. So let's go for cavity
and reverse it. And this time I'm going
to set this one to green. This is good as well. Now, based on this one, I'm going to go and
decimated maybe twice. Okay, now I have this. Now let's decimate it once more. Okay? But now we lost a
lot of the progress. So now instead of decimating on 20% is
for the second time, maybe I do more a bit. So let's go increase it to 50. For example. Now we get better results and not
losing all of that detail. And of course,
where it's getting some jaggedy lines in here. And because I'm going to bake that high polish
on top of this. I'm not actually caring too much because this is going to be
handled by the normal map. Normal map is going to solve it. But if this was the high poly piece
and I want it to bake this one on top of it. I wouldn't have
decimated that too much. So let's go for other
pieces as well. We have this pillar now. This pillar could
be the low poly. So again, for the preview color, I'm putting white everywhere. And I'm going to
try the masking. First, do the cavity, reverse it and concavity. I'm going to give it green. Bring everything down
until we see the green and go for
smoothness and reverse it. And this time I'm
going to give it red. Fill object. Now it's black.
Let's make it red. Okay. Now this is good. And later
on using these masks, we can drive in the dirt on
these places, for example, on everywhere that it's red, we can bring in a exposed
concrete material or color if you want
to be more optimized. And we'll talk about that in future lessons in
the shader chapter. Now, it's this one. And this already has lots of details that we can
dramatically change. So first, let's make
it white fill object, and let's go masking. And for this one is a bit
tricky because it's all flat and we might get a lot of edge breakups in
a lot of places. So to prevent that, we first do this one with red and remove the mask
and bring the cavity. Let's make it a strong and
Control I to reverse it. Now, I'm going to give it green. But in order to all
using this slide, I'm gonna go in here. And for this one, let's pick up the actual green and bring this down
and make this green. So that every time I do not have to change this slide
to change the color. Basically, you choose couple
of colors and you can go hit V to switch the
colors every time and only fill object
when necessary. And this is a good
shortcut again. So now that we have
green, Let's fill object. Now it looks like we have red. Let's make it green fill object. So let's make it
that fill object. It's painting green. Okay, this is it. And it makes it a bit faster. Now, let's go for the next ones, which are these pillars. So let's make it green. Bill object. That's it. V will object to
make it that one. Then I'm going to go masking and try to mask
these parts out again. And of course, this is
the ambient occlusion. You can use it but
using ambient, so collusion is going
to take a bit of time. So let's invert
this switch colors and try to paint green. And for smoothness,
let's mask it out. Reverse it. And I'm going to select this one
and bring in red. Remove every other data, and hit V Fill object. Now the red on this
one is too much. Actually, I can go
back and try to weaken the mask a bit in the range. Let's use that one, reverse it and fill object. Now, it's a bit better. So now I'm going to decimate it. I'm bringing the number to 20%. Again. This is a good result. Let's go back another step
to see if you get something. This one is good and acceptable. I can use this actually. So let's go and do the next one. And I believe for this one, we didn't decimated actually. So I'm gonna go pre-process while having the
use and keep poly paint. And let's do
decimate, decimated. And one thing about this mesh, it has a lot of complexity and a lot of the parts
are hidden as well. You see these parts
are all hidden behind that piece that we
put on top of this one. And it has a lot of complexity
for the UV as well. So I might really rely on the
auto unwrap for this one. Who knows, I might do that. So in order to prevent
some problems, I'm going to do the
decimation once more. And again, instead of
bringing the number to have, I'm going to do on
that one as well. So this is good. Now let's try to zoom on it. You see, although
we're getting a lot of chunky things in here, I'm not carrying too
much about them because a lot of these details
are going to be hidden. And the low poly is going to hopefully is going to
be baked on top of it. But to make the moving
process a bit easier, because we have a
lot of these edges and these edges are
need to be selected, converted to seem and so on. And you can see that I
might really to test automatically unwrap on
this to see how it works and if it did a good
job, we keep it. Or if it didn't, we have
to do the UV and manually, which is a pain for this one because it has a
lot of seems to be cut and normally all of these red lines need to be selected and convert it to seem. Okay. Now, let's
go for these two. And hopefully these are the
latest parts that we can use. Okay, let's go on top and make the color white. Fill object. And let's bring them all down. The masking. Again. I'm going to go for cavity, bring it up, reverse it and
give this one a green color. The red to be 0 and
green to the full value. Now by smoothness. And smoothness is too much, little bit ragged
and make it smaller. And now I'm going to paint red. This is about it. And now let's go preprocess. It did it. Let's go
for this number. And this is too much again, I'm going to preprocess
again and this time put the decimation to have just
like the previous column. This is a good amount. Now we arrive to the latest
piece that we need to take. So let's go in here and again, bringing the white for
the default paint. And try to mask it out by
going into this masking tap. So smoothness and make it red. Now a by cavity, I'm going to bring
in the cavity up, reverse the mask, or
let's make it more. Reverse the mask. And I'm going to paint green 0, everything out except for green. Okay? Now, this is good
for green as well. And I'm going to
decimate this again, not again for the first time. Now let's put the percentage to 20 and decimated to
get this number. This is actually too much. So I'm going to do once more. And since this one
is the top piece, I'm not going to do
that on Tuesday again. Instead, I'm going
to take this number and decimate. Okay,
this is good. And we have some general
dirt on this one as well. So now what I'm going to do
is actually taking all of these low poly wants
and make them active. You can visit them
just like they have the poly paint
and vertex color. And it can really
bring them easily. Just turn off the
visibility icon so that you can see them. Now I'm going to go and exports all of these to Blender
and a star to UV done. Okay, now I'm gonna go to
export and as always sculpted. And I'm going to name
this one HB simply. I'm going to export by visible with all
of these settings. Okay? Now we are in Blender and I'm
going to do one thing. I'm going to import
them right on top of this so that I can borrow the names and the pivot points from these points that are here. But before that, they
need some things. And I want to save a new
version of this scene, just a new increment file. And now I'm going to take
this one and this one, delete it because these
were attached to this. And when we picked up. The period and
everything from this, I'm going to remove it. The next thing is
about this and okay. This one is separated as well. These were attached. I didn't know that. So now I'm going to import
them right on top of this. And again, as
always, just import. And I'm going to bring this up. And now they are in place. And we have total eight pieces of a sculptured objects
that we can use. Okay, now I'm gonna go back
and select the pieces. And I start to rename to the
period and things like that. So now these two should
be the same piece. This one and this one. Basically, these are
the same pieces. So I'm gonna go take this, which is the high polygon. I'm going to borrow
the name and add lots of zeros after that so that we can give the name to the previous one on this one. So the naming is very important. And after giving that name, I can actually create
a pivot for them, but the pivot DC for this one, since it's in the center, it's going to be alright, so I'm going to
take this one and remove it so that
we have this piece. Now I'm going to take this one, drag it out so that
it's not in the way. So let's actually
not drag it out. But take it and added to
the low polyphonic LP. And this is the low poly. And later on we will bring in actual how you Polly
as well to give them the same materials and
basically things like that. So this one, and now I'm
going to hide the low poly. Now let's go see these two. And you can basically
select them by going in here and picking
up these two corners. And this one also has the
same pivot as this one. And since these are centered, again, it's not
having any problems. So let's select the original
piece, copy the name, add lots of zeros after that, and I'm going to remove
it and give the name to this one and
simply add this one. The low poly
collection to hide it. Now it's time for this one. So I'm taking this plus
this has sculpted one. So let's see what
we have selected. This and this both. Alright, so again, bring
the name from this and delete it and give the
original name to this one. And this naming is
very important. Make sure that you give them there so that we do
not have any problems. So these two are the
same pieces as well. We have two objects. And if you're not seeing
this, it's very helpful. We can go in here and turn on these statistics so that
you can see something. For example, if we have selected wrong objects and
things like that, this is going to be
a good indicator. So copy the name, remove and paste the name in here and add it to the low poly. Let's go see what we
have in the low poly. We have this one, this one, this, and this is okay. So let's hide it again. And on this one, Let's pick up the high poly and
first see the pivot. The pivot is alright. And actually it looks
like keeping them in the center will help
keeping the pivots as well. It's a good idea to keep them
centered and export them to ZBrush and then important
back on the center as well. So that all of the pivots or stay in the same
place as for example, this one had to pivot
in here as well. So it's always good to center
the pieces and then export them to ZBrush soda do not
have those pivot problems. So I taking the name from this, delete it, and paste
the name in here. And low poly collection. Now we have these two that
need to be sorted out as well. We have this that
is not relevant. So let's go back and
only select these two. Okay? Now the selection is alright. Take the name and actually the name on this one
isn't as important. But anyway, let's take this and give the
name to this one. Because later on
this is going to be merged with the
piece beneath it. And let's select it low poly. And now this staircase
is remaining only that we need
to take care of. That the name, delete
and paste the name in here and give it
to the low poly. And this is the last piece. I'm taking the name from this, remove it and paste the name
in here and load value. Okay, now we have the low poly
wants perfectly in place. And then you need to make
sure that we bring these in here as well to the
low poly folder. But we need to add a descriptive
name for them as well. So let's pick one of these. I'm going to copy the
name and to this one. Let's see what it is. I'm only going to cap this name, this kappa squared and
name the previous one. This one. Cap circle, so that the
name is descriptive. So for these two, the UV is already done. And when we export
these in substance, we make sure that we bake
these on top of themselves, contradictory to these ones. When we have to bake the low poly baked a high
value on top of low poly. This is going to
be the high-value Antelope Valley
at the same time. And then when made sure
that you take these, we might export this into unreal and to use it on
a smaller pieces, we simply take it and we
scale it and use it there. And maybe using
the prefab system in Unreal Engine to
be more efficient. So now to test what
we have created, I'm actually going to
import these into unreal. It's only a matter of
personal preference. It gives me motivation
to watch my pieces, go in and try to make
things together. Now, these all belong
to the museum kit. So on the buttocks as well, I'm going to make
sure that I select the museum folder,
unexplored them there. Some of them will get exported
on top of each other. Some of them need to get
exported and then re-import it. So first things first, let's start with this one. And of course for now,
I'm not going to add this to this one because this is
going to be a separate piece. I bake it later on on top of it. So I'm going to take this 1 first and
export it than that, find it, and try
to hit re-import. Now, discard, reimported. And since this material is
applying on top of that, we're not seeing
anything from that. When we texture these
and made the UVs again, we will go only right-click
and reinforce again. But for now, I'm going to see how the scene is
going to look like. So the next piece, let's take these pillars. And this is the
cylindrical piece, and let them take
it and export it. And I believe that this is
going to spawn on this one. So let's take it, this has the same name. So I'm going to
take it, reimport. And now we have this one
ready to be executed. But instead of
placing it in here, I'm going to use this
one in here instead. Because on these corner
pieces we wanted to use those square ones
on these corners. So instead of reinforcing again, I'm gonna go select
the smaller square, which is this one,
and export it. And since this one
is a new file and not included in Unreal Engine, I'm going to go and hit Import. And this is the piece in here. By the way, upon imports, let's bring in the
vertex colors as well. So this is it. Now, I'm going to take
this one, bring it here, and use this one, and
replace it with that mesh. So it's not doing anything. Let me bring it manually. It looks like I've selected
the wrong thing, excuse me. And this is it. Okay. Now this is better. I can take it in and
bring it in as well. Now let's take this one
and this one is alright. So let's take this one
and replace it with these as well. Okay? Just this one here. And I'm going to take
these, of course, take these, take these three and re-import
my mesh in here. Okay, good. I'm
thinking about this, getting and deleting it because we didn't create
a piece for this one. Now, I need to bring in
this bottom pieces as well. So let's go back
and bringing this. We need to export this
one as the bottom piece. So it needs to come up
in here to be like this, but I'm exporting it just
the way that it is because it's a new piece and the period
doesn't matter that much. So exports, and in here, I'm going to import it again. This is another square with the default settings
important and are broadening. Let's bring it here. Now this is the small one. This is the bigger one
that we wanted to use. So I'm going to bring
it up until here. And I'm going to
replace it with this. And it looks like this
is too big of a mesh. I can take it and bring
it back just a bit. Let me see how it is. It's actually looking good, but for now I need to
bring this ground piece, ground panel as well. So let's go and export
this one as well. And import it back in here. And this is the ground
platform and import. And since the snapping is on, it's going to be perfectly get placed in the place
that it should be. So let's use this portion
for now and bring it here. Let's see. I can take this one and bring
it down just a bit more. Looks like it needs a bit
of manual work to do. And it's doing good. This one above is going to
hold that ornaments as well. So this is now
starting to look good. And when we add the textures
and all of that details, it will really look good
and detailed as much. Now it's time for this one. And I believe that we have
a piece for this in here. Right-click re-import. The piece has been replaced. It looks like we have
some problems in here and maybe you fix this later on, maybe deleting some
parts of the mesh so that it doesn't get in
the way of this one. When you say how much detail, even without adding a single
texture to that is working. So I'm going to take
this, take these two. And let's bring in
the snapping turned on and place these two. This is working, right? I need to take these two
and bring them once more. I believe it should be just
like the same as this one. Now let's bring
in the ornaments. So this one, let's export. This one again, needs to
get exported as well. So they got imported and
now let's bring them in. And these two are the foils. And depending on your machine, it might crash when you try
to bring them in as night. So if you encountered a problem, just bring them in as regular measures and convert to narrow it as well later on. But if the problem
persists, again, he can go and decimate
the measures, bring the polygon lower
and bring them in. So let's import these two. Quite important as well. And now instead of placing
single instances in here, I'm gonna go and use the prefab system to create them and you see
how details these are. And maybe later on, I import these into
ZBrush to create a vertex color data
for these as well. So in the next lesson, we'll actually start to talk about the prefab
system and how to use it to get a bit
more faster workflow. Okay, See you there.
68. The Prefab System: This is right where we left
off in the previous lesson. Now, we can bring in
these two, for example, when to start to dress
the scene with them. Example, we can take this, bring it up and do
all kinds of things, but let me take it and bring it back so that we
have something like this. You see that we can do pretty easily with that and
it's going to work. And if I take this
one for example and do a snapping again, I can bring this one and exactly placed this on top of
here without any problem. But there's one problem
with this approach. And that is really you have to select multiple measures
and do the work. But you can use the prefab
system in Unreal Engine using blueprints to create
prefab blueprints, for example, combine
multiple measures. For example, this
particular mesh have been composed
of three parts. One ground piece, one
pillar, and one copies. Instead of bringing them and selecting them all one by one, we can convert those into
one mesh while having the references to the
original measures that when we change
something to that, they all are going to be
reflected in the prefab. And what are
important? I noticed that we have some
materials in here. If we want to delete them,
you can simply choose this filter and use
material for example. And now these are the materials I'm going to take
them all except for this one which has
The texture to it here. This belongs to
the first chapter. So I'm going to take them
all and delete them. And this is going
to force delete, no problem, just
forced the liter. Now we do not have any
material on these. And it's great.
So let's go back. And we can use the prefab
system in multiple ways. One is actually creating
blueprint classes. The other is converting actors
into blueprint classes. For example, let's go
in here, right-click. You can bring in
the blueprint class and bringing an actor. And you can use spawn
measures in here. Or the other way
round is actually selecting an object
that you like. For example, this ground piece. You can bring it in and in here. You can convert
that into a class. You can go in here and convert selection
to Blueprint class, basically whatever you do. But one way is actually
taking this and importing. And if you see
something like this, you want to open full
blueprint editor. And actually we're not
going to do any Blueprints. We only with this
viewport system to actually drag things in it. You can go into
this component tap and bring in a static mesh. And you're not only bound
to a static measures, you can bring in anything that
you want. From this menu. You can choose a static
mesh that you like. For example, let's go in
here, select this one. In here. I can bring
in this Static Mesh. And the period you see
is in place as I wanted. And if you want to
make this the route, you can take this, bring it here so that
this one is the root. And when I compile that, if I bring this in the scene, I'm always getting this one. And the pivot is belonging
to this one as well. And now let's do one thing. And that is actually
building on this prefab. I'm going to open and again, a static mesh
components as well. For example, this time, I'm
gonna go select this pillar. Let me select this one and find it in content
browser. This is it. I'm going to bring it here. And right now you see that
this has been changed as well. So I'm going to take
this bring it up. Looks like we need to do a
bit of fixing, manual fixing. I'm dragging it down, compile and you see that the changes have
been affected there. So now I'm gonna go
and drag this pillar, for example, into here. And you see that it has added to here as well without actually needing to
go on selecting one. So I can take this, bring it up. Okay, Let's place it
the way it should be. A bit of manual fixing
on bringing this up. Now it looks like this is done. It can compile, save. And now every time
you drag this end, you have these three elements working with each
other perfectly. And also, you can take this, delete them and
only use this one. Of course, we need to bring
in the snapped one cell. This is the power
of prefab system. You can bring in
multiple measures, combine them, and create
things like that. And I can take this
one for example. And I can delete
them, bring them. Here. And you can
actually combine multiple measures together to create the results
that you want. And it's actually a pretty
good system to use. You can create and
combine multiple prefabs. You can basically do a lot of things with
these prefab systems. But since we're now not concerned a lot about
this prefab system, we're not actually
using it that much, but it's good to
learn that it exists. And you can combine
multiple measures to make your work a lot faster. If you're going to create a huge level from
these measures, it makes sense to actually go and create these prefabs bit. But because now we're
working on this small scene, It's not that much needed. So let's go and start to do the same for these ones as well. This is a square.
I'm going to bring this square and
let's bring it up. And as always, not as
always as for this one. A bit of manual fixing. And I'm going to scale that
and just scale it a bit in this direction in x and y so
that the Z stays in place. Now, this is it. And
I can take this one. Let me bring it down until
we see something like this. Or I can bring it up. And I scale it in x
and y to make sure that it's lining
perfectly with the edges. Now you see how
detailed these get. Now I'm going to turn on
snapping and bringing this up. And since this one is a snapped,
it's working perfectly. So for this top piece, I can take this one. And actually let me see if I can rescale this quiet much
to see what we get. Now, it's not a great
results particularly. So instead of that, I can take this, bring it in and try
to place it there, make it bigger just a bit. And the bit of manual fixing can really take this one and
resize it to fill this part. And I felt like this is better. Of course, that's
personal preference. You can go and create a
single match for that, but you see that? Let me look from the
eyes of the player. You see that it's
not so obvious. The only thing that
we're seeing there is the general shapes and
something that looks ornament. This is good now for this part. And now let me take these. Then I'm going to bring
them right to the side. So this one's right in here. Now, I'm gonna take this one as well and bring it
on top of this. Since this is symmetrical, it's going to work on both
sides of the buildings. So now it's actually time
to start working on these. That means take them. And it looks like I
need to re-import this piece to bring in
that larger pillar. This is it, did it. And now let's go right-click. We import and reset so
that we get this one. So I'm going to
bring this right in here and drag that down. Bring it here. Just like this. So let's bring it up. It looks like we need
to take this one. Now take this and bring it here. But looks like we're
getting some problem because these pieces are going to create some ugly transitions, which something like this is never going to
happen in real life. But anyway, I can take this
and make it a smaller bit, bring it up and make
something like this. This is actually looking good. Let's do a manual change and
bringing it down so that it covers this bottom part of
this one. This is our rate. And now I want to bring that cap part that belongs to
the circular piece as well. Let's bring in the snapping
and now drag it here. Now I need to take
this one, bring it up, just wants to
something like this. And you see how detailed
it gets. And it's good. So let's go and I feel like this pillar is a bit
thicker than what we expected. So I'm gonna go and make
it thinner. This part. Let's see the scale, and I'm going to copy this and paste it for this one as well, so that it follows
the same thing. And this one can expound on
top of that one as well. So let's make this one
a bit more compact. And we can rotate this to something like this or
like this, doesn't matter. Now, I'm going to take these three and I start to
bring them all over. But Turn on the snapping as well. Now you see these areas we
are creating what we wanted. So this is going to cover
those seams as well. Now let me take this
and bring it up. But this one needs to be
a bit smaller as well. So let's go in here,
paste the same scale. I'm going to take this, bring it on top of this one, but this one needs to be scaled just a bit to match
that one better. So just like this, it looks like these are
turning in a bad direction. So let me go. Looking from the top. Do something like
this. This is better. You see how detailed this
environment is going to get an even without
any textures at all. Okay, let's take it and
we scale it just a bit, but I need to re-scale
it in z as well. To make it reached to
this part. This is it. Now, I'm going to take this, both of them not
in this direction. Let me bring only this one. While having this I'm
bringing only this one. And then we have some
copy and pasting to be done. On the corners. We have this square pieces which make it look
really grounded. And a strong on
this sensor parts, we have these rounded shapes that are compositionally little more appealing and it
creates a great building. So let's take these, I'm going to bring
this up. It's okay. Now we can take this
or bring it down a bit more and then copy
and paste them. Just takes a bit of
copy and pasting. And you're good to go. And I got these. Let me bring them up and done. Okay, now, we created
this building as well. Let's go and try
to look at that. That's looking great and very contradictory to
this simple buildings. Okay, Now we're getting
somewhere actually, in terms of
architectural details. I believe that we are done. And now some windows, doors, More doors and window shop will conclude the geometry part. And then after making that, we will make sure to
go at shaders as well. Okay, This lesson is done. And in the next one we
will actually start unwrapping of these and then texture them and bring
them in to test them. See you there.
69. Unwrapping Museum Pillars: Okay, now it's actually time
to start on wrapping these. Let's start with the
most difficult one, I believe. And that is this one. And if you're going to
do that the old way, creating a lot of themes
and things like that. I believe that it's going
to take a lot and you might not really get the
result that you want as well. But before that, let's
snap this to this view. And since this part
isn't going to be seen, I'm going to go and
simply delete it. Okay, we need to go in
edit mode before that. So let's select. This part has been selected and I'm going to delete it simply. We deleted that. And now we do not have that
back port anymore. So let's go create
an automatic on-ramp for this because
I believe wasting too much time on a lot of details that are not
going to be seeing isn't necessarily
so default UV map. And I'm going to go in here, select everything
in the edit mode, just hit a to select
everything and hit right-click in here. And then you can go up
buying the smart TV project. And let's hit okay. Didn't do
a great job in using data. And I'm going to
decimate this even more. So. Again, decimation master and it should use the poly
paint as well. And it did it. And now let's do once more. You can use one of these
default ones in here as well. Let's put, and it looks like
I need to do this manually. I started to play seems in here. And of course this parse, this part in here as well. This portion isn't going
to be seen as well, so I'm going to take it
and hit P by selected. Now that's a separate piece. I can go and easily
take it and remove it. Okay. Are these areas which
we have these inserts, you can go on these edges. And I start to control
select until here. And it does a good job
at selecting those. Just make sure that you go a small portion by small portion to get the
best results possible. So let's do one big portion
to see what we get. No. Now, this one is not good. You need to go and
start to click in one-by-one to create a UVC. Just so that you do not have
to do a lot of manual work. Just easy. Mark scheme. I'm going to just create
horizontal seams after this one to see if I
can create anything. If we could, we will unwrap
all of these unknowns. We didn't, we create a
vertical seams as well. So now it's only a matter of
trying and see what works. So I'm only selecting the horizontal line and make sure that it's closed
in here, which it is. So in here, it didn't do a
great job selecting those. So first, let's go in here. Select this bottom portions
that do a better selection. This is better now. This one. And select this one
all the way to here. I did these horizontal lines. Now let's go into UV
creation to say if you can, a good thing from this or not. So we simply go
to the UV editor, select everything, and we
need to create the UV first. And then while having this
seems right-click and unwrap, didn't do a good job. We had a lot of
distortion there. So I need to go and placing
these ones as well. Another row of horizontal ones. I finally did it and you see
the UV placement of them. And I did a bit of time
placing these UV seams. And now this is giving us much
more interesting results. And let's go for UV packer. Again. I'm going to set it to high-quality and bring
the padding to one. And practice that now we
get a better results, much more refined results. So that didn't want to actually put a lot
of time in this. But there we go. One more thing that you can
do is actually let me go back and bring this one
and this one together. And now you see that
a lot of these parts are hidden under
these are stones. And exactly, you can go and
start to remove these parts. Not because this is
a lot of geometry, but because we can save a lot more texture space and make this one much
more high-quality. But if you are going to keep
this the way that it is, you can go and do that. You are free to actually do
whatever you want to do. So now I'm going to do
the work on this one. And this one as well. We have some seems to
place on the edges. This one as well is as easy as going and placing the
edges around the seams just is select them and
place the edge in here. Just hold down Control
so that you're able to do the shortest
path up until here. And it will give you
the best results because these edges are
not manipulated so much. So we can easily start to
select the edges that you want. So let's select them. And of course, after
selecting these, you can start to remove a lot of the geometry
from it because lot of the parts of this one
as well who are going to be hidden and not
being seen by anyone. Including these
bottom parts in here, which you can actually use. So let me go do a demo on how
I'm going to use with this. And then I do the rest
of them off the camera. So whenever you see a
planar change like this, you want to have a UVC. This one in here. Let me select it. And I'm going to go all
the way to other side. And select this one. Now up until here. And just hold down
Control so that you're able to see what you're
going to create. Noticed, not this one. Let's go back and
bring from here. Okay, Now, just Control
and select this edge. And now this one, this has become a separate part. And just any other square piece. We need to make these corner
ones UV seams as well. Up until here. It's great. And now let's go all the way. The rights of the
piece until here. So this is it, mark seam. I'm going to make this
one seem as well. And this one, because this piece has a lot of planar changes, it might be a bit
more time-consuming, not difficult, but
time-consuming. It's not actually that
hard to create that, but it takes a bit of time up until here
and then this one. And you want to make
sure that every time you see a planar change, you put a seem to separate that. So the more planar
changes you have, the more UB creation
process is going to take one from here. Let's go back. And I feel like we can
place one in here and here. And you need to
separate these as well. No, not this one. Let's go from here
instead. This is better. Now. From here. Here, I feel like I have put the seams on all of the
unnecessary places. And everyone, we have a plane. Everywhere, we have
a planar change, we have one of these seems. So I'm going to select
this right-click in here, of course, first,
create a UV map for it. So right-click here and wrap, and you will get the result perfectly without any problem. Now he can do one thing. If you want to preserve
more of the texture UVs. I did the same thing and created the UVs for
this one as well. So let's go back. I'm hiding pieces one by
one. Are you with them? And doesn't this
time for this one? And this is a relatively simpler than what you
have already done. So let's first
create a UV for it, and then start to bring in
the UV seams has always uncontrolled selecting until I find my way through all of that, through all of these parts. So this one, let
me make it a same. And I'm going to
do one more thing. And that is actually removing this part in here as well to save some texture memory that when we later on texture
these insights substance, it's a lot better in terms of textile density and quality
and things like that. So let's bring the seams. I'm going to select all
the way through here. And because this one doesn't
have lots of planar changes, it's a lot easier
to UV that it's not so complex and not having
lots of complex details. And maybe some extra UV
seams will fix that. And since we do not have
the bottom part as well, we do not need to
UV that as well. So let's go place the seams
in here, and it closed. Some UV seams in
here, some in here. And I'm only checking the planar change in here
to see if I want to keep this piece as a separate
piece or as its own island. So I'm going to
pick up from here all the way to here
so that we separate this from the rest of it. Okay. Let's bring it until here. No problem for this one. We can get away with that. Then from here all the
way to the center. And then to the end, I'm going to put the same and make this 11 island as well. So now I believe we're
done with this piece. I'm looking at it at ducts, completed pieces,
so I'm taking them. All right-click and
unwrap it, did it. Now let's go back UVs. And this is the result
and we are happy with it. It looks like we have some
bad topology in here. So when you zoom it, you see a lot of
lines that are here. So I'm going to bring
in the knife tool. And while having that selected, I'm going to hit C so that
it becomes cut through. And I'm going to go all
the way to here and place a cut line activated. And you see that
we have done that. Now what I'm going to do is
actually selecting all of these and remove these
polygons, these extra polygons. So let's go and
do one like this. I'm going to remove them and
take this one has to unwrap. This piece is perfect now, So packing and now
everything is okay. So this is about this piece and let's
take it and hide it. And this ornament piece
and this one as well. They are already here without. Now we're left with
these pillars. Let's go and deal with them. And of course,
let's first go for the difficult parts which are, which is this one exactly
has a lot of planar changes. So he might have to put a bit of extra time in this
trying to select the UVs. But only you need to
go in one direction. It's very easy to
do in this way, but you have to put
some more time in it. It's not actually difficult. It needs, it requires
a bit of more time because of the amount of the
planar changes that it has. So I'm first going to
separate this bottom part. Okay. And it's just like that. I'm only going to bring in the bottom parts and
separate them now. And since they are so
close to each other, we have no problems controlling and clicking
to bring in the scene. So in here, I'm gonna go right in here because
we have some sculpting. It looks like we have some
bad topology in here as well. It doesn't matter as long as we can bake them
and see the results. It doesn't matter at all. Okay. Place the UVC mean here. Now, I'm going to
go for this one. From here all the way
to this top part. Plays a UV seam and separate. It looks like the planar change on this one isn't so huge. So we can deal with
something like this. So let me separate
this top part as well. This hasn't been sculpted a lot and it's easier
to select them. So I only pick these top parts. And you're good to go. If you pick the wrong
ones, you can take them. Just control Z to go a
step back and start to click to find your way in. Okay? Now, some more clicks remaining under the most
difficult part for this piece is actually this one because it has a lot of ups and downs and
cavities and things like that, but the rest of the piece is
relatively easier to create. So this is it. And now we need to go from here, from this one all the way here and put the
same right in here. And since there's
a lot of geometry, we actually do not
need to put a lot of efforts in selecting the greatest seems
just something that goes through is okay. So this one that looks like you need to place
a seam in here as well. All the way to here
and make sure that you check them to see if
they are closed or not. Those open seems will
cause some problems. So no, Let's go for this one. Excuse me for that. So this is the last one. But we have, looks like we
have some more to create. I'm going to select from these. This is just like
a refrigerator. This view, it's very
narrow and tall. So once more, I believe that we are done
with this after placing these. So this is not a
huge planar change, but this one is
from here to here. And one more. And we're good to go because we have the seams all around. Well now, the easiest pieces are those circular pieces
because there's not much complexity
in those pieces. So this one to here. And now we have
seams all around. So I'm selecting them
all in polygon mode. Of course, let's go back, create a UV channel and
go in an add-on wrap. And now you see that we have
a bit of problem in here. And let me select
it and go in here. And there should be an
open gap in the seams. Let's go and see if
you see any open gap. Yes. It's in here. You can see a gap in here. Let me go take it
and mark scheme. And this is why I'm
telling you to look closely to see if you have
any open gaps or not. So I'm going to take this and while having that
in polygon mode, I'm going to hit on
rap and they send out these two pieces are separated
from each other perfectly. So now let's go apply a
checker material on this to see if we have any
distortion or things like that. Then you can go to object
mode and turn everything off. And you see there's a bit
of distortion in here. And that is because of the long triangles that
decimation has created. So to solve this
actually you can bring in the mesh with more
resolutions so that decimation wouldn't be so radical to create so much lines. So this is good and I'm
going in for the last time and try to pack them because now we have ugly UV
on top of each other. So packing with the
default settings. And these two turned
off high-quality. And this is it and particularly
not a great thing. And it looks like that I can
bring that a smaller one and maybe make them part
of the same material. I mean, that may take
this one and hide it. And let's find this one as well. And UV this one because
this takes a smaller space. And I'm gonna unwrap
this one just the way that we have that unwrapped. I'm going to separate the
top part and then puts him and areas where we have
very radical planar changes. And you see all of these
long triangles that create distortion
in the texture are because we created
the vertex color first and estimated based
on our vertex color. And in these areas, you see that the areas where the vertex
color actually exist, let me go into this mode and see the
vertex color you see. And that is because we told
ZBrush to keep these parts, did its best to keep these
parts but has created long triangles that make
it a bit distorted. So if you want to prevent that, you can actually go and do the poly paint after
the decimation. Because we have done that
and we didn't get results like this in previous
iterations where we decimated, excuse me, in where we created the vertex color
after destination. There are two ways. You can use both of
them if you want. And here's the result. So I'm going to go and just because this one is
a similar piece, completely similar
piece to previous one. But I'm going to unwrap
this and get back to you because this has nothing
new to teach you. Okay, now I've created the seams and I'm again
going to polygon mode, select everything and hit, Okay. Again, it looks like there's
a bit of problem with these. So I'm selecting that and
go invest a bit of time. Inspect to see if we have
problem in here or not. So this is a problem in here. You see there's
not a gap in here. So I'm going to mark the same. And let's go for the
other one as well. And I can hit F
to focus on that. Let's go see if we
have an open gap. Yeah, that is here. So now with all of
them selected again, I'm going to hit on rap. So this one got
unwrapped as well. Now one thing that we can do to save a bit of
texture space is actually selecting
these two square ones. And let me hide them. And maybe we can unwrap them together so well,
having them selected. And you see this
happening in here, I'm going to hit pack again. And I want all of the UV islands
to be in this direction. So I'm going to take
this and rotate it 90 degrees in this direction so that all of them
are flowing here. So I'm disabling the
risk scale rotate and the rotation value in here so that all
of them are flowing. Its direction, okay, Now
I'm going to set pack. This is going to reduce a bit
of textile density on this, but it's going to save us
14k a pack of textures, I mean, 34 K textures
from the texture memory. So this is something you
want to think about. What is your preference? Then basically things
like that, okay, pack. And this is the unwrap
that it has done. And because all of them are
flowing in this direction, we have some empty
space in here. If you want to fix it and
use some more of that, you can actually turn
on this 90 degrees so that it places some of the
vertices in here as well. But I want to flow this
all in the same direction. So I'm going to keep
that the way that it is. So now I'm going to take this
and this square one again. And now we have three
remaining pieces. First, let me go
and select this. And I'm going to start
on wrapping this one. And it's relatively easier to unwrap because it's
a cylindrical piece. We need to have only
some steam that goes around this
circle and a seam that goes from top to bottom. Now I'm selecting just if you happen to have
something like this, for example, that the seams
go to a undesired way. He can go back and click
from the middle of the way to choose your desired point. So let's pick up again. And I'm going to do a circle
round and round this to find the point desired for
the UVC until here. Looks like it did
the wrong thing. So we need to go back and
do select from here. Okay? Now this is a UV seam. Let's do one UV seam from
top all the way to bottom. And you know the rule,
you need to make sure that this gets closed. So I'm going to select
something like this and try to rotate all
around this or not. Let's, let's not do this one because this isn't so
huge of a planar change. I'm going to take this
and bring it down and I'm selecting that to make sure that the gap is closed. So let's take all of these. And when we were done creating
this cylindrical unwrap, it's done, I mean this piece. And we can unwrap it and
go to the next piece. And because the next piece again is something
similar to this one, in order to save a bit of time, I'm going to skip that and
do that off the camera and go back to you with
unwrapping the latest piece. Now, let's try to move slowly. Looks like you've
done something wrong. Let's select from here. This control method
is very good to pick the shortest path to the
point that you select. So that it selects
the vertices in the middle and you do
not have to manually select a lot of lines that
one has seem as well. Select them all and
wrap. It didn't unwrap. And now let's try
checker on this one to see if there's any
inconsistency in the sizes. Looks like there is a bit. We have more resolution in here, but lesser resolution in here. So let's try actually
cutting this one in half. I'm finding the point
in here. Let me see. We have a point in here
and I'm going to pick up counterpoint in this area. And that's pretty easy.
I'm going to select this one and go all
the way to here, make it connected to
this mark scheme. And I'm going to
do another unwrap. Okay, now it did it. And now the resolution
is more consistent. Let's take this one-handed
remove all checkered pattern. And I'm going back again. Having this one
selected, I'm hiding it. So now we have only two pieces. One is this one that I'm doing on the off the camera
and one This one. Okay. I'm doing this one
and get back to you. Okay. This one unwrapped as well. I divided the
cylindrical piece into two pieces by putting the UVC, one in here and one
in the other side and separating these
cylindrical caps as well. So now, in order to take some of that texture space optimized, I'm going to select these
two pieces that are similar and pack them together. So let's go to UV Packer using these settings
that we have been using. And this is a,
this is the result that we are getting
and it's good, so I'm hiding them. And then there's this latest
piece that we can do. Okay? This is easy as well. I'm not sure if this
one takes too long or not because there are some planar changes,
huge planar changes. And I'm doing my best
to select from here all the way to here. This is it. Now, we need to
select from here. When we made sure that
the texture, this, we bring it to the symmetry on that part as
well to create that port. Now, this one I've selected,
and it's pretty easy. You need to go and select
the line in between these. And make sure that you come
all the way to here so that we may make sure that
the gap is closed. So, so far so good. We have been creating
these pieces and we made a bit of more focus
on these parts. Because these were a bit
closer to the player. The player can see
them from close up. Unlike those pieces that
belong to farther areas, we put so much detail in this, but since this is
again a modular piece, we actually cannot put a lot
of repetition into these, and we have to make them
as generic as possible. This is a rule. Me myself, I love to put a lot of details and contrast when
I'm creating things. But since this one is a modular, our hands are really tied. And we cannot put so much especially detail and sculpting
into these because it's going to really be
repetitious and the player is going to really
notice what is going on. Okay? Now, because we
have removed that part, we are getting a better
texture, texture quality. When we texture that, we want it to re-import these UV doubt
meshes into Unreal. We do other pieces as well, okay, Now, this one
is done as well. We've done the top piece. And now let me
select 1 from here. Actually, let's pick this one. So now I'm picking
a point from here and gradually select until
we have a good path on here. So I'm going to pick this one. When we made sure that we
create this horizontal line, we call this lesson done and finished this one
in the next lesson. And then bake them
and texture them. So this is it. Let me bring it down. Great. And I'm doing this
horizontal, excuse me, this vertical seem to make sure that in
the next lesson we only have this small
horizontal kids to create. Okay, Let's come down, make this a seam, and it's done. Okay, see you in the next one.
70. Bake And Texture Museum Kit: Okay, right, We left off, right where we left off
in the previous lesson. Now we have this seems, now we have only these
horizontal wants to be created. This is pretty easy. You only come to
this part because we have not a sculpted a
lot of details in here. It's easier to select them, those sculpted
parts because it's narrower than what those
are sculpted parts are in here and the leg
all the way to here. Maybe we create some UVs separating them for
these parts as well. Because if you do not separate
these as their own UVs, they're going to have a lot
of distortion in the UVs. So let's see what
we can do about it. We first, we tested without actually creating the
UV islands for it. And if we had a stretching
and texture distortion, we can take and create separate islands for
them to avoid the distortion. So that really depends. I think we have couple
of more ones to create. And by the way, before actually creating the UVs
scene for this one, because this is going to be
hidden under the ground, under those allocate
that you have created. I'm going to remove this, check this and
completely remove it. Nobody's going to see that. It has already created
a scene for us as well. This is closed and we
can use it, okay, now, I feel like we can put
another theme in here, but this is optional. You can use this one
or you can bring in another seem so it looks like
we need to bring in one. No, not this one. Uh, a very bad way. Okay. This is better. Up until here. Now, I'm selecting
gradually and done. Okay? Now it's actually
time to take this, go to polygon mode and unwrap. But before that, let's go
create a UV map for it. Okay, now, I'm going
to hit on Wrap panel, we see that this is unwrapped. Let's go select it. And right now, you see
because of the UV seams, this looks a bit
distorted because this is only one island. And it's not able to put a lot of the details
the right way. So you see bending that
it happening in here. So right now I'm going
to go and start to put some UV seams in here
to make it look better. So I'm starting with this inner
ring all the way to here. And it doesn't have
a lot of detail. I only want to put that in here and select
this one mark seam. And there's already
makes it better, but I'm going to add
more details as well. So let's go in here. And this one looks like huge
seem that we can create. Okay? But instead of that, let's place it in
here before that. So I'm gonna go and
create one around this. And since this one is
a four-sided piece, it's easier to create the seams. And this detail
here is beautiful. So let's go. And it looks like
we're done with this. So now this already should
give us a better result. And to make sure that these are connected and separate it, I'm going to create
some diagonal ones. Separate. This seems better. Okay? Just select a point from
here, doesn't matter. And connect it to
here and mark seam. Right now as to test it, I'm going to do and
unwrap to see which results we're getting from
this work that we have done. So not from here. Let's choose one
that goes in here. So let's select it mark scheme. And now we have one
more to deal with. That is actually from here. So let me select from
here to here. Okay? Now I'm going to
hit, hey again to select them all going to
polygon mode and hit unwrap. You see now in here we
have a better UV layout. And it's not so bend like this. But looks like in here. Let me see. In here, there should be a siem, which is not actually. So I'm gonna go put
a seem right in here and separate it as well. But now you see that it
has created the better UV. And let's see if we
have a problem in here, which is this one. Let's look. If you go to the connection
point and select a point that is problematic,
you can see that. It doesn't have a seam in here, so we need to select
all the way through. So this problem has
been fixed as well. Let's see what more
problematic areas we have. Which is this one. Let's see. Let's go to the connection
point which is here. Just select it in here
and hit F to go find it. Now you see, we
should have placed a seam in here as well. Or let's say this. I'm going to take these
polygons and simply remove them to break the
connection point. And now this is all
the way around. This one removed as well. So now that I'm looking at, it, looks like we're
getting a better unwrap. And let me select
this one to see. This one has a bit of
distortion as well. And actually I can
live with this because this has a lot of details and
if you want to unwrap this, it's going to take forever. So now I'm going to do
the same thing for here. One more thing that I can do
in order to make more space. I can take this one
and do some themes from here to here as well to
separate these points out. Some of this is what
I'm going to do now. I'm going to select these
seams and all the way to here. And after we made sure that we do the same thing for
that one as well. We finished this, we go repeat the same process for
this one as well. So this is it. And now I need to select all the way through
here and after that to here, and make sure that
you close the gap. We want no open gaps in here. So this was that. Now I'm going to select from
here all the way to here. Mark same. This is the latest one
that we do for this piece. So I'll go through here and then after that,
selecting this one, Mark seem okay, now I'm
gonna do another unwrap, and this time we should
get a better result. Now, we have a better
UV layout in this part. But there are still
some problems in this part which we
haven't covered yet. So this is the same thing
that we're going to do. I'm going to create
seams on all of these cavities and pigs
and hills horizontally, vertically and some diagonal
wants to cut them in half so that we have
separate chunks like this. And since you have seen
me this, doing this, I'm going to pause this and get back to you
when it's done. We did that. And now we're getting
this result in here. It's always good. But except for this part, which actually requires
a lot of more unwrap, separating these parts,
unwrapping them based on angles. It would take forever
to unwrap this piece. So now I'm going to go back. And actually we are there. Let's bring in all
of the pieces. And I'm going to remove
all checker maps. Now one more thing to do
to save some more space actually is that to take
this one and this one, I'm going to pack them
together to save only, allowed to use only
one texture on them and save a bit of
texture memory as well. So let's go to UV Packer
and again do that. Okay, now this is done. And now that we have these two, the pivot of both of
them is the same. I'm going to select
this one after that, select this one so that
they joined as this piece. Now I'm having these
all unwrapped. I'm gonna go to
ZBrush and export a high polish and bring
them inside Blender so that we can
apply materials on them and then export them
to substance for texturing. Okay, Now we're
in ZBrush and I'm going to do the reverse. I'm only going to bring in
all of the unused ones. So the high polygons, just like this and I'm hiding
one, revealing, another. Hiding one. We're willing to bring all of the pieces that are not used. Okay? And now we have these
being shown in here. So I'm going to export this
just a way that they are. And because we have a
lot more polygons for these and these
are high polygons. It's going to take
more to export. So doesn't matter after
making all of them visible, we're gonna go to Export. And in here just name it high poly as FBX and having the
visible ones exported. So a bit of waiting, and now that they are exported, I'm going to bring them in. And they should exactly
a spawn on top of these. And we have no problem
of setting them for a high poly bake
inside substance. Okay. Now I'm going to bring them and then we'll
separate them based on the materials so that
then we have them and now it's time it's time
to actually separate them from each other and give
them their own materials. So I'm gonna select this
hyperlink and locally together. But I'm going to bring it here. And we'll remember that we had another high poly or low poly with the same material with UVs. So let's go and find them. And here they are. I'm going to give this
same material and they should be overlapping
so that they bake. Pretty good. So let
me say both of them. And I'm selecting all of them together and give
them the material. So far the material doesn't
matter what you name it. We're only going to have a material that is
distinguishable. Two other ones, solve this
one has the same material, and now it's time for these two. I'm going to take
them, bring them here. And these two as well should
have the same material. Let me select them. These have the same
UVs, if you remember, we created the similar
UVs for all of them. So I'm going to select them and give them another material. So the material that is
different to others. So when baking you
have no problems. Now, there's a tricky
part for this one. You see that this window, this low poly one, is having these
at the same mesh. But in here we have this
as a separate mesh. This is exactly why I'm
going to take them. Let me take all of them. And now we have three measures. You see that in here we have
three measures selected. And I'm going to
bring them here. And I'm going to export
them just like they are. Actually having these separated
from each other later on will help me to create an ID mask to separate
the IDs based, separate the materials
based on IDs. So I'm going to
select all of these. This is the third one. Now let's see what we have. We have this stand
to do as well. So let's bring it here
and I'm giving them some so that they're
separated from each other. So this is the fourth one. This doesn't have any
extra things like that. So I'm giving this
one, this material. And now we have
this one which is the latest one that we
have a high Polyvore. So let me take it and I'm
going to place it right here. Okay? Now, I'm gonna give this one
the material number five. This one as well doesn't have
any considerations to make. This is a straight,
high-quality, too low poly. But for these ones,
for these caps, we might do one
thing and that is actually taking them
on top of each other. Because these are high poly and low poly at the same time. And for other ones we actually
have the actual high poly. But for these ones, we're gonna make sure that we bake them on top of each other. Okay, now, I have all
of the low poly want separate it in one folder
and it's working great. I'm going to export
this as a single FBX. Okay, I'm just going
to limit to select that object and
name this one LP, standing for low poly, and the remaining
ones as high poly. Okay, now that I'm checking, we have everything set up. This one is going
to be named HP. And since the material and naming and all of that is great, We have no problem
actually export. Now before actually going there, I'm gonna do one thing. I'm going to select these two and separately
export them to ZBrush and do the
vertex color data on them because these are
going to be nano it as well. And we're going to
use vertex color to add some overlay dirt
and things like that. So, um, separately exporting them and then we
import in them back. And then exporting these
two Unreal Engine at one place and to substance
at another place. So in here, I'm going
to name this one caps. This is the vertex
colored data that are created for them using
the same method. I'm going to export
them back and I haven't done anything
to the geometry. And I'm going to export it or another file with
Oliver settings. And now since we already have too much polygon
in the scene, I'm not going to add
any more polygons. So I'm going to delete these
before importing those, but I have to write
down the names first, so I'm going to bring in a cube. So let me where that is. And I'm going to take
the name from this one. Just take the name from this
and named the cube has that, so that we can delete this one. And I'm going to bring
in a cylinder and these are placeholders so
that applied a name on it. So I'm going to
take the name from this and paste the name in here and take this
one and remove it. And here they are with
vertex colored data. And I'm going to take
everything and export it. I bake these as well, abroad them in and
since you already know what we have done, I've done the baking with all of these
settings that you know. Now let's go bring in the smart material
to use down them. And if you remember, we created this dusty concrete, a smart material in
previous sessions. So now let me apply
that in here. And you see that it
perfectly textures this and all of those information has
been applied to this one, but I'm not actually
going to use this one. It's only to understand that
it has been baked correctly. So this one as well, you see that it creates
a very beautiful pink. So now let's go back and
there's one more thing to note, and that is the
fact that we didn't create bake for these because
these are low poly files. And if I go, excuse me, this is the high poly and
low poly at the same time. And you see that every
one of these has a bake information
in it whatsoever. But these ones do not. And because these
are a special ones, and I'm going to bake these
now using a different method. So let's select one of them. And these two are the ones
that we're going to bake. So let's go to beg
mesh maps and you see that we do not
have anything in here. And we are using these. And of course, I'm
going to take the low, high poly and delete it
because we do not have any information for this
one into high polyphenol. This is the high poly. Then I'm going to beg
high value on top of IP. Well, to do that,
you can check this on use low poly mesh
as hybrid image. And it's going to use this mesh to bake it on top of each other. And top of these in here, you have the selection menu, which you can select
which one of the match, each one of the materials
you are going to bake. So I'm going to disable all
of them, but these two. So now with having all
of these selected, I'm going to bake these
two on top of themselves. So I'm going to
hit bake textures and see you back when
the result is done. Now you see that this is
getting a beautiful baked data. This is ambient
occlusion and these are baking on top of each other. And this was the special method that I wanted to
use for this one. And there's one more thing and actually creating an ID map for this so that we can select
materials and apply them. But before that, let's
apply the material on this. And you see that this one
gets colored as well. That's a very powerful
material that we created. And it's working with, with all of the conventions
that we throw at it. And maybe I use this one. This is a very good
addition to the material. And you see how
powerful these are. Smart materials are in
adding lots of details. So let's go try to look at this. And this one is great as well. Not only it's
highlighting the shapes, but adding a bit of
luxury touch to it. So on this one as well, we have lots of cool
details. Let's see. This is the one that
we're going to work for. Looks like by deleting that, we get a better color. And let's go remove
this one as well. So now we get much
more interesting color and it's a bit different
to other elements as well. So you see, we
created a material, invested a bit of time to create this dusty concrete
and previous lesson, and now it's time to
use it on all of these. So let's go back to see
what we can do about these. Let's apply them
here, and it's done. And now let's go and
remove this two colors. This one is good as well. So let's see what we have here. This is the sharpen as well
as adding some colors. And this one is actually
using the curvature data. So let's go and change the color of the
material just a bit. So let's bring it, bring the luminosity
down to make it darker. Okay, to highlight the edges. But in a negative way. And I can go in here and try to level out to see
what we have done. So I'm going to go back and
do level, but inverted. And let's separate the colors a bit so that they
happen on these areas. So now you see in these areas, now we have this information, but you need to go
in here and bring the luminosity to
the default value. Okay? And maybe bringing the
saturation down to make it look more like the concrete
thing that you expect. Okay, let's look at it. Now. Actually, let's select this one. Let's see which material it is. And let's go bring in one of the concrete
materials on top of that and try to use it. It's adding some additions
and let's go ahead and remove this one because that
was overly too dark. So this one is
great as well. Now. You see that using one smart
material and all of them make them look crafted
in the same place, at the same time, and make them uniquely
belong together. So let's go again and
apply this one on here. And this is it and
doing pretty good. And you see how
those scopes that we added in ZBrush
are adding details. So let's go, I'm going to remove this one and
this one again. So let's bring it in, but I'm going to give
it another material. So let's select it and
give it this material. And the color. I'm going to make
it a bit lighter. Highlight the edges a bit more. Okay. Now it's working. Alright. Let's apply
the same material on these and see what we get. It's perfect except
for this top part. And it's because of that. So let's go back. This color is actually doing a great job in
adding some details. And I'm going to keep it in
here and not deleting it. So let's go and apply
that one in here. And this is giving us the
same feeling as well. But before that I
need to go and make sure I remove some of these in here because this is having lesser resolution
that I expected. So let's go I believe
that this is for it. Yeah. That was causing
a lot of issues. So let's select it and bring the luminosity up just a bit, or we can take it and
simply remove it. And let's see what we have here. We can bring in another
concrete material, as well as looking at the mask
to see what we have here. So outs and left-click
on the mask. This is the curvature mask. So let's select it inverts. Or before that, let's
apply that and invert. And try to distribute the
mask all over the place. And give the ladders
metallic type of color indicating that people
are entering a luxury area. Okay, Now this is about texturing and it's
as easy as this because the material
that we created was good enough to support all
of these features as well. So I'm going to stop
the lesson right now. Of course, after exporting
these materials. So as always, I'm going
to File Export textures. And while selecting
all of the materials, I'm going to go
select our format. And this one is going
to be target as well. And for k and the
rest is good to go. We hit Export and
everything now is exported. The normal mask, base colors, normal mask, everything has
been exported perfectly. Now I'm going to stop
the lesson in here. And in the next
one, we will start to bring these unreal and test them and to see if any thing needs to
be fixed as well. See you there.
71. Testing The Progress in UE5: Congratulations
for texturing this and finishing this kit as well. And since this was closer to the player who were really adding much
more detail in them, although not a lot of details, but more detailed relative
to the previous kits. Now we're going to export
these into unreal intestine. And because we
were careful about the naming conventions
and all of that, all of these names are correct. And using this path x
and using this one, we are able to easily
export them in one-click and then re-import
them in one-click as well. So all of them are good. Vertex color data is in place
so that we can use that later on in the shader chapter
to create cool materials. But the only thing that we need to care about is this one. In order to save
some texture space, we made this one
in a way that we could make it basically and then duplicate it and rotate it 90 degrees to create
the other piece. And you can see
that pretty easy. We have created that. So let me take this one and I'm going to
bring it into center so that to see if the mirror modifier who
will do a better job. So let me bring in the mirror modifier and looks like we should
do that in y. Let me put that in y. And it looks like the rotations
are fixed, excuse me, wrong, because why isn't going
to do something like this? This is z actually. So I go in here and apply the rotation so that the mirror
modifier works perfectly. So now it's working. Now I need to add another
one on top of this. Let's go Bringing
another mirror. And this time I'm going
to put it in x k. Now, this is fixed actually, and all of that
problems are gone. So let's do the bisect. By using this bisect and flip, we're able to prevent a lot of the problems from happening. So let's flip it in x as well. And it took care of a
lot of unused geometry. And since we have
done texturing this, any change that you do from
now on is okay Actually, so let's apply the modifiers. Then. It's all a
matter of taking them and exporting
them using bat x. And since we do not have multiple material
sets on an object, we are really free to use
these settings and use them. Although we wanted to use, for example, couple of
materials for this, one for the stepping stones, for one for the
stirred themselves. But we ended up using one
material for them or even we use the one material for two objects to save
some texts, recipes. So you are free to take
these, export them. And then after
that, since we have exported the maps as well, we're going to import
them in Unreal Engine and try to test the basic
material on-demand. I believe that the
architectural pieces are finally coming to an end. And we only have those windows, doors, and shops to create. And now it's actually
trying to re-import these inside Unreal and
test them and make them it. And first let's go for this one. And this should be the most visible change that
we do in here. Okay, now, right-click
and re-import. Okay, now you see
it has been fixed. Now I'm going to go
through them one by 1 them in here and try to
re-import and get back to you. Okay, Now we got
them all important. And since we have reimported, the nanotube
connection is broken because I converted
them into nano it. And now if you go in
here and use mask, he see the nano is on, a lot of them is broken. And we need to do something for the vertex color part as well. I'm going to go and select all of them that I
haven't saved yet. And we should have nine pieces
that we created just now. This one is the last one. So on all of them,
I'm gonna check for vertex color and
there's none actually. Now the thing that I'm
going to do is actually setting the vertex color to
replace for all of them, re-import the base mesh
and convert them tonight. And since we have
done this already, a lot of times I'm
going to do that off the camera and get back
to you when I'm done. Renin, renin lighting and bringing the vertex
colors as well. Now the conversion
process is done. And I've converted all of
these measures to nano ten. Do we have a framework dropped? And that is because I have this Static Mesh
editors open and a lot of it would cause a bit of a frame drop and if
I close it, it's gone. So on the vertex color as well, he's working for all of them. It's great. Now I'm going to
go save the scene. And by closing this as well, the frame is now correct. So now it's time to bring in the textures and
start to use them. So I'm gonna go again
to the baked one. Unimportant as always, we have a lot of textures
to be imported. And now, because these
are OpenGL as well, we're going to convert
them to indirect x. And after that, the
masks as well need to turn off the sRGB on them. And of course we have
seen a lot of that. And I'm going to
select them one by one and do the
conversions on them. And again, get back to
you when it's done. One thing that I
noticed as well as that this map has been
important as normal. Because the shading in here, it looks a bit just like the
normal maps that you see. And sometimes if
the shading goes towards the purple
and things like that, automatically converts
that to normal map. So you want to be careful
about that as well. So you see after changing, the real shading comes back, now that process is
completely done. And again, I'm going
to go and create some temporarily
material instances to take the texture these and to see if they sing with the
environment fully or not. So this was the master material. I'm not going to do
some complex naming. I'm just going to create
something that we can put things on and
later on when we created the material functions, material vertex planned
and things like that, we will actually create a
real material instances. And for now, I'm not
actually caring too much about the naming
conventions and all of that. So I believe that we
should bring in seven of these materials because we
have nine pieces in here, but two of them share the
same one becomes one. And these two as well
share the same one. So we need to create six
different material instances. Seven different, excuse me. So I'm going to bring them all up and start to bring
in the textures. So only thing you need to do is applying this so
that it activates. And then he can go
in here and try to bring in the textures. So base color, in base color, normally normal, unmask
into mask as well. So I'm going to repeat the same process
until I finish all of these material instances
and meet you at the end. And here we go. We're all of them. And now I'm going to
select them to see which material needs to
be applied on where. This is the 01 material
from selecting the 01 and find it, shift a to select all
of the instances. And this one as well
uses the same material. So I'm gonna bring this up and apply the material
on all of those. Okay, perfect. This is actually having a good color balance with
the rest of the pieces. And let's find this staircase. And if you want to see
the material name, you can go bring it up. And in here it tells
the name, it's 03. It means that we should
bring this material on it, so I select it in here. And while having all
of them selected, I'm going to apply
that material. Okay, This one is good as well. Now this centerpiece, that
is the ground platform, it's the material five. So let me select everything and bringing the
material five rows, find it in here, and apply the material
on all of them. And it didn't apply in here. It's because this is
a prefab instance. If you want to apply the
material on it fully, you can go either find the
blueprint details in here. For example, this is the mesh
applied a material in here. Or he can go into materials. The static much details in here. Apply the material in here to apply that to
all of the scene. This was about five as well. And now we have this one. The name of the
material is too low. Let's drag it out
and find this one. And Shift a to select all of the instances and apply
that to material on them. Okay? Now, this is good and
creating a very good effect, but it didn't apply on this one. And that is, again,
because this is a prefab. And if you want to apply
the material I need you either go here, point a static mesh, applied a material, or you can go into instance and do it
on all of the instances. So I'm going to delete this one. And now when I apply the
material on this ornament, I will duplicate that
to the other side. So let me go find this one. The name of the material
is kept circle. Of course we didn't
name kept circle, but I believe that it
should be one of these. So let me select all of these and apply
this material under. I believe that if it worked, yeah, it's working perfectly. And the number is gone. And this one uses the
material in here. So let's select this one again, shift E, and choose this
one in the Content Browser. And in here, I'm going
to do the same thing, and it's working as well. Finally, I applied the
materials to all of them and this building is
already looking so good. Now, I believe that we're
gonna do the windows as well, but there's a piece in here
that we need to create. And it's a boulder actually that connects the sideway
to the street. And I'm thinking, instead of
going creating a new piece, I'm taking this one and bring it in to test it in here to
see if it works or not. I'm only going to rotate it horizontally and bring
it up to test it. Okay, let's take this
and bring it over. It's a good piece to use, to be used on this
place. Actually. I'm going to duplicate
that some more time to create the whole sidewalk. And when we made
sure that it's good, we do some variations in it. For example, doing
some rotations, doing a bit of offsetting to make it
not look not so uniform. So it's great, actually,
it's very good. And even after creating
the material instance, we can bring in a slightly different
material on this one to hide some of these colors and change them to make it
different from this piece. That is compositionally
very good. And I'm taking
this, for example, disable all of these
so that we are totally free form on this. I can take this, for example, bring it up a bit like this
one to a rotation because not a lot of times these are just pieces that are so uniform. They belong to street and they get upset at
a lot of times. But not so drastic,
but it's good. And it's in here. You see that? Because we remove this part, we saved a bit of
texture space on this and on this,
something like this. The player is never
going to be saying that you should have
this in mind as well. For example, for this one, remove this backside
that the player is never going to see the add a
bit of optimization. So now let me take this, bring it in to a bit of slight offset so that they
create something like this. You already know, and if you want to change it from there, you can go bring it up, bring it down to
some variations. And you see now, again, without
creating a new piece, we were able to change a piece, re-purpose it to some changes and make it really
a piece to be used. So let's do something like this. And it looks like
these two R2 uniform, I'm going to take this slightly offset it to
create this effect. And even in here you see
that we are preventing those sharp lines by breaking these and making variations. And let me take this and
copy that in here as well. Okay. Let's bring it here and bring
it a slightly higher than the ground level to
cover this scene because there is a seam in here
and we need to cover that. And I'm talking about this one. So I'm going to take this, drag it out and do another one. Now let's rotate it to
make some variations. Slightly, offset
it to create that. But it's a bit too high that can take it
and bring it down. One thing that I'm actually
noticing is that because the lighting in
here is in shadows, we're not getting a lot of the information
from these shapes. And if I go in here,
you can hold down control and L so
that it brings up this widget and you
can drag the mouse out to be able to change
the lighting condition. And later on in the
lighting section, we may bring in the
light to really shine on these to make some of the
forums more pronounced. And you see by shining
a bit of light in here, the scene completely
changes from something very dull
and unattractive to something that is having lots of cool shapes
and these shadows as well help a lot in
reading a lot of the forms. But for now, I'm not actually doing anything about lighting. And one thing that I
noticed is that I'm not really liking
these pieces in here. Not this one. This one actually. So either you can take this, re-scale it just a bit. Let me see if we
can do that or not. Something like this and
take this and bring it in place in here so that
we have a smaller star, but a better ground
platform for this. And I'm actually thinking
that this is good. I'm actually liking this. I'm going to take
this, bring it out. And since this one has two-sided and a pivot is in the
center, actually, I can take it and swap the design easily
to something else. So let's make the
rotation snapped to turn the agrees as well
and rotate that 90 degrees. And for this one as well, I'm going to rotate
90 degrees and you see having only to, having only one mesh and
making that two-sided. You can see that we can get
some cool designs from it. Okay? And I'm gonna do the same
for this one as well. I'm going to take all of this while holding
down Alt and Shift. I can bring it here and move
the camera with it as well. So this is something
that is better actually. Okay, now replace these, tested them in a different
lighting situation and now it's time to
go actually create a window kit because the
window kit as well is the most repeated thing that
we see throughout here. Okay. See you there.
72. Prefab For Windows: Okay, now it's actually time to go and start to
create a Windows. I have a reference
for Windows as well. And you see we have a bit of surrounding piece that
we're going to create. When I'm looking at this
window paneling in here, I actually find out
that we already have created something like
this in the museum kit. And you are seeing
that those pillars together combined
create such a thing. And actually, because
non-IT is going to handle all of that
geometry for us. We have really no
problem with using this and this to create a
window panel link. Of course, there's
the surrounding area, which is this one. And maybe we created, but to say some bits of time, we can take these and start to create windows and panelists
for these as well. We're done. We're going to do
that inside Unreal Engine. And I'm going to create Prefabs. And because we have maybe
for Windows to be created, depending on the sizes
that we have here. Two for this building, one for this building, and one for this
building as well. And I'm going to use
the prefab system. We're going to
create blueprints, mix these together to
create the paneling. Because when I try to play, you see that it's a
really tiny piece and the player is not going to focus on that to see
all of the details, we want something only to
represent the proportion, the style, and
dosing, those things. So why not actually using this in the creation process
to create a paneling? So let's go and mesh tab. And in here, I'm going
to create blueprints, just like what we
did with this one. If you go to Viewport, you see that we mix the
three pieces to get something that we can
use always together. And the space that is the
root piece is going to contain the pivot and it's not going to
be changed at all. But if you take these pieces, you can bring in the gizmo, try to move them
and all of that. And is it this is, this one
is moving with this because this one is a child of
the pillar that we have. And if I drag it onto that, you see that it no
longer follows that. The good thing about this
is that if I bring this, you can see that this
has been displaced. If I take this one and
drag it back to the place you see that it has
been displaced fully. So I'm going to use these to create blueprints and start
to use them on these windows. So first we right-click and
go to a blueprint class, and we're gonna do actor. And this actor is
the most basic one that you might ever use. Now, I'm going to call it
bp, standing for blueprints. Ode for modular, RES, for residential, so
that we know this is going to be used on
the residential kit. And then window underscore 01. And the good thing about
this prefab system is that when we
created the first one, we can actually right-click, duplicate it and try to
create variations from it very easily by only moving
some static meshes. And it's only a matter
of seconds in order to create new variation. So I'm going to click on that. It brings in the
viewport for us. So I'm going to dock it in here. And in here, I'm going
to add a static mesh, bringing in a static mesh actor. And if you want to name it, you can name it
whatever you want. Or if you do not want, you can simply get
away with this. But I'm going to call
this one the base, because I'm going
to bring in one of these modular kids from
here so that we can borrow the pivot from that
so that when you swap it and using the
snapping system, who are able to swap it on the place with any
minimal effort. So I'm gonna take this and
let's find that in the menu. So it's in here, and I'm going to
drag it onto this. So now he said,
this is the pivot. And if you're going
to really make this the scene route,
you can take that. Let's hit Compile and let's
test it to see how it works. And having the
snapping turned on, I'm going to bring this. And you see that it exactly a spawns on the place that we
want exactly on top of there. But actually, I'm
not going to use this one because we already
have a mesh behind it, but you are free to
use this one as well. It can actually take
this mesh behind it, deleted and simply replace
this one and do whatever you want with this so that it's
a wall and window as well. So it's personal preference, but I'm going to use that
one and take this one, bring it here, take this
and bring it on top. And in here, I'm not going to actually make this one visible. I'm only going to make this one like this so that it
contains the pivot. And I'm not actually going
to show that in the game. But first, I'm going
to use this one as a platform to place the
things that I'm wanting to. And then I go into
this rendering tab and uncheck the visible so that it's visible and we take
the period from that. So this is basically what we're going to do when
we created this. It's only a matter of seconds
to create new variations. So now I'm gonna go in here. Bind this Static Mesh from
here and drag it on here. Basically, I found out that
the space is actually empty. So I'm going to take this one, drag it in here so that
this one is now the pivot. So now that I compile, you see the change
should be applied. So let's save compile. And it's actually hidden
under that pillar. Let me take this,
and this is it. So I can take this,
bring it back. And I start to create
things with this. So this is actually
the front way. So I'm going to take this, bring it in the
center, bring it up. It looks like I need to
turn the snapping to be off with something
just like this. I'm going to drag it in
until it fills this space. If you want, you can
go, for example, into the front view so
that you're able to manipulate it better and with a lot is than
the perspective. So first let's go to
perspective and try to resize this so that it
matches that proportions. Okay, this one is
actually the first one and I'm going to bring in the
material to that as well. So let's go into details panel. This is the material
I'm selecting that and in this material tab, I'm bringing in and it's
going to be rendered. And if I compile
and save, go play, you see that you're not able to really distinguish what
is going on in here. You are only seeing
the beak shape. So why actually
wasting a lot of time creating something that
we already have created. And then heroin, we might
change the material to something different to give
it the feeling that we want. Okay, this is now the base. And I'm going to
take this first. I'm going to right-click
and duplicate. So I'm going to drag it in
here and duplicate this again, and drag this one here
to create portions. And then duplicate. Let me take it and I'm
going to do rotation and rotate it 90 degrees
and make it a smaller, just in this direction. Okay, something that
fits the purpose. Then Control D on this one to duplicate
again and bring it up. Just something like this. And now let's compile and save. And you see we created
that paneling. Now let's duplicate again. And I'm going to
bring this down. And we may actually try
to make this one a bit bigger so that it's
distinguishable from the pieces. So something like this. Let's take this one
again. You see that? It's on top of that. Let me take it and
bring it down. Okay, Now I'm going
to duplicate this again and bring it down
to create this effect. And let's duplicate again. And try to bring this
one up like a template. We created a window
piece very, very easily. And it also has that pivot
that we are talking about. If we turn this on
this snapping system, excuse me, I should have selected the blueprint,
not at work. Now, if I drag it, you see the window as
snaps right on the place. So it's perfect. But if you want, for example, you can bring in a plane and
give that a glass material. So that's easy as well. Let's go bring in
another static mesh or go back in this common
tab, we have this plane. So I'm going to
place it right in the center and make
it fill this space. Just like this. And you see by using this prefab system
that is very strong, we are able to
create things only inside the editor without
actually going to, without actually needing
to create new things. So let me turn this one off
and compile and save it. See now we have a plane and on this plane we can bring
in a glass material. And I believe that in
the Content Browser, in the starter content, we should have something
representing the glass. So let me take this
and I'm thinking that this is wrongly
the parent on that. So let me take this, drag it so that it's no longer there. So let's search for glass. And we have a glass material. Actually. Now it applied the
glass material. But since actually there's nothing behind it,
we can not see that. But these Using the fraction,
you see that it has actually created
that fraction affected. And if you bring in
some static mesh to represent a wall behind this,
it's going to be awesome. So let's actually do that. I'm going to create something so that we're not seeing this sky. It's just like
creating the room. Now, I'm going to take
this plane and just rotate it 90 degrees and give it that material
that it needs. So this material
is good because we are able to see which size, which side of the plane is
actually going to be rendered. So I'm going to
bring in right in here and bring it up until
it reaches to the ground. So let's make it here instead. And I'm bringing that in
exactly in the center. And let's make it
bigger and drag it in and make it a
smaller in this side. Bigger, excuse me. So this is it. And now I'm going to do another coffee from
it, bring it up, and rotate that 90
degrees so that the right side actually
phases to this direction. Then I'm going to duplicate
it to a 90-degree rotation. Let's see which side actually is going to be rendered,
which is that one. And I'm going to drag it in and make it bigger
than this one. Again, I'm going to
do a copy and drag it out in here and rotate
it negative 180 degree. And the most important piece is actually this one that
we're going to duplicate. Make it this side actually, I'm going to bring it here
and re-scale it just a bit. Now, we created a room
for that as well. Compile and Save. And you see now, instead of actually
rendering the sky, we are rendering
the static meshes. Looks like we have
something to be fixed. I'm going to take these planes all and give them material. Let's search for wall. And we have a basic wall
material that we can use on the. Now you see we have these being rendered and we're no
longer seeing the sky. And if I check this, you see that we have a piece that we can use easily
than you can give it, for example, different
materials as well. For example, you can go
to the starter content and give this one of these materials so that
it looks more authentic. For example, This polished wood, maybe something to use. So I'm going to copy the name. And in here I'm going to bring that name and see the result. So I'm going to paste
that on these as well. Compile and save. You see that that
has been created. And if I place a light
in here by holding down and bringing
a light to see, it's going to render
in the house. For us. This is how powerful this
prefab system goes by only creating once you are
able to duplicate it across and see the
results in real time. Okay. But if the tiling is odd and the wood
paneling is too big, you can actually go and try to change the tiling system
to get what you want. And if we wanted to, we
will actually do that. But if you didn't, we simply get away with this. So now it's actually
time to select this one and go in here
and make it non-visible. Compile and Save. And now you see this
has been rendered. And if I take this, bring it up, you see it's a bit larger than what we
expected for this one. So no matter were able to
fix that pretty easily. And because the
skeleton is there, we can go select this, just right-click and browse to. And we can find this in order to create
something new for this, I'm only going to go
in here, duplicate. And it already does
that naming for us. So let me bring it
in and the snaps right into place and let
me duplicate it sometimes. Now we need to go in here
and bringing that mesh that we actually checked
off so that we can swap it with this mesh
that we should use. So let's find it in here. This is the mesh Actually. I'm gonna go in here. And we should exactly
placed it in here. So I swapped a static mesh and check the visibility to
be turned on temporarily. It looks like we have done
wrong thing on this one. This should be invisible, compile and save everything. And this needs to come up because it's off from
the actual pivot. You see this is half
meter on top of that. So let's select this
one and bring it up. This is the result.
So I'm going to Take these and
simply delete them, and then I'm going
to duplicate them across and do the detailing. So I'm going to close this one else because
we do not need it. Then we're going
to fix this one. So I'm taking this, bring it down until the roof level and take
these let me actually take everything but this
one and drag them in, including this one as well. Let me go and select them. And I'm going to temporarily
disabled snapping. Now. This is it. I'm going to place
this one in here, as well as this one. Let me drag it out. And now the thing that I'm
going to do is actually re-scaling all of
them in this side. And then dragging to create
basically the wood paneling, wood paneling in there. And let's take all of these and just drag them in to create roughly the shape that
you are going for. This one, let's make
it centered the bit. And this one needs to
come down as well. This one as well. And we did it. So I'm gonna take this one
or this one, drag it in. And this one as well. So let's paste that value. It can actually go in here, try to copy the number and paste it to the value
that you want to change. So let's bring in,
take this one, actually having this turned on, I'm going to drag it in. Save. Now let's go in here, take this one and
make it non-visible. Compile and Save. And this is it. This one actually got created. Let's go like this. And I'm going to drag
it into this place to see if it works for
this one or not. It actually works for this one, but we need to change the
proportions of either this. And by that I mean that we can go into the blueprint,
create new one, and displays all of these, or simply duplicating
this one on top that need duplicate it. And the simplest thing that we can do is actually going into blender and start to change
the proportions of this kit. Make it similar to
this one actually, since we're using the
proportions from this one, I'm actually going to go and bringing their residential kid, which holds this one
as the template, has simply copied that. And I'm gonna go to museum kit. Now it was alley, so
I'm going to paste that N. Bring it in the center, just take this one out. This is the piece actually, these are both the same, so it doesn't matter actually
which one we resize. Now, I'm going to
take these two. And this one needs to be
re-scaled based on this. So I'm going to take this one, go into edit mode and tried
to paint in some vertices. Let's go bring it in and try to slide so that you do
not change the UVs. And another one in here, slide. And let's take all of
these and delete them. Now, I believe that we're good trying to export this and it's going to be
exported on top of that. So it's simply export. In here. I'm gonna go find this Static Mesh and re-import. It. Looks like you did on this one. This got changed because we created two
variations from this. Let's drag this one out and bring the other
piece in as well. Which is this one. We need to make sure that we do the same thing
for this one as well. So as I'm simply going to take these vertices
instead of cutting them, let me see if I can
slide them over. Okay. That's pretty easy. Just a slide them over. And then he can
weld the vertices without actually
hurting the UVs. So this is it. And now I'm going to select
all of the vertices merged by distance is c two any two
vertices got merged and export. Let's go in here and
re-import this one as well. Okay? This one just
got important as well. You see how creating these
variations is pretty easy. First in this lesson, we tried to reuse some measures
to create the paneling. And in the next one we actually create the surrounding
piece for them as well. Just something like
this and maybe, maybe, maybe I'm
not actually sure. But do we might create some just like this
random rounded arcs for these ones as well
for the museum kit. I'm not actually sure, but that's something
to consider. There's something
wrong with this. And that is because these
really are pitch black. And in order to give them
some depth, I'm going in, in one of these and holding down Alt click to create
a point-like. But this is too intense. I'm going to bring
it in the center. Just you see this
attenuation radius that is trying to shoot
rays of light until this boundary is basically
so I'm going to drag it in just something that
is inside the borders. Let's make it a bit bigger. And I'm going to make
this movable and turn the cast shadow off because this cast
shadow is very heavy. So let's take a look at that. You see a bit of silhouette
happening in here, but let's take this one and
make this 13 meters instead. And I'm going to
bring the intensity to something like one or two so that we have a bit of information being
shown in here. So let's take this, remove everything from UI, and go to four. We can actually do
anything that you want. And I'm going to
take this and try to duplicate it in all
of the rooms to get some information
going into rooms. This one. And I'm going to take this point light and drag it n. And of course,
instead of having to bring it in the viewport, we can go into this
blueprint and place a point light in so that all of the instances get their own
lighting separately without having to actually placing
front point lights. But I feel like this
method is better. Okay? Now, you see that
we have something, some information going in, in, in these areas and
we are able to distinguish the shapes better. And let's take this one. I believe that the size of this window is actually
similar to this one. So I'm dragging it in
here and testing it. Right? We need to make this
one bigger just a bit. So I'm gonna go find this just right-click bros so that they can find
this right-click. And I'm going to duplicate it
and just change the name to museum so that we are going
to take the shape from that. And let's select this one. And we need to select
this one as well. Bros. And let me copy the name. In this museum. I'm gonna go to this and bring that a
static mesh instead. And let's make it visible so
that we can make changes. So now the first
thing I need to take this ceiling, bring it up. Let's make it wider bit. Now I'm just selecting this
and let's bring it up. And this one as well needs
to go up just a bit. And now I'm going to select
this one and increase the Z value only a small bit. Then I'm going to copy the
z value from this and place it on top of all of
these instances. And just a bit of displacing
of these elements needs to happen in here. So Compile and Save. And of course we need
to take this one and make it non visible. And it's not getting changed. And that is because I believe we have been still
using this one here. I'm going to select this one. And while having
that one selected, I'm going to right-click
and replace. And you see this selection. And it basically replaces
what you have selected in the Content Browser with
what you have in viewport. I'm going to duplicate
this all the way to top Shift
E. No, it doesn't. So I'm going to select this again and try to
duplicate it over. Okay, you see how fast you
are able to create kids. Now you see we have more
depth in the buildings and we're no longer seeing the sky in the back
of the buildings. And that is a good
thing as well. So let's go in here
and this time, place the light just in here, hold down L. Now it looks like it doesn't
do that in here. Hit Add and bringing
a point light. And bring the point
light in the center, make it perimeters in terms of attenuation radius and bring the intensity down just a bit. And if I hit Compile and Save, it applies to all of
the pieces in here, which actually is great. Okay, Now environment
is going to get iteration after iteration
and get completed as well. So in order to give
this one a bit of more depths and a
greater look as well. I'm going to create this
surrounding panel linger as well in order to make that
really more authentic. Something simple for the
residential and allocate, and maybe something
more intricate for the museum kit which needs
more attention and care. This was about this one. Then there's something
that I noticed and that is exactly that bring
everything in. If you're seeing a lot of these highlights in these areas and you want to get rid of them. Let me take this. You see that there's
a light sign in here. Just hit the point light and go. And there should be a specular highlight, a mountain here. And if it doesn't go, all advanced details, and
this is the specular escape. Just drag it so that you're no longer seeing those
odd speculators. So also, in order to apply
this one to all of them, I'm taking this shift P.
Now it doesn't solve. You can go into this and
select all point lights. It's context-sensitive. For example, if I take this
one and go to the Select, it says all the
static much actors. So I'm going to select all of the point
lights and it's going to include all of them that are individually
placed in the scene. So the shortcut is
Control Shift on a. It selects all of them. And let's go for specular scale and bring it to
something like 0.1. Or simply, you can
totally disabled that. This was a quick tip on
some rendering tips. And we're reaching to
the end of this lesson. And in the next one,
we will actually create this paneling for this. And this is actually
the difference point. Now, the windows
are just similar, but bringing in different
ornamental elements will make them look different. And I found out that
this causes a bug because this is a mesh that
has been re-scaled too much. So if you encounter
something like this, you can actually go with added blueprint
and take the piece that is causing the problem
and scale it in just a bit, Compile and Save, and now
the problem is better. So this is the way
that you can re-scale it in and try to
render it better. And the same goes for
this one as well. So let's go for this one
as well. Bring it in. This one needs to
Bringing as well, Compile and Save.
Now it's better. But of course if you want, you can go actually and
fix it in all of them because this one still,
we have the problem. But if you have the problem, you know how to fix it. Okay. See you in the next one.
73. Residential Window Blockout: Okay, everybody. In previous lesson, we created this window panelists and
now it's actually time to go and create some ornamental
pieces to place around them to give them a
bit of a different feeling. And you already notice that I changed the
material and these so that they are not all using the same material and having the same different buildings. So I change one material for this 11 material for
this one, for this one. So now we're going to create two ornament piece that
wraps around this. And we already have
for Windows so that we have to create
four pieces as well. By four piece, I mean that I want to create
one for this one, and maybe I'll duplicate this
one over to here as well, because these share
the same size. And as always, I'm
going to create a simpler design for this, for this residential
and allocate. More difficult one for this one. So I'm going to create
one variation for this. One variation, maybe for this. And we're going to create
two variations for this. One, maybe one that is more of a rectangle design and one that is having a
bit of arc as well. So this is a, and this is
what I'm planning for. So I created a new blender
file and brought in these windows so that we
have the sizes to work with. And these are done. And now actually let's go and take a look at
the references. And I'm going to start simpler. And this is the design
that is going in here. And it's pretty easy to create. And actually you are seeing the design that these
are two similar. These two are similar, but this one is a bit more intricate and this
one more simpler. So I'm going to start with
this one so that we get the workflow and then go
around or more different ones. So let's go and
start with this one. The first thing,
I'm gonna go grab one of these edges
that we have here, and I'm going to Shift
D to duplicate that, right-click to confirm it. P by selection. So we have a piece in here
as well that is only a line. Basically. You are saying that under period is still
in here, which is good. And maybe we change it later. So let's bring the pivot in the center and we
have this line. And we're going to use
this one to create a form. And just like in the
ornaments session when we use these lines to create
geometry and form, I'm going to go in here to the object and convert
this one into a curve. So that now instead of geometry, we have a curve in here, which was the case in the ornaments session in the first session
that we learned. And now we can go into this object data properties and bringing the geometry tab. And I'm going to
bring in the profile, give it a bit of depth. Let's go back to see
the result actually. So I'm gonna give it
actually so much depth. And actually let's
rotate this one. Offers, let's give it the shape. Let's scroll through some of these presets and choose one that is having
a better look. Now, this one is not
actually what I want, but this one is better. Having some ornament
details going on. But there's something
off about this one. And actually, let's go and
apply the scale and rotation. And now we're getting perfectly
the shape that we wanted. So let's go back and
start to use this. And instead let's give
it more resolution so that the shapes are more
visible and more resolution. It gave the smoother the
object is going to become. So right-click and just make it Shade Smooth and
smooth it by 30 degrees, which we will
actually do later on. So this is the shape
that we're getting. It's a great shape as well. So let's go in here. And since this is
totally symmetrical, I might use only
one piece of it. And I mean that I'm going to cut it in half and later
on after texturing, when we made sure that this
has more texture resolution, we do the cemetery to create
the other side as well. One more thing that we can do is actually rotating this in different rotations to see which different
results we can get. So already, this is a good one and I'm happy
with how that looks. So I'm going to bring
in the reference and it looks like we're having
a simpler design in here. I may use this one
for the museum kit. So let's drag it back and shift
duplicate, bring it here. And it starts to give it a
simpler design for this one. Because this is the
residential building and not having as much detail
as the museum kit. So let's go bring
in another one. Let's use this one, for example, that is simpler in design. So now I'm going to make
it as wide as this window. I disable that. And I'm going to rescale it first in these two directions. Let's take it. I'm actually going to bring
it in just like this one. And actually I'm happy
with the geometry. Let's go Selected Object, Convert and convert that to
a mesh, which is this one. So now we can apply any kind
of modifier to that as well. So I'm going to select this one and re-scale it in z only. Then we're going to highlight
the edges around this. And I already know that
you can take this one, duplicate it, bring it over. But I'm not going to
do that actually, because I'm going to
save some texture space. I'm taking this,
creating the high poly, low poly and all of those
things that you know, when after that, I'm actually going to
duplicate it around. So now I'm going to
create the base meshes. Now, let's go in here
and select this. And selecting this
top row of edges, right-click and hit
N to create a face. And I'm going to
insert this face, right-click or excuse me, hit M and it collapsed so that it collapses
the results for you. And on the bottom place as well, we're going to do
the same thing. So just de-select this one, right-click and insert only a small portion,
and it collapsed. Now we're going to
actually smooth it by 30 degrees to get the smoothing
result that we want it. Now, let's go to the top
view and I'm going to select everything in this half
box x squared again, and select everything
in here and delete. So we created one piece. And actually to give it
a bit of more detail, I can go take this one
and take these two as well without actually
selecting this middle ages. Let's go on the top. And I'm going to
bring the scale and the scale them in just a bit to give it a bit more detail. Now that is happening. And if you want to
add more details, you can go and start to add
more details basically. So while having
this one selected, I'm going to make more geometry to make this look like What? So let's go to
something like this. Let's see how many
chords we have added. That is this much for. In order to save
some more geometry, I'm going to go and bring
in a bubble. Instead. You can simply take these
edges and try to chamfer them so that the shading
gets correct as well. Just a bit of a chamfer. It's C clamp that, that top and bottom
vertices got this selected. I'm going to only
check for this age to give it some more depth. Something like this. Now, this as well. So now it's smooth and it's going to be rendered
a lot better. So now actually let's go on
to start to unwrap this. Because I believe that
details are enough and we can use this as the geometry for the high poly if you want. You can also take these
vertices and try to percolate just to something like this to give
it more detailed. If it causes some problems, you can go and try to weld the vertices by distance to
make your results better. So let's do the same thing
on the bottom part as well. It's as easy as selecting these and bringing in the bevel. And if it created
the problem again, you can go into vertices, hit em, and merged by distance. Okay, now, let's go on
to unwrap this piece. To the UV mode. You see on PrEP is
pretty badly placed. So I'm going to
select this vertices, select this row of
edges in the middle. Actually. Right-click and Mark seen. This one on the bottom as well. On the top as well. This one is going to be
marked as seem as well. Now, polygon mode, select
everything I need, unwrap it created
on rep perfectly. So let's see what is the
problem. Looks like. We have a problem in here that is actually
because of this phase. We do not want to include that one because using the
symmetry we can cap that. Let's go and do to unwrap again. And now we have a perfect
unwrap that we can use. Now, while having this one, I'm going to apply the
scale and rotation as well. And this one is going to be
used for this window kit. And let's go for the other
residential, bring it in. And I'm going to use the same design for
this one as well. So let's drag these two out. But I'm going to
take this shifty, bring it there, and I'm going to just place it in here
to fill this space. I'm going to make this
one bigger just a bit. Okay, now this is
perfectly unwrapped, but we do not need
to do anything about the unwrap at all. So let's use it. Later on. Using the symmetry
will create the top, bottom, and right
pieces as well. So apply the scale
and rotation as well. I'm going to bring these to unwrap together so that we optimize a bit of
texture space as well. So now let's create
other pieces as well. I'm going to select this and
do a 90-degree rotation. Just like this one. I'm bringing it in in here. And I'm gonna go in and
remove this top part in here. It looks like we have an
extra odd vertices in here that we can
take and delete. Okay? Now I'm gonna go and remove
this top part completely. So just like this one. And in here as well, I'm going to remove
everything from here. Here. Make sure you
select a polygon. Select polygon instead
of edges, and remove. Now this one is going to be
the bottom piece for this. It's going to hold
this geometry in here. So let's go and
select this edge. And the other edge at
the other side of that. Not these in the middle. And right-click
and looks like we have some more edges to exclude. So these ones, I'm only
going to select this edge. And the other edge shift instead of control to
have a better selection. Right-click and bridge the
edge loops in here as well. I'm going to select everything, Right-click and N
to create a face. And doesn't matter
if it's an ongoing, it's going to be
triangulated later on. So take this one on unwrap. Of course, before that, let's go apply the
scale and rotation. Unwrap. It looks like this is the piece. And let's see the piece fully. Now that we have this
seems placed in. I can take this one and go into the selection and
select the boundaries. Just select this piece
and you can have a better selection by having
the UV sink activated. So I'm going to select this. And in the select, selecting the bounds
in the edge mode, I'm going to mark this
C in here as well. We have the seams laid out. So I'm going to go right-click
and do an unwrapped. And it laid out
perfect unwrap for us. So this is going to be the bottom piece
for this one as well. And it's going to
be copied over. Again. I can take this, create a variation for this
because this is bigger. I'm going to make this
one bigger in these axes. Not in z. I'm going to make it
bigger in x and y. Now, I'm going to upload
everything and rotation. And I'm going to take
these four pieces and do an on-ramp. And since every SIM is created, it has taken the
size of the pieces and didn't unwrap
based on those sizes. So now let's do something. I'm going to isolate this piece and actually do a simulation how we want
this ornament to be. So let's see that this
is enough for here. This is in the center. Now I'm going to take
this, bring it here. And this one is
actually going to be on top and rotate it. Now this is actually the
frame of the building. And in here, I'm going to
bring in some ornaments to make it look more
beautiful and intricate. Just like this one that has
a bit of ornament as well. Since this one is actually
having a triangular shape, I might repeat the
shape as well. And you see, this
is the same thing, but using a mirror or bend
modifier or anything, we can create this
shape basically. So now I'm going to
bring in ornaments. And I'm going to select from these ornaments app
that we have here. One of them can be this one. I'm going to copy
that, bring it here. And I'm going to use
it with this one, which has lots of cool details. So I'm going to bring
this one as well. And now I'm going
to go and remove the back part of these
because this one as well, users some texture space. Let's go separate by sin
and try to select this one. Or we can use by UVs,
select this part, remove it on this parts, and remove it as well.
On this one as well. Let's go and take this and remove anything that is not going
to be rendered. So now I'm going to give this the smoothness and
this one as well. First we try to use
VDS, excuse me, you try to texture this and
we will create a shape. But to test that, Let's
go bring these to create a duplicate so that
we can use some shapes. I'm going to rotate it 90
degrees and 90 degrees in here. So this one is going to come in here and be placed
just like this one. And of course, in a way that
we can see that for example, something like this or basically in here and
accompanied with this. So I'm going to delete these
two and take these go back. And I'm going to delete the
pieces that were duplicated, basically a now
I'm going to take these This is the kid patch for the residential and
allocate that we have. So it already has the UV. I'm going to
right-click and do not do an unwrapped
basically because it has our unwrap already. I'm going to go
use the UV Packer. And I'm just going to use the same settings that
this one high-quality. And let's see if we can use this to have a
better texture density. This is actually
how far it can go. So now this is the
kit that we are going to texture and later on use for the residential
and allocate a let me just place them
with each other. They're already
having the amount of the geometry that
we needed from them. So now I'm going to select them, put them in a folder and call it raise, standing
for residential. And now we can simply hide them and do whatever
that we want. I'm going to keep these so
that later on we can actually use them to start to keep batch the pieces to
create new geometry. Now, this is, this
lesson is done. Then the next one who actually create a piece for
this one as well. Okay. See you there.
74. Baking The Windows: Okay, everybody in
previous lesson, we created the kit or ally and a residential
building kit. And now it's time to
go for the museum kit, which is going to be more
intricate and more detailed. So first things first, I'm going to place
this in, right? In the place that
it needs to be. This needs to be
bigger in x and z. Now, this is the piece
that I'm looking for. As well as I'm going to
go and convert this one into a mesh because this is already curve that
is not so useful. So I'm gonna go convert to mesh. Now we have this one
and we can go select this and use to create a face. Again, a small insert,
and then collapse. Now on the bottom part as well, we're gonna do the same thing. Let's go select
this right-click. And to create this, then I'm going to bring in an inset very small
amount and collapse. Okay, now I'm going to shade smooth and based on 30 degrees, you are getting a good result. But I need to take one
side and delete it. I can go in here
and try to select polygons from this side,
okay, completely correct. Now, we do not have
any problem with this. And the only thing that
we need to do is actually rotating this 90 degrees so that we can test the
shapes on these windows and apply the scale and
rotation as well. So that when we UV this one out, we're not going to
have a problem. So now this is one piece and it's going to act
as a platform as well. I'm going to rotate
that, bring it here, make it a smaller, know, make it a
smaller, only in y. That the proportions are right. Okay? This one, I believe is okay. Maybe we actually take
this and resize it, I guess this portion to save some texture space and make
this more high-quality. And when I'm looking at
this in here as well, we have a piece
that is connecting this one with 0s below it. So we can actually go
again, create a curve. Let's shift a go-to
curve and create a path. Now, let's take
this, bring it over. And I'm going to
resize it and apply the scale and rotation as well. So now I'm going to take a
look at this and sip tea, coffee. The design exactly. We can take these vertices, these three, delete them. Start to iterate from here. So I'm going to bring it down. You can hold down Shift
to be more exact. And when you are happy
with the result, you can really take this, execute it, and then I'm
going to hit E to extrude. Basically, this is going
to extrude extra vertices. And you can create the
shape that you want. For example, if you wanted
to change it again, you can go and start to do any change and I'm not
going to exactly copy this. I'm only going to
have this in mind to see how all of those things
are flowing together. So once saying another. Now I'm going to take this
and convert it to geometry. Exactly. Let's go convert and to mesh. Now this is a mesh and
we can go in and select this one and hit E. And
I'm going to extrude it. So we get basically this shape. So I'm going to take this
and bring this in the center so that I can rotate it
with no problem actually. Let's make it a smaller. If you want, you can actually
go on to start to give it more depth so that
it's more pronounced. And I'm going to
take this one and bring it down in z only. And let's do that
again in z. Okay? Just like this one.
And this could be a good addition into this. And I'm gonna go in here and extrude vertices
out, bring it here. And I'm going to
select this one and this and align them on the left, or align them on the right so that they're
on the same level. And I can take it
and bring it back or basically do whatever I want. So now this is it. I'm going to bring it
in here and try to test it to see the results. So let me go rotate this. In 90 degrees in Z. And I'm going to bring it in
the mix to try and test it. Let me place it on top. And I can actually make this bigger and try to place
it on top of this. And right now you see
that this is too flat. I can go in here first. Let's try to take these. I'm going to bring it in here. And one side is in here, and the other side is on the other side of
the building basically. So I'm going to lock it
to y and bring it here. Now, to give it more depth, I'm going to basically select all of these vertices.
Just like so. I'm selecting this
right-click and hit N to create a vertices, to create a face. And again in here as well, deselect everything and create. And just like this, Okay, Done. And now let's go ahead and create a bit of depth into this. Now let's go try something. I'm going to take these
vertices in here. Now, let's leave
it the way that it is. Now let's go in here. And I'm going to add two
vertices, two on top. And I'm going to scale
them right until here. And then select this. And let's take the
vertices again. I'm going to bring them
up so that they are in the same level at this one. So I can exactly go and try to remove these lines
that we do not need. It gives some form to it. So let's take it
and try to test it. On this wall. Actually, I do not need this
vertices in here. So I'm going to delete it, bring the vertices in the
center because I'm going to use the mirror modifier
to create this side. So again, go to mirror. I'm going to use Y,
bisect and flip execute. So we created this one as well. If you want, you can take these vertices out and
try to extrude them more. If you want to basically,
let me take this. Or you can basically
do an extrusion. Let's take this one,
extrude in this direction. So it looks like we need
to do another mirror as well to create that side mirror. Why? Now everything is going on. So now let me duplicate them
to simulate the situations. I'm gonna do that.
Just like this. I'm going to play some
ornaments in here. Let's go use some of
these floral ones. Let's take this one and this
one and copy them in here. And before actually
doing anything, I'm going in and we're moving this backside because
actually we do not need it. So let's go for UVs. So let's go back again. Go to polygon mode
so that you do not lose any of the edges. So this one done. And let's go for this one and try to remove
all of these parts done. Now let's apply the modifier and we give them a
bit of a smoothness. So I'm going to take this, both of them rotate in this direction and bring
them up to try to test them. It looks like they
need to be rotated on the Z as well so that they are facing in the right direction. Let me take this one, bring it in and try to create some simple
ornaments on this part. Just try it the ornaments
and apply this one as well. By mixing and matching
different ornaments, you can create
different results. So I'm taking this and actually I'm going
to take this one because this one
has a center point. And I'm going to bring
the pivot to here so that I can respond different
ornaments on this part. So let's go and select
this one as well. This is a great one, or
we have used this one. Let's use this instead. This one, this has
a better shape. And I'm going to bring it here. And right away, I'm
going to remove any extra polygons
that we do not need. Okay? Now I'm going to Shift
S and this one too cursor. Now, it has been as founder. And I'm going to change the rotation in this direction
and then in z as well. Okay, Now, let's give it
smoothness as well as well. I'm trying to select these and apply the scale
and rotation as well. Let's place this one in here, right in here it should be. And I'm going to bring this down and try to place these
in another order. Okay, but these need
to go in here as well. So I'm selecting this and select this 12 bounding box so that I can bring
this right in here. And this one as well. Let's make them smaller and
place them in these areas to create the ornament.
This one as well. Let's bring it in and try
to create this one width. I'm going to scale it in so that we can create
basically a result like this. Then all of this is going
to be duplicated on the other side after
texturing as well. This is another one
that I'm going to use. Copy and then paste it in here and bring it right in here. So, you know the rules. I'm going to select all of
these and remove the backside. So I'm going to rotate
it in why? 90 degrees. And again, rotated in
z, Ninety degrees. Now, this actually has
the good rotation value. So let's make it bigger. Try to place it right
somewhere in here. I can take this
one, bring it up. I can do another rotation in this direction to make
it something like this. And you can make them smaller, you can make them bigger. Just what do you want basically
to create your results. So I'm going to bring this
one up and make it a smaller, just a bit and make
it bigger as well. But I can go and
extrude this in abroad, these two in as well. I'm going to do
the same thing and place them in here to
create an ornament piece. So just like this one, I'm going to bring it in, move it in Z, and try to place it in a way that
the result is visible. So this one is good as well. But actually this one is not. So I'm going to drag
it back and use this one on the top part. Instead. This is more floral and hitting
with the same better. And let's drag it back
to create the result. Okay, now, I believe that it's enough for this one,
but if you want, you can bring it in and try to duplicate it on random places where you have a
bit of empty space. Or no, this is not actually reading too well
with the rest of them. So I'm going to
select all of them and do apply transform, rotation and scale on them. So I'm going to give them the modifier as well to
make the result smoother. So this is all of them. And I will copy the result to the other side when
we created them. So let me take this
one, bring it back. Just like this. I can take this one as
well and cut it in half. I'm going to use this
the way that it is. Now, let's go
select all of them. Select this one as
the last one item. And I'm going to
join them together. Select one as an active object
Control J to join them. And I'm going to use
with this one out. Of course it has the UVs. I'm only going to excuse me, pack them using the UV packer, just like these settings. And it's done because these already have
the UVs in place. So now I have this piece. I can keep it separate, and I have this piece as well, although we altered
that from here. But since this one has
already a special case in it, I'm going to keep this
the way that it is, but this one or this one could be removed easily
without problem. And this is it basically
this is the kit. And let's go now try to
apply the UVs as well. So now I'm going to
select this shift G, and by normal and hit on rap. It. A perfect unwrap. And I'm going to shift
to this one by normal on rap and take this and unwrap, and let's select
everything, unpack it. Did. We have the UVs for this one? Let's create something and
just call it Museum 0. So that we know that
this has been used with, and let's hide this for now. So this one is going
to be removed, but let's start to
work on this one. We already have the result. Let's shift G by normal. Excuse me, let's shift
to buy normal, unwrap. Shift G again by normal unwrap. Take this one and do
another unwrap and pack them all in the same place. This one as well can
go into museums 0, and this one is also good. Go to museums 0. And we are
left with only this piece. So let's go to an
on-ramp on this one, I'm going to hide everything. Select these two. And it doesn't have a UV, let's say pack to
create a UV for it. So this is the basic, this one as well. Hit Shift G normal, unwrap. I'm going to select this to a
plus four, select this one. And this one. Plus
right-click and unwrap. And these are separate
pieces as well. So I'm going to select
this one. This ring. Do want to unwrap
this spring as well. To unwrap. I'm gonna do the same thing
for this one as well. Loop, unwrap. This one as well. Unwrap. Now let's select everything and I'm going
to select this one. And we have this piece and I
can right-click and unwrap. And let's select them all pack. And this one looks
like it doesn't have a good textual density. So let's go apply
the checker map to it and you see
it's distorted a lot. So I'm going to take
this and in here, it looks like we need to
add more resolution in y. Add more resolution, and
you're good to go. So in y. Now I'm going to
select them all. It pack. Again, select everything
with it, and it's good. Now, this has been
unwrapped as well. Let's remove the checkered
pattern as well. This one also can
go into museums 0. Again. Now that we have this, I'm going to actually start
to export these to substance. And because these are
high-quality files themselves, I'm going to bake them
on top of each other. So let me bring in the
residential create as well. You see we have created
the UVs on these, but the size of the ornaments is relatively bigger
than the pillars. Actually gonna do not
want to stay like that. So I'm going to take
everything about this to scale them just a bit. And now I'm going to
go into UV Packer and we scale and
rotate are going to be turned off so that you get more texture resolution
for the pillars instead of these ornaments
that are going to be re-scaled down basically. So now I'm gonna give this one a separate material so that all of them have the
separate material. So just call it window
residential and try to place them
just in here so that it easier to work with
them inside substance. Then this one is exactly
a duplicate of this one. So I can take this
and simply delete it. And let's go for here. And it looks like we use with
dad and didn't UV this one. This one also has the UVs,
but this one doesn't. So I'm going to remove that one. This one is going
to be dragged out. Uvs are in place. This one as well.
There's ornament needs to have it
separate material. So let's just call it ornaments. And later on, when
we created this, because we haven't welded these and these are
all separate pieces. We can bring them and use them in this simpler window
creation as well. Okay, good trick. And let's go in here. And on this one I'm going
to do one thing. I'm gonna go select all of
the vertices, excuse me, all of the edges
from here and here, and here as well. Let me, if I can bevel them
to give them more details, because this is not exactly looking the
way that I want it. So instead of
selecting all of them, I'm going to only select this
edge, vertices, this one. And select only in areas
that you have sharpness. This one, and this is okay. So now I'm gonna do a bubble. Let's see what we come up with. It controlled B to add a
bubble and you can hit clamps so that it stays
to the good place. Okay, now we have
more smooth muscle on this one and I'm
going to select it, merge by distance. Ten vertices got welded. So let's go in here and do
another unwrap on this one. I'm going to go for CME or it doesn't have
seen, let's go for UVs. And I'm gonna do
another unwrapped. It's basically giving us
the error that we got. So let's go in here, give it. Check your pattern. And I started to
tessellate this in y. Ok. Now I'm going to
select all of them and go for UV Packer, unpack. But now we do not have as much
resolution on these parts. So I'm going to select
this and invert selection. Then I'm going to make
these ones bigger a bit. And it pack so that we get some resolution in
these parts as well. And of course, we
are seeing a bit of distortion in here
and let's fix it. I'm going to select, let me select these polygons. And these are these, I'm
going to scale them in y. And let's just scale
them in y again, just like this one, okay? Now it's better, but we need
to actually scale in y. Again. Let me take this pack and basically
this is a good one. So let's go for UV toolkit, hand removal of the
checker patterns. And except for this one, all of these are going to
be from the same part. So I'm going to
select all of them. And I believe that
they should have unwrap in place already. So just select these
three and hit pack. And I'm going to go
into UV active mode, select all of them. Select by pounds. I'd go into edge mode, right-click and mark seam. Looks like it converted all
of them to mark scheme. But we can test to
see if anything has been unwrapped
already or not. This has been unwrapped. So I'm going to give these
new material hand call it window museum. Now, I'm going to take all of these unexplored them
into Substance Painter. The material is already set up and we can bake
and texture there. And this one is the low poly. At the same time, high poly as well. And we're gonna bake
it on top of itself. And one more thing, I'm not
going to bring this through ZBrush because the details are so small that
they cannot be seen. Of course it can bring them to zebra Russia start
to detail them, but I feel like it's
an unnecessary. Okay. This is substance. And I'm going to bring the
low profile and hit Okay, now we have this file and it can be baked
on top of itself. And some normals are wrong
and some of them are right. Let's go to substance. Try to separate face normals and you see all of
these are facing to the right direction
except for this one. So I'm going to
select this one only. First. I'm going to
apply the scale and rotation and then select everything Shift and N to
calculate the normals. Again, that problem
got solved as well. I'm going to select them
and re-export them. And then again, we
can go in here into project configuration
and re-import file. Basically. Now the problem got fixed. And now we have three materials. Let's go in here and add ambient occlusion channel to all of them so that later on, the ambient occlusion bakes
as well, exports, excuse me. I'm going to select
bake mesh maps. And since we already have this, I'm going to select
everything or kay, use low Party as high poly. And anti-aliasing also
is going to bump up. Okay, I'm gonna bake textures and see you after it's done. The baking is done. And a smart material that I've put is working alright as well. So see you in the next
one while texturing.
75. Making Residential Windows: Okay, everybody, in
previous lesson we created these and bake them. And now it's time to
texture them exactly. And I'm going to use
the plastic concrete. Again. One of the
benefits of using this smart materials is making sure that you have
authenticity in your textures. All of them convey the
message that I have been baked and created
in a same area. They have gone through the same changes and
basically things like that. And this is the result
and I'm happy with it actually having a
quiet good result. Now, let's go see what changes we can do to individual kids. I'm going to first
bringing the ornaments. You can hit F to frame on that. But since we have a
big mesh in here, it's a bit harder
to zoom on them. So this one is perfectly good, exactly what we wanted, separating the forms from each other and creating
a good result. So let's go for museum
and hit F again. And in here, it's good as well. But we need to make sure that we remove
some of these results. Either this one or that one. So this one is better. Having a darker edge separates it from the
rest of the measures. Let's go for this one. This one as well has lots
of interesting results. And I'm happy with it. This is exactly the way that I wanted, but I can do one thing. And that is, of course, I should have selected
this one, Excuse me. So I'm gonna go in here and use the mask to actually remove a bit of this
edge highlights. So global balance down so that it's not generated
all over the place. And I can remove
this one as well. Let's use it. It's better. Now let's remove it. So now this is a good result
and I'm going to export all of them and then make
the meshes inside Blender. So first things first
I'm going to export the textures, the
desert direction, and packed OpenGL target. I'm going to export them at
for k. So everything is okay. And I'm going to export. Okay, they got important, and this is the result
that we are getting. Perfect. So now there's a bit
of setup in Blender. I'm going to go to material mode and disabled
the face orientation. And right now I'm gonna
give them the base color. So I'm going to select
them and in the material, I'm going to give them the
base color so that when we actually try to scale them
and all kinds of things, we know that what is going on. So this is the window residential and this is
the base color for it. Since the material is
applied on all of them, we are getting the
result perfectly. So this one as well, Let's go image texture
on it to open. And this is window museum. Good. This one is the ornaments. One, image, texture, and
ornament base color. And the good thing is
that as I told you, you can take it, for example, duplicate anything
that you want. Shift D, P separate
by selection. Now we have a piece that
is independence from that. We can copy that
around to use it in here and basically do whatever
you want to do with it. So now that we have the kit, you can take them and start
the kid bashing process. And let's just start with the simplest one, which is this one. So I'm going to use this one as the base and take
these, bring them back. Okay, this is the piece
that we're going to use. So let's try to make the piece. Though. This can come in here and it can be duplicated
to other side as well. I'm going to bring this, let me select this
one and start to bring it in here and make
it the base for these two. I'm going to scale it in x, excuse me, in y only. Or this is not uniform. I'm going to take this
one and bring it in here. But I'm going to use the mirror
modifier, doesn't matter. Actually. I'm going
to make it in y and make the symmetry object, this one, it looks
like we're wrong. Let's go to z. Z. And it's following
the pivot in here. So temporarily, I'm
going to place the pivot here and go point this one, make it flip as well. So I'm going to bring
the period in here. You see that it has
been duplicated across. Now I'm going to apply that one and place the pubic
back to its place. Although it doesn't matter
because we're not going to copy this over. So let's bring the
pivot in here. And I'm going to bring
it up and resize this one in here to give it a bit of more
form and separation. Actually. Doing the job in here. And when we made sure that we make these, we bring them into
ZBrush and start to give them the masks because these
are now different measures. And ZBrush can really give us some different masks.
This is for it. And actually let's take
this one and bring it in here so that it's
a bit symmetrical. So now I'm gonna go, Let's see what we have here. I'm gonna go place this one
on top, rotated 90 degrees. And I'm going to scale it
only in this direction. This is it. Maybe I can take it
and paste this one in here first and do
another rotation. So that this flat
piece points up the way that it should
have been in here. Okay? Now we can do one thing
and that is getting these parts and separate
them from each other a bit. So again, I'm going
in and remove this pulley and bring
this one over just a bit. It looks like we have that we should remove in here. Though. You can dissolve vertices to remove that and
replace that here because the Windows already have a frame and I do not want
this part to cover the frame. So let me bring
this back to here. Again, let's place
the pivot and apply the scale and rotation
on this one mirror. And I'm going to set this
as the mirror object. Okay? It's perfect. And now let's do that like this one and try to re-scale it in y. Hold down Shift to
be more precise. Wireless scaling and
doing multiple things. This one as well, I can
take it and bring it here. And this one else can be scaled. And I can do one more thing. And that is bringing this
down using the symmetry. Let's place the pivot in here. And I'm going to use
the mirror and flip it. Or let's do that. In z. It created a new shape. Okay, and now I'm going to apply and resize it just a bit. Now I can take this, take these to bring them in, and I start to create
the ornaments. So I'm going to take
both of them and rotates in this direction.
In this direction. Let's see what we have. I can take this one, bring it in, and it starts to
create the results with it. So let's make it a
smaller so that we have only a bit of extra
thing to work with it. Okay, just to give it
a bit of ornamenting, let me rotate it so
that it feels the same. And to be symmetrical, Let's apply the
scale and rotation. And I'm going to do mirror. Again. Let's put it in y. And this one is going to
be the mirror object, or we should make it in x
and apply the modifier. And I can take this
one, bring it here. And maybe I can place
this one on top. Let's do something like this. Bring it here and rotate it in 90 degrees and see
what it creates. Let's rotate that
just like this one. I can take it and bring it over. So let's go back. Looks like it's a good one. So let's take it, bring it out. And I'm going to scale it in here so that it has
more form and shape. But I'm going to
re-scale it down. I can take this one
as well and bring it in so that this one
becomes more prominent. Okay? Now let's apply the scale and rotation as
well on this one. And I'm going to do a mirror
and set this one to that. This one is good, but I'm not happy with how this is looking. So again, let me go
select this one. And I'm taking this. And I believe that this is a better rotation than
what it was before. This is good, but let's
separate it a bit more and use this one instead. So scale and rotation. Then again, I'm going to
mirror in x based on this one. So it looks like we created the first frame and it's ready
to be exported and tested. But before that, I'm
going to take them, apply all of the modifiers on them and give the pivot
to be in here as well. And I'm going to
select all of these, separate them, and
this is the results. Let me take this plus this one. See if I can rotate and scale
them in this direction to give it more bit of form.
Okay, this is good. Now. Now I'm going to select them
all and hit Control and J, K. Now these are the same mesh, but I'm going to give
them the pivot and looks like we ruined the UVs, K scale and rotation. And now I'm going to borrow
the pivot from this one. So this is already
pivot in here. It looks like we
didn't join them. Let separate them. That this one has an active
object and join them. Okay, Now this is a piece, looks like Upon joining them, it gives us a problem. And that is, I believe, because the UV names
are different and it creates to UV sets.
Let's go in here. It has created to UV
sets and one workaround, this one is actually
taking one of them that you know, for example, this is the name of the UV, copy the name of the UV and go paste it in here so
that when we bake them, these are part of the same UV. So hit Control and J. Now we have one more
problem which is in here. So let's go paste the UV
name in here as well. So now select them
all, Control and J. Now we do not have a
problem because all of them have been merged in that UV map. And if you go in, you see the UV, correct. And a lot of you have been saved because of the trim
sheet workflow that we have been using. So I'm going to take this one pivot to cursor
so that this is the pivot. So now I'm going
to rename this and I'm going to just call it modular residential
window frame 01. Let's go create a
folder for it as well so that vertex
can export on them. And since these are new pieces, we have no problem bringing
them into a new folder. In this sub folder, I'm only going to create a
finished and export this. And this is unreal. Let's go
and try to import them in. Okay, it's here. And I'm going to convert that to nanometers world imports all. And this is the piece
that it has imported. So while having
this one selected, I'm going for this one because
we created this for this. So I'm going to
open the blueprint and go in here and
bringing a static mesh. Let's search for static mesh. And you see because we
have that one selected, it's bringing in the same aesthetic much that
we have selected. Let's go back and
say it has been placed on right under
where it should be. So Compile and Save. And this is the result
in here, pretty good. And it has been duplicated
all over as well. And now you see this is
starting to look a lot better. But if you want, you
can actually take this one and go make the pivot in the center or do some changes in here because these are
going to be hidden. So I'm going to
go in the center. First, go into center, make it bounding box center. And let's rescale it in x only a small bit so that we are able
to see the results, the scale and rotation. Then again, I'm going to
bring the period in here, simply this one to
cursor, hit Export. And right now I'm gonna
go re-import this. Okay? Now, it's a lot
better than giving a very cool shape on this part. You see how different it has
become compared to these. And since actually we had
the map applied in blender, you see that it has important that material as well,
but I do not want that. So I'm gonna go take these
two and forced delete them. And now we get a
default material. And this one, which
has no problem later on who actually
bringing the materials. And since we are using the same smart material over
and over again, you see they're starting to
look actually pretty good. The combined with each other. And I'm getting happy with the results are actually now that we have
created this one, I'm going to take this
exactly take these two and bring them back and
start to work on this one. And this one is the one
that we have copied over to be used in here as well. Handles allocate. First. Let's do something. First. I try to create the
ornaments around this. And if these bricks
were in the way, I take them and scale them to make enough room
for them to be shown. Now again, I'm going to bring
this one this time because this is bigger and was
created for this scenario. Okay. This is it. Now let's take this one and bring the pivot
into the center so that we can bring this
over to that side as well. So let me go in here and
bring in the mirror. And let's put that in here and apply the rotation and
scale on this one as well. So I believe that we
should go in y instead. This is it. And now I'm going to
bring this one in. This one exactly
needs to be in here. But let's make
this a bit bigger. I'm going to make it bigger in Z and bring it here
to cover this seam. And I can make this
one bigger as well, a bit and just a bit bigger. Now we have this same
covered perfectly. I can take this, apply the scale and rotation, and I'm going to apply a
modifier to bring this on top. So again, mirror, but this time I
believe we should go in z. So let's go in z and set
this one as the target. This is correct. And let's look at that. It's alright. But I'm
going to take this and actually rotated in this
direction to 90 degrees. And a scale it a bit as well. This is the shape actually what I'm
going to do something. And instead of making
this just like this one, you see it's horizontal. I'm going to make
this triangular piece that we know from here. So in order to do that, I'm going to make it from here. First things first, I'm going to shifted duplicate this one p by selection so that I can take this one and do the works on it. And before that actually
before doing anything, let me take this
and bring it up. I'm going to take this
one and we scale it. I'm going to rescale this one so that we have enough
room for that to show up. So I'm going to place
it right in here. Let me look at that. Having them isolated
to see how they work. But before that, let me
upload a modifier on there. And this is it. Let me take it. I'm going to bring it up so that it matches with that one. So first I'm going to bring it down until it's matching
the proportions. Okay? Now I'm going to take the middle one and drag it up. And now take these two. And make sure that you
select the vertices, backside vertices as well, if you have any. So this one is done as well. Now let me take it
and we scale it in just a bit and hold down
Shift to be more exact. And I feel like
this is too sick. So I can go and try
to scale it in. And then take this one, bring it up as well. Then take these
to bring them up. That is as easy as that. So let's take it
and I feel like I should make it
exactly on the play. Okay, now, let's
see what this one does when combined with
the scene actually. First, let's take this bring
it down to cover the scene. And I can take it and
bring it in a bit as well. Then first, let's
take these as well. I'm going to take these vertices
and bring them up a bit, but it results in the
texture to be a bit distorted in this area and
it's not too prominent. It's okay, No problem. Let's take this one hand, re-scale it in so that we
can place the ornaments in. Here. You see there's enough room for the ornaments to be placed. So now let's use some
of these ornaments. So I'm going to use this one, Shift D, separate by selection. And this one as well. Let's select all of
the pieces from it. This one Is it by
selection as well. So now we have these pieces. Let me bring it to the center, and we have this piece
to the center as well. So now I'm going to place
them right in here. Looks like this one is a
better piece for here. Rotated 90 degrees or. Here to get the perfect
rotation and do the reverse. Let's take it and bring it out. Of course, I need to
give it more depth. Let's give it more. Let's try to look at that. This is better. But now let's take this
lady's row of vertices, this edge, and drag them to
the site to fill this space. It looks like it's
better with this one. A scaled to the fullest. So let's take this one, re-scale it, and place
it right in here. And I can rotate that as well so that it matches the
curvature of the building. So let's apply rotation
and do a mirror. The mirror, I believe
should be in y. Based on this,
Yes. It's working. And I can start to use this
one or this process as well. But let's first use this one. It can be scaled, rotated, and again rotate
it to match the curvature. I'm testing different designs to see which ones work the best. So this one actually is good. So scale and rotation, and I'm going to mirror this one again in Y based on this. Now, you can take them and do some duplications as
well. Let's go in. And I'm trying to
delete this one fully so that this
one is the piece. So a bit of rotation. And testing that in place. Let's again apply the scale
and rotation as well and mirror that based
on this object. Of course, in y. So it created a simple
ornaments and this part, and I'm happy with
it. Let's apply it. And I can take these and
make them a single object, Control J, and bring
the pivot into center. Now, we can do one thing. I can take this, bring it up, scale it right to face the normals in
the right direction. Now I'm going to scale
it down and bring it in. I felt like this is enough, but let's give it
a mirror as well. I want the mirror
to happen in Z. Let's bring in an empty
to make this one better, Let's bring the world center to this one and bring
in an empty on here. I'm taking this one
and apply the mirror on this empty so that
when I select the empty, it's able to change that for me. So let's take this
and bring it up. Okay, this is the design. Let me apply it. And this one needs to
be burned just a bit. Let me see what we have. And let's select
this one here and apply the bend
modifier so that I can match the triangular
shape of that one. So simple, the form using bend. Let's set this one to global and apply the rotation and
the scale as well. So let's use something else. It looks like taper is going
to give us better results. So take it and bring it down. And it doesn't matter
if it has a lot of geometry because non-IT is
going to take care of it. So now I'm gonna take this and place the
period right in here. And I'm going to connect
these altogether. So this is a bit trickier
than previous ones because this is containing
couple of materials. And we're going to
fix that as well. So let's select these to see what the name
of the UV map is. This is the name it's
shared among all of them. So I'm going to take
these and join them. And join this one. And this one. These two
share the same name as well. So it doesn't. Let's
first undo that. And we need to apply the scale and rotation
to this one as well. And then join them. So let's see what is
the problem here. We need to apply the
modifiers first. So now this is done as well. The texture and
anything is correct. Now we have two parts. I need to take this and
this and join them. So something like this happened, that is actually not a problem. We can fix that
in unreal because these two pieces have to
separate material IDs. And if I go in here and bringing the UV editor and
select anything, he can see that this
first one is showing, but if I go in here, you see that this is it. Now this is showing,
if I activate this, you see the information on
this one is getting shown. So it doesn't matter actually in Unreal Engine when we
apply the material, it's going to be fixed. Okay? Now we have this one. Let's set a world center to the selection and take
this pivot to cursor. Now, this has been changed. Let's select the piece that
we created previously. And I'm going to pick
the name from it so that I can name this
one the variation to. Now apply scale and rotation
as well. This is it. Now, this is the tricky part. Now because this is using two separate material
IDs that you see here, we're going to deactivate one material ID to make sure that both of them
getting exported.
76. Making Museum Windows: Important from here,
and this is the piece. I'm going to bring it. So I'm getting the same
problem in here as well, because this is using the
second uv channel and it's not showing the
material although it has loaded up
the base texture, but we need to fix this. And I went ahead
and made sure that the UVs are using the
same names as well, so that when I joined
them together, we have no problem now
rendering the textures. So now let's
overwrite that again. Re-import in here. But we did it and now the
textures are being shown. So now let's go in here
to the blueprints. Go to Viewport, and I'm taking this and dragging it
into the viewport. This has been applied to where it should be
so Compile and Save. Now, it has been applied
perfectly in here. Actually, there's nothing
to be changed about this. It's working perfectly, but there's a bit of
problem in this side. And that is actually, this is too big of a break. So let's take it and make it a smaller so that
all of it gets rendered. So make it a smaller. And a bit of a scaling is okay. I'm going to do the same and duplicate it to the
other side as well. Let's bring it on. Now, this is better
for this brick. Actually a good thing
happened in here, because this is being
used five times in here. It makes a bit of repetitiveness to have that
rendered more times. So in here this brick is doing a great job covering
these parts. But let me see if
I can rotate this. We get something
different or not. I feel like this
is already going, doing a good job and
I'm happy with it. So let's go in here and
disable the textures on them. I do not want the
textures to be rendered. So again, we have these
materials being imported. Let's go and just
hit forced delete. And there's an ornaments
material as well. Let's search. No,
it's not there. Okay. Now, this a good one hand, this as well who was
unhappy accident? I'm happy with how this is
covering that part for us. I wanted to create a variation
from this which actually has a flat top,
just like this one. But this Briggs actually did a great job in covering
those seams for us. So now I can tell that these
two buildings are finished. Of course, we need to create these two pieces to make
them finally finished. But as long as the architectural
modular pieces go, these pieces are
finished and now it's actually time to go
and do this one. And this one, we're going to
create a couple of them for. Now. Let's start on those ones. I'm bringing this one in here. And let's just start
with the first piece. So this needs to be placed in here and let's set it to bounding box center. And I can take this actually and bring
this one in as well. So let's bring it and place
it right in the place. This one needs to be placed
exactly beneath this. So I'm going to get it in x or y. I'm going to bring it in, pour out. This is good. So now let me take it and a
scale and rotation as well. And this one needs to
get centered in here. So let's add mirror
modifier. Here. Instead of a cursor, we can go to global so that
we can see the global values. So that's headed and why? Because it's in y-direction. I need to set the
target to this. Exactly correct. So now I'm going to take this
and bring it over in here. And let's place it. And I need to bring
it over until here. And one more thing, let me take this bring it up and take this bring
it up as well to make enough place
for this one to get shown on this one as well. I'm going to bring in a
mirror and NY based on this. Okay, now we get a
perfectly symmetrical piece in here as well. Let me see how is
the piece working? Perfect. Now, let's take this
piece and bring it in here and start to place
it right in here. To get that going, I can bring it in and I start to make it bigger in
these two angles. Let's try to place it right on the side and just
take a look at it. This one is really cool. The color and the
contrast that it creates with this is very good. So let's take this one and
I'm going to bring it up just a bit and apply
the modifier as well. So this is it. Now, I'm going to take this one duplicate,
rotated 90 degrees. While applying the
scale and rotation. I'm going to set the mirror and set it to be
exactly under in Z. We can apply that. There's a bit of change
that we can do manually. So select everything and
bring this one up as well. Just a bit more. Now that I'm looking at this, I can take this one
and bring it up in z again just a bit to
make room for this. So let's Exactly Place
it beneath that. It's okay. I can take this. And since I can scale it, Let's scale it in z just a bit so that I can place it here. And in here as well,
it's doing a good job. So let's take this
and bring it up. And it's perfectly done. It actually created a
really cool design in here. And if you want to make it
more beautiful, of course, this one needs to get
rotated in this direction. I can take this, bring it down. And I can take this, make it bigger just a bit. Then of course,
let's delete this. We created this one. And we can take this, bring it down, place it in here. And I can rotate that
90 degrees as well. So let's bring it out so that we give this
one a cooler design. Okay, this is it.
Let's hide it and look at it with all of the details. It's great. And I'm actually
liking the design. So let's Control Z
to bring that back. And let's give the period
exactly to this area. Because we change the pivot
before applying the modifier. It's taking this funny effect. So I'm taking this
bringing pivot in here so that the mirror
effect is going on. So I'm taking this Apply, and now if I take the pivot
and place it in here, there's actually no problem. Now, I'm going to take
anything, exclude this one. Said one of them has active
and Control J to join them. And of course the old problem, this has the different UV name, that is map one,
and this is UV map. So let's apply it to this
name and this name as well. So that when we
join them together, you do not have any problems. Select all of them. Just like this. And select one of them, control, G, Control and J. And looks like nothing
actually, it's correct. So let's go back and
select this one. Pivot the cursor so that the
pivot right in this place. So I'm going to first give it a proper name and
then export it. So now let's bring it imports. And this is it. And it's already should
be converted to nitrite. And I believe that if I bring in the piece and place
it in this blueprint, it's going to be copied over
on all of the instances. And if it did, I'm going to create a new blueprints and do the variation in that blueprint
and that extra blueprint. So it did it. And now I'm selecting this one and this
blueprint as well and go to Edit blueprint. And in here, you see
that this is it. And I'm going to take
this and drag it in just like this one and
hit Compile and Save. And now you see all of
them are getting that. And although it's great, but we need to add a curve. We want to contrast a lot
of these sharp lines. Now. So now I'm going to
select this blueprint, Right-click bros. And
I'm going to take this one and duplicate
it and make it 02, which is exactly the
thing that we want it. Now, I'm going to take
this and simply delete it. And this is going
to be the place for the new one
that we bring in. So let's go in here. I'm going to drag this back. And again, I'm going to
bring these in as well. So let's give them
a bit of a space. This one needs to
be placed in here. And first off, let's
create that curve U1. So I'm going to rotate this 90 degrees and place
it exactly on top of this. So let's select this one and let's bring it up
exactly on top of this. And I'm going to
bring it up again. And right now I'm going to
apply a bend modifier to this. So apply a scale and rotation. And now I'm going
to go for band, simple deform and bend. Let's see in which direction. So let's do x, and it looks like we have not done the rotation and scale. So let's rotate that. And again apply the rotation. Now it's working. Alright? So I'm going to rotate that
negative 180 to match that. But we need to apply some more segments so that
this becomes a smooth a bit. If you go into the Edit mode, you are able to see the original
geometry that you have. Just come in there and
apply some geometry. And you see now it starts to become a smooth. We added 12. And let's go for 12
in here as well. And here as well. And another 12 in here. So now we see it's
a lot smoother. And I can go in here, take it and scale it in this direction to
make it thicker a bit. So I believe that
this is enough. Now I'm going to take
one instance from that uploader
modifier and rotate it to see if it works with
the environment or not. Okay, it looks like
it's doing a good job. So I'm going to take this one, take a duplicate and
bring it here to see if I can make
something with it. Now, I'm going to
make this one bigger, only in x and y and not z because the height,
I'm happy with it. And I'm going to make
it actually the same size as this one. So now I can take it, make it a smaller,
bring it up in Z. Now let's take this and
bring it out of the way. Now, I'm going to
actually make it really snapped to the just a bit. And you're good to go. Okay. This is another one and I'm
taking this and delete it. And this is from the front view to see actually what
is going on there. But actually I can
take this one and break it and bring it
down a bit because it's outside of the borders
and we do not want that to collide with
the measures above it. So I'm going to apply anything on this including
a scale and rotation. Then again, I'm gonna
give you the mirror. And the mirror object
is going to be this, okay, Perfectly created. So now let's looks like
this is a bit offset it. So let's go exactly
place it on the place. Okay, let's see about here. It looks like we need to add while having
that one selected, I'm actually going to activate the snapping mode
vertex and active. For vertex and active
and enable it. I only wanted that for move. So let me take this as the vertices and
snap it right there. So let's give the
pivot to be here. And this is the
active vertices and I can snap it perfectly
to the site. And it's working awesome. And even I can take this
one and make two on the duplicate piece because it's reading
perfectly with that. And you see that the piece is
flowing all the way around. So let me apply a mirror in y. So let's apply the rotation.
Let's make it in y. And this is the symmetry
object, Okay, Perfect. Now I can take this one and
try to do something with it. Of course, let's deactivate this and let's see what
we can do with it. I can take it and bring it
here to cover that part. So let's try this one in
here to see what goes on. Then I'm testing
different designs to see if any one of
them works or not. Let's make this one bigger until we have the
same size as these. Now, I'm going to drag it out. And of course I can take this one while we have
this one in here. I can scale it in
a bit so that it's the same proportions
as that one. Perfect. Not perfect Actually, let's do another one and bring it in y so that it's fairly the same size and apply the
scale and rotation as well. And I'm going to bring in a mirror to help from a
lot of the headaches. So again, in y with all of these and I'm going
to do this as well. Then again, I can take
this one, bring it in, and start to place it here
to have an ornament piece. Let's place it just
like this one. And I'm going to
apply the scale and rotation hand again
to the mirror. This mirror modifier is pretty important while using
such workflows. So again, NY, it looks like I need to take
this and move it a bit. Something like this soda, we have an object
just like this one. So now I'm going to take this, bring it up and place it up
top in here and rotate it 90, excuse me, a 180 degrees
to form a piece like this. And I'm pretty happy
with our design here, but I'm going to make it, bring it up a bit and apply
scale and rotation as well. And I'm going to take this one, bring it up to cover the same. This one actually
makes a good one. When I'm looking at it.
The term sheet that we created a so while created. Okay. Now let me take this and I'm going to bring it
higher just a bit. Now. I'm going to bring
in the simple deform. Again. I'm going
to bend it a bit. So let's go for band. Looks like we need to first
rotate that 90 degrees. Then haploid or rotation
to make the band happen. So I'm going to make the band
happened in this direction. And now let's rotate so
that the bending is better. So let's bring it up. I'm going to make
the band happen until we see the
result that we want. This is pretty
good, and I'm just thinking this is the best
piece that you created. So now I'm gonna take this, bring the pivot to its place. Of course, before that, actually we need to apply
any modifier in here. So let's apply
anything that you see, including all of the modifiers, and then play the
period in here. Now, it didn't change anything. So I'm going to select
everything, deselecting this 1. First, Let's select this one, bring the world origin to here. And now I'm going to
select everything. Let's go to this. I'm going to select everything, excluding this one, and then
make them a single object. But before that, let's
go make sure that all of the UVs are named accordingly. So this one needs to be named on all of them, including this one. Okay. Now, all of them are
having the same name. I'm going to join them and
we do not have any problem. Okay, pretty good. Now I'm selecting this and
bring the pivot to cursor. Let's reset world origin. Send this one to here, okay, This is great. The pivot is actually good. So let me bring it here and I'm going to copy
the name from this one. And this one is going
to be named the variation 0 to export. How important that as always, and it's nanometer as well. So I'm bringing that in here and replace it with
what we have here. So there has been replaced, it Compile and Save. And right now we're not saying anything and that is because I'm going to take all of these, these edges, uh,
let me see what we have selected so far,
the right pieces. And I'm going to take
this one and right-click and replace with the current
that we select that cell. Now you see we have
another one as this, and now we have a bit of more variation in the
rooms of this building. And I'm actually
thinking about taking these and swapping them with
the same blueprints as well. So right-click and
replace with that. Now believe that this is more intricate and we have lots
of more detail in here. And all of that is nanotube
measures. Very good. And now I'm going to take this and exactly
I'm going to give the material through this just like so to test the materials
and to see how they work. So actually, I'm pretty happy
with the results so far. And now the only thing
remain for us to create our the door
and window from here. And a door and a
window from here, as well as this
piece up top there. And after that, we enter the
shading chapter and start to really blend these together
using master materials, vertex blending, vertex paint, vertex colors and
basically a lot of things to create
a good results. Okay. See you in the next one.
77. Attic Window Blockout: Congratulations for
finishing mostly a lot of the
architectural pieces. And now we're left with
some special ones. And we're going to start again
with this residential kit. And we're going to do this
window shop and this door, and then we're going to do
this attic window as well. These are three that
we're going to create. And we have also a door that is going
to be placed couple of times and a window that is going to be placed
four times in here. And it actually doesn't
matter if we do that because there's mainly
only one design, all of these windows. So we have a large
window in here, a door. And then these two
are going to be repeated across the building. But again, if you
have enough time, you can go and make
more variations. But due to the time limits, we're only doing one variation. So first, let's start
with this window shop. And the first thing
that I'm going to do is actually correcting this mesh. Because I want the window shop to include this part as well. Because when I looked at the
references that we gathered, found out that removing
that bottom part of the wall would give us better results to create
something like this. So now first, let's go to blender and start to
refine this mesh. And we imported here we are. Let me take this one,
bring it in here, and I'm going to take this and remove this and
simply delete them. Now I'm going to
export this much and find this in
the Content Browser and heat really important. Now this part has been solved. Now what I'm going to do is
actually export this, this, and this, so that we can use the mass of block out
to create a new mesh. So we saw already the
reference for the window shop, and let's look at the
references for the doors. And for this one I'm going to create something
relatively simple. Just like this one, because this is a residential building. It doesn't actually
need a lot of details and maybe we
create something, but mainly I'm going to put
something simple for that. And this is the reference pack that I have gathered
for the attic, the attic window actually, we're going to create
just something like this. And I have this in mind as well to connect this attic to
their kid beneath it. Of course, it's not
actually going to have any effect on the gameplay, but it's going to
make it look more authentic and look
man-made really. Okay, now I'm bringing this. Let me first just do a copy and I'm going to
duplicate it, bring, duplicate this
one, I'm bring and duplicate these two
and bring them in. So I'm going to take all
of these and export them, or simply hit copy and
save them to a new scene. And you can transfer files between multiple Blender files. And we have done that
already a lot of times. So I'm going to take this one back and take this
one back as well, trying to start to work on this. So first, let's start to
work on that attic window because this has been used to indicate a lot more
times than these. This has been repeated
throughout the whole project. So we already have the
base for this one. And I'm gonna go take all
of these and delete them, including all of
these extra faces. And now we have, let me take this, we have this one
already in place. And I'm going to just do an
instant insert on this one. So let's go to top
view and then start to separate some of these out. This is it. And I'm going
to simply delete this. And I'm going to delete these remaining pieces as
well and bring it here. Now you see we have
this part in here. And I'm gonna go and select
this edge loop and hit Extrude just once and
drag this one out. I'm going to align this to the left so that we have
this piece working. So now what I'm going to
do is actually taking this and separate
this, this top part. Let me start to separate it. I'm going to select all
of them and hit Attach, excuse me, detach it from here. So p by selection and let's see what we have already detached. It looks like you need to
select these ones as well. So let's go and now
this can be attached. Let's take this,
join them together. And I need to hold the
vertices by distance. Eight vertices got welded. So now we have the
base for the body of the attic and we have a
base for sticking part. And this part is going to be materialized as iron or
something like that. And because this RAN
doesn't follow actually the curvature of the attic, I'm going to take this all the way to here and delete it and
take this one as well. All the way. Delete. It looks like you
need some more to be deleted. Okay, this is about it. And now I'm going to select
this edge loop and this loop, right-click and
bridge edge loops. That it creates this
portion for us. So let's go back. And already I need to delete
this piece that is in here. But I'm going to just take this and excluded
from the deletion. So let's see. Let's go back. And it created the
piece for us perfectly. So I'm gonna go in here and to give it a
bit of thickness, I'm going to go and bring in the solidify modifier so that we can give it a bit of thickness. Okay, let's do that
in this way instead. Okay, This is it. Now, let's go back and see that it's not
following that shape. And let's go in the solid mode, you're going to see that better. It's not following
actually this shape. It's a straight piece. And we can materialize this as metallic and a rusty
metallic as well to make sure that we create
the illusion that this is the sticking points studies is taking this to the
roof shingles. Okay, just make sure to think
about the blacksmith way, how the things are
actually created. Just think about it, then you're good to go and you have enough reason to do things. So now let's go and
create some wood planks. Because I want to make that
just something like this. I want some horizontal
wood planks and I want a mixture between
this and this one. So now I'm going back. Let's go in here. And this is good for the
sizes of the wood planks. I'm going to duplicate
it and separate it. So let's take this one
and I'm gonna go and take these two and
align them to left. So looks like we need to apply the rotation and scale for
the properties to work. So I'm aligning to the
left and I'm giving that solidify to give it a
bit of thickness as well. So just a bit and
make sure that you apply the modifier,
rotation and scale. And then go back to
face orientation to see if everything works,
all right or not. So let's go back and do the same thing for
this one as well. Let's take it. Scale and rotation.
Okay, it works. So now I'm going to take this and give it a bit of
bubble so that its nose, it's not so sharp. But I'm actually not going
to go very much just a bit to give it a bit of a highlight,
something like this. And let's go to Shading and set hoarder normals to get a
better shading on this. And I'm going to make
it as smooth and 3000 to 300 degrees so that we have a good
wood plank in here. Now, I'm going to start to dress this blackout piece
with this wood plank. And I wonder would plan to
go horizontal, not vertical, of course you can try vertical, but I want this one
to go horizontal. So let me bring it here, make this one in the center, and make sure that I
bring this so that the outer silhouette
supports that. So now I'm going to take this, duplicate it and start
to place it in here. And later on who will
randomize it just a bit to make sure
that it's not so visually the same in all of the ways that we have
some variations. I'm gonna take this and bring it down until we have the piece
that in itself to more. And bring it down and
you're good to go. One thing about this is that
I'm going to take this. Let's not a scale that let's take this and
bring it back instead. The same thing goes
for this one as well. Let's go back. And
now we need to make a Boolean to cut
all of these pieces. So again, let me go and take
all of these, separate them. And I'm going to take
a line from this. So I'm gonna take this
one all the way to here, Shift D to duplicate and P
two separate by selection. Now, I'm going to take this and do an
extrusion horizontally. So let's go and select
that and do an extrude. All the way to here. Now that we have this piece. So I'm going to
take this and take all of these phases,
extrude them. And to confirm that we
get a piece like this. And now let's apply the
scale and rotation as well. And I'm going to
take all of these. Let's go to box x-ray. I'm going to take all
of these and align them to write so that
we have this piece. Now it's closed and
everything is working. So let's apply the scale and
rotation again and go back. And I'm going to select
all of these wood planks and separate them. By this. First I'm going to deselect
this one so that I have these pieces separated and I'm going to join them together. It needs an active one. So select one of
them and hit Join. So now I'm going to use the pool tools to use this
one as a Boolean pieces. So select this one, select this one that the
last control and minus. If it actually doesn't do
anything, you can go hit. Press F3 to activate
the shading on this. And it looks like it's
not doing anything. So let's go back some steps and start to
check the face orientation. This face orientation
on this one is wrong. The first thing is that the face orientation
needs to be calculated. Just, you know, the rules go select all of the faces and hit Shift and N to
recalculate the normals. And the second thing is that
actually I'm going to take these vertices and drag them back so that all of
these are included. So apply everything. And now I'm taking this and
this for some other reasons. The Boolean is not
working on this. So again, I'm going to go
take all of them and attach. And I'm going to exactly cut from here all the way to here. So let's select this one, go into edit mode and hit Cut. And make sure you hit C
to make it cut through. All the way to here. Okay, now, let's go see the other side. Now I can take these and
start to delete them. Just make sure that you pick up the polygons and
start to delete them. Just like so. And the liter. To cover these open gaps,
you can right-click, select the edges,
right-click and hit N to create a new phase. Okay, we did it
and now we need to go and make sure
that you separate everything by selection and take all of them and hit smooth. Of course, instead of selection, you can say by loose parts. And if they are bad in shading, you can go and remove costume
normals on all of them. Okay, Now I'm going
to take all of them and apply anything on them. So apply scale and rotation. And let's try that on this one. So I'm going to
deselect this one. Search just for
randomize transform. Now using this one based
on the pivot point on all of these which I'm
going to make it centered. We can do a lot of
randomization to make that really look randomized and
not so uniformly created. So now just to a bit of randomization in
a scale as well, Let's do something
especially like this. So that not all of them
are the same size. So now there's a bit
of dressing remaining. And I'm gonna do that right now. Okay, just like so. And let's bring this one back, select everything,
excluding this one. And I'm going to
do another copy to the side, just like this one. And if you want, you can actually go in and
start to randomize that. And I'm going to take
one of them and bring it up first, rotated 90 degrees. And I start to create
a piece in here. I'll put this one as well. I'm going to take
this, bring it here, and take all of these
vertices and drag them in and duplicate
it sometimes to this site to create a
roofing as well. Just like so. And we might do a bit of
variation as well on this one. So one extra piece
with delete it, and then we need to go and do another randomize
transformation as well. So just like so, and a bit of
cleaning needs to be done. Okay, This is good. Now let's go back
and hide everything. And you see that it's giving
us a beautiful detail. And I'm going to keep
this one as well as the piece that is beneath it so that we can texture it and that we do not have any
opacity problems. And again, I can take this one, rotate it 90 degrees. I'm going to bring
this in here to make this part available. So let's go. And this is alright. I'm gonna do that. So more times to
create that piece. We're going to cut a window
right through all of these to make that
attic happening. So just once more,
just like this one. Or you can take a
couple of them, bring them in, bring these out, basically to give it a bit of randomization so you can
go select all of them. Now we need to join them. Now are created to
cube that is basically the same size as the windows
that we created in here. So that maybe we use these kits to create a window and
save a bit of time. So are created in a rectangular way so
that I can take this. And of course you should
apply the scale and rotation as well and
select this one. Use Bowl Tool,
Control and minus. And of course, in previous
lessons we talked about how to activate tool tools by going in this preference add-on and searching bull tool
and activate it. Okay, this is done. Now let's do this and
remove this one out. We already have the
good thing in here. I believe that this
attic is good. Let me take this
one, bring it back. And this is the standalone
piece that we get. So let's drag this one back, select everything,
excluding this one. I'm going to separate these
and join them together. Now, I'm going to apply
the scale and rotation and go for face orientation to see if you have any problems. Now, you do not have any. So let's go back and take
this one because I want to borrow to pivot from this origin to select
it and this one. Shift and S and pivot to cursor. Now we need to use
with this one out. And the UV creation
process is so simple because it's
mainly composed on a straight lines and the UV itself is going to
do a good UV layout. So let's go to UV and
select everything. And you can right-click
in the edge mode, right-click and
just right-click. And you can select the
sharp edges first. Just de-select everything
and select sharp edges. And if you cannot find it, just go bringing the search tool and search for sharp edge and there's a Select
sharp edge in here. So I'm going to right-click
and convert this one to seem, mark all of this the same. And now we need to go select everything in the
polygon view mode. Right-click and unwrap. This is already given
us a good unwrap, but to make it more optimized, I'm going to separate this so
that it's a separate part. It will help to maintain
the texts details. So this is it. Let's separate this one as well. And to pack this time. So you'll be packer padding to one and this one
to high-quality. And now you see we get more than the amount of quality
that we get is good. So now this is the piece I'm
going to call it finished. And later on, we will take
this one on top of it. And this one acts as a high quality and low
poly at the same time. So now let's go back and
try to correct the name. This extra piece needs to
be deleted than this one. Also needs to go into the residential folder
where we have a stored all of the FBX from that, except I need exports. Now in here, we need to select it and right-click
and re-import. Now, this is it. We have selected that,
of course, the UV's, UV's the material that we have applied on this
needs to be changed. But it's already a good one. Let's go look at that. And it's called Brecht and it
doesn't have any collision with this roof guard
that we have placed. So now we can call
this piece finished. And to make it
actually finished, we can go and try to apply
one of these windows to that. But let's do that after
the texturing and bringing into the textures
and testing them. So now I can take this piece, bring it here, and
call it finished. Then I'm going to delete
that one and reset all of the transformations that we have easier time
working with them. Now let's go and bring this one. And I start to
work on this door. And I actually do not have anything complex
for that in mind. But I saw something in here that this has a platform to sit. And we already have a
piece that is like that. So let's go in here and
bring that platform and start to place it in here to act as a platform for that door. But it's already too big. So let's go and try
to bring it in. And we need to
turn snapping off. I'm bringing this one
up so that we have something like a platform
for that are happening. Okay? Alright. And we can place the
door on top of this one. And of course we need some
ornaments for that as well. But let's go and borrow
the ornaments from here. Instead of creating one. A bit of saving time as well. I'm taking this one
and make it a smaller. Let's turn off the
snapping so that you have easier time manipulating things. And let's make it
just like this one. It needs to go in. Now let's take it
and drag this one out so that we create a basic frame for
this one to happen. And I'm going to
take this again, bring it up and rotate
that 90 degrees. And for this one I need
to turn on snapping again and make this one
bigger, just a bit. Only a bit bigger. We created a frame for free for the door without actually
creating a new thing. All we did was actually
taking a piece, bringing in and re-scaling need a bit to get what we need. Let's place this one in Android to rescale it until it reaches that edge out there. So we need to scale in y
and y while holding Shift. Now it looks like we need
to go in z. That was local. This is a frame and the door creation process is as simple as creating a plane, extruding it, and trying
to give this detail. So let's go in here. I'm selecting this whole
border, right-click and bridge. So it looks like it's
not doing anything. Let's remove these vertical
ones from selection. Now right-click and bridge. It created a face and I'm
going to now separate it. This is the base of
the door and I'm going to make the pivot to
be exactly in here. So let's go in here and apply the scale and
rotation as well. And of course, for the material actually do not want this. Let's go in this mode to be
able to see more details. Now, I believe that this
lesson is taking too long. I'm going to stop and continue the process
in the next one. See you there.
78. Residential Door Blockout: Okay, everybody, in
previous lesson, we created this attic window, and now we created a base
for this door as well. And now it's time to go
actually refine the blackout. But when looking
at the references, I found this one
to be a bit more interesting than the idea of this one that we had in mind. Previously. He said
This is so simple, but let's go create
something like this that has more
dramatic feeling. But of course we are
not going to make the two sides because the
blackout doesn't support that. It is basically half the size that we have available in here. So we're going to create
only one side of it. And to create that actually, I'm gonna go bring
this one up and take this and scale
this one as well. So I'm deleting this one and bring this one out
just like this one. And I'm doing this because I'm going to go to the
residential kit and remove this part this portion from to make the
door taller bit. So here we are there. And I'm going to delete this and bring this one in the center because this is
the main piece I'm going to remove from this one. So let's see, I'm going to
all of these and delete them. Go and export. Let's re-import that. Right-click and re-import. Okay, Now we're done. This one actually covers
that in a good way. So now I'm going
to take this one, bring it back and do a
copy from it so that we can use that to be
as a guide in here. So my police that and bring it in and I can simply take
that and delete it. So let's take something
from this and extrude it, bring it up until we
cover this part fully. So this is the base blackout
of what we're going to do. I'm not going to
actually make this door two-sided because
you're not going to see the other side and it will make a lot of the ways
that texture space. So let's go apply the
scale and rotation and see which way
this face is looking. Okay, This is looking to the right direction
and it's good. So now I'm gonna go to the normal mode and have
a look at this reference. Just like this one. I'm
going to start with this center piece so that we
can apply anything to it. So let's go. And the first thing
that we need to do is actually adding a lot of subdivisions to this one so that we can carve
that a lot better. So could afford to see
that tessellations. And I want to have all quads. Of course they are quads, but we need to add some
divisions in the center to make that really a square
like not rectangle. Just like this one.
And now it's better. Now I'm going to import
this as a reference. And there should be
a plugin, I believe, if you go in here and
search for reference, and it is import
image as planes. And you can activate it. And by holding down Shift, you can go into this
menu, shift on a, you can go into this menu
and import image as planes. And then after I'm going to the place where I have
that one selected, select it and import. Now let's go to material mode and it imports that
one perfectly. So let's increase the size
and bring it up just a bit so that it's above
the grid just a bit. Now I can start to
bring in curves and try to follow these shapes to create things that
I want from this. Okay, You can pretty
simple shift and a bringing from curves menu path. I'm going to place it right in here so that we have
this curve going on. So let's bring it up
and start to manipulate the points until we get
the shape that we want. And later on, we will
add details into this. Do not worry about those we
have problems and work to do. Let's make it just follow
the shape roughly. If you want, you can start
to manipulate them and take the last one,
bring it here. And it's already trying to
give that a bit of form. You see the curve
happening in here. So I'm bringing dad and move this one and
do another curve. You can bring it
up, take this one, bring it up to create
something like this. And later on, we will add ornaments to make this
one more beautiful. Okay, Just about this. We created this and now I'm going to take
this one on this one. No, let's take this and drag it down only to something
like this. Okay. This was the first one. And now let me duplicate
it and start to place it right in here. Rotate that 90 degrees and place it in here so that
we can follow that shape. And I'm taking all
of these and remove vertices so that we can start
from scratch on this one. Okay, Let's bring
it up until here. And try to make
this one like this. If you are seeing something like this that it's not
as smooth anymore, you can try to add
some more vertices. And then when you had
enough, you can right-click, go to set a spline and set it to bezier so that you get a
smooth thing going on. Now, again, Let's drag it back and then start
to manipulate them. And you can take the handles and try to manipulate
them even better. Of course, let's take it
and start to work with this one for now because the Bezier
didn't work just fine. So bring it up in here. Applied a scale and
rotation and try to manipulate these vertices in the place to get the
shape that you want. Just try to do something
like this, bring them. And I can take these
remove vertices. No, do not do that. Just bringing in hand, repurpose the vertices to make that work. Just try to place them in there. And then now we can try to place these in
a better position. Just like this one. Let's bring this, try to
form a gradient with it. Okay, this is it. Now I can take this
one again because this is somehow
similar to this one. And let's rotate that
in this direction, 480 degrees and
bring this one up. And we need to
repurpose the vertices again to make this shape happen. Okay? Just something like this. And make them stay in here. You see that easily we're
able to create these shapes. And now again, I'm gonna
go bring another curve. And the best one to
work with is the path. I believe it's
personal preference, but I liked the past the most. So now I'm going to
create this line as well. If you want extra vertices
to have more control, you can select both
of them, two of them, and hit sub-divide so that you have more curves to work with. Okay, let's bring this one
right in here and try to add some vertices in the
middle to work with them. I'm roughly trying to be
in the middle of that. Now in here as well, I'm going to sub-divide, add more and try
to take this one, bring it here, this
one in here as well. And again, subdivide. Now this is also following
this one in a good way. Now let's bring
this one and copy that another time in here. But now we need to
take this and bring it down more to
create this shape. Okay, Just something like this, but not so radical. And again, I'm bringing
in another curve and paths and bring that in so that I'm able
to create this one. So just try to follow the
shape as close as you can. This one needs to come in here. And these two, I'm
going to place them side-by-side to this one. And these two, I'm going
to select them sub-divide. Soda can bring this
shape alphabet. Let's select these two
as well and sub-divide. And do something like this. It's okay. Now let's select this last one. Drag it out a bit. Okay, Now this one is alright. Now I'm going to looks
like I duplicate that, that I didn't want it. So let's select this one, bring it in, and take this
one as well, drag it out. Rotate that negative
180 degrees, and bring it in here. So now you see we have been
creating this in a good way. And later on we
can extrude these, carved them and start to do
a lot of things with them. So let's bring this back and
see what else we can do. So now it's time for these. So I'm going to take
this, bring it in, and start to manipulate
the vertices to follow the shape exactly. So let's bring in
the vertices a bit closer and try to repurpose
the vertices to use them. So this one goes in here, this one right in here, this one in here. So this is it. But
since this one is already the continuous piece, I'm going to continue
until we can cap this one. So I'm only going to continue until we get perfectly
the result. In here. We do not have lots of vertices. Okay? Now, from here to here, and try to follow
the shape as well. So now having this one created, Let's go and try to
create this higher piece. So I need to bring this start to roughly
follow the shape. Let's bring this in here. And try to move all of the vertices to make
this shape happen. And it can rotate them as well if you want to create the
results that you want. Okay? And let's take this one and do an extrusion so that
it creates this shape. Then again, we need to take
this one and bring it up. But in here, it needs
to roll around. Just something like this. And it should be something just like this
one that we created. But let's go into vertices
and try to move these better so that they
are in the center. And when we create a profile, we have no problems. Okay, now that we
have this in place, we can go back and try to
decorate them with this. Let's take this
one, drag it back, and I'm going to rotate
this and place it in here. Let's do 90 degrees in this direction at a horizontal
9090 degrees as well. And I'm going to
place it in here. But one thing that
I'm going to do is actually taking all of these. Let's select them. And I'm going to
de-select plane. I'm going to de-select it so
that we have all of these, what I'm going to make them smaller so that all of them
fit right in this side. Okay, This is enough and
we do not need these ones. I can take this and
let's hide this. And I'm going to take
this and now I'm going to bring this up to see what actually we are going to create. So first, let's
take all of them. Excluding that one,
excluding the actual plane. Let's take this one in as well. I'm going to apply this
scale and rotation as well. And now it's time to actually
go and start to create the profiles for these and
then convert them to geometry. So for this one, let's
go apply a bit of curve. More resolution. And I can change the curve
to something to see. But of course, it looks
like we need to apply the scale and rotation on this. Let's apply. If it didn't, you can hit tab
to fill the gaps basically. And let's go take this one. And while having this selected, I'm going to rotate. Or let's bring in a geometry so that we can fill this part
and later on using Geo, using the mirror,
we will fix that. So now let's go and
use other profiles. This is not doing anything, but this one is better. So let's keep this one. And temporarily
Let's take this one. I'm bringing the pivot
in the center so that when using pivot on this,
we have no problem. So let's take this one
and add more details. Let's go to resolution
and start to add more details so that we
have more details in here. Adding more resolution will cause that to be high-quality. So let's go in here, take this and try to rotate it. Or I can take this
one and try to bring that in and try to make it go in this way using
manual methods.
79. Finalized Residential Door: I'm happy with this one.
Let's memorize the numbers. We have 77 for depth
and 22 for resolution. So now I'm gonna go and
convert this one into a mesh. And then right away, I'm going
to go and make it mirror. And this one as
the mirror object so that it goes right
away into that place. And before that actually
let me go in here. And I need to take all of
these vertices and remove them up until here
and delete them. Of course, for this one as well, we can go and delete to
save some texture space. Now, let's go. This is the result
and it's okay. So let's do that applied. And this is the result that we will get from that later on. So now let's go for this one
and try to give it a depth. But we do not want
that to be as intense. So I'm going to take this
one and bring it up just a bit and try to give
it so much depth. And let's say the set
the resolution to 22, apply the scale and rotation. Looks like one of these default profiles
is going to be okay. Just like this one, it's okay. And now I'm gonna go convert
that to mesh and take this bottom row of
polygons up until here. And having this selected, I'm going to take them
and extrude them down. This one. And I'm going to take
this and deleted. Let me go for this one, delete. And I'm gonna go take all of these vertices and align them to bottom so that we have a
bit of profile in here. And let's add that
and try to scale it. To get to this portion
one more and once more. Now, while having
this one selected, I'm going to make it roughly
follow the profile of that. So this is for that one. And it's a good one actually. So the last one. Okay? Now you see this
shape happening. Later on, we will do
about these problems. Do not worry. This one is
actually a copy of this one, and I'm going to delete. The next one that we
have is this one. Let's go add that 22
resolution and a bit of depth and take this
one and bring it in. This one as well. This one is already good. Let's go and convert that mesh. And again, I'm going to take, Let's not add so much resolution for this one because
it's not needed. So let's go back and try to
bring the resolution down until we get something
that actually works. Let's go for 11 is good, for 10 is better. Let's take this and then
convert it to an object. And then I'm going to
take these vertices and do a bubble. Okay? Now I'm gonna take
this and extrude it down. Then take all of these lines, align them to bottom. And something like this in
here to follow the curvature. Of course, I can add more. So make the curvature
as good as possible. Okay, let's see that. And it's good. So now this one, Let's do the work on
that. On profile. Let's add 22 resolution and try to give it one of
those luxury profiles. Okay? Just something like
this will cap. And this one. Okay. So let's take this, bring it in in here, and try to create some curves so that somehow
it follows this shape. And it's good. Let me convert
that to an object. Then I'm going to
use symmetry to create that other part for free. So let's go mirror again in x. And this one is going
to be the object. And by bisect and
flipped, we created this. And now even refine this more. We can go and do all
kinds of things. So there's one week and we
might do that later on. Then I'm going to take this
one and keep it as a backup. Because later on
who might create a Boolean piece
to cut this away. So let's go for this one. And this one needs to be something just like
these ones as well. The resolution can be 22. A bit of depth. 64 is a good value. And now let's go and bring in
one of these, not this one. It becomes too repetitive. So let's use this
default preset. Let's go in here and
set it to default. So that we do not have a lot of complexity
on these parts. So I'm going to take this
one and bring it in on this. So that later on we can
help them and create the effect that we want
for this one as well. Let's go. We have lots of resolution
and this one which has, which is unnecessary
really can take this, bring it down until this. Now let's convert that to mesh. I'm gonna do the same for
all of these as well. Now we know that they should
be set to default 0.64.064. And the resolution two sticks. And this one, I'm going
to copy the same thing. And this one to six as well. And the default, it
looks like we need to do some manipulations
and these parts. Let's bring it in and try to make something
like this, okay, now on this one as well, Let's go and do
profile and the depth. Let's set this one to 0.4.04. Now this one is good. Okay, great. Now let's set
this one to this value. And I'm going to take
all of these and convert them to mesh as well. Now we have a bit
of clean up to do. And as well as taking this one, converting that to mesh. And I'm going to
bring in as solidify modifier to give some
thickness to it. Let's select them. Go select anything
in the edge mode. Select anything,
right-click and shift, excuse me, click N
to create a face. And now I'm going to
solidify modifier. This is good. Now I'm going
to apply anything to this. I'm going to bring it right in here and isolated with this. Now let's take this
one on this one. It looks like I need
to do other way around first select this
one and then this one, and then do a Boolean. We cut the window n and applied. And I'm taking this
one and delete it. Now this is the door actually happening because I do not need the backside
of these measures. I'm going to select
them and delete them all from the backside. So it looks like this one
has been deleted already. And now it's time for this one. I'm taking this x axis in here because the plane
is on top of x-axis. Take them and just delete them to get a better
optimization. So these ones as well are
having the same shape. So I'm gonna go right until
here and remove them. And when I check the
intersection, It's good. So now there's something with these and that is that I
do not want the backside. So just select them and take the backside and
delete them as well. So that you're left
with this only. I can take another row
and delete that as well to do that. So remove the backside
on this one as well. This backside we're
moving really helps to optimize a lot
of texture space. You see nothing happens
actually on the hood, but under the hood there are
a lot of things happening. So now I can take this and
start to UV in process. Let's take them all. And looks like all of them
have the UV map created. So now, let's drag the UV out. And this one is pretty simple. This plane is a flat one. And I'm taking that and
right-click and unwrap. It looks like it's
given us a bad result. Let's take them all and apply
the scale and rotation. And I do not want to see this. Image there. So now again, let's go
and do another time. Let's go and use the
codon rap instead. To unwrap this one. Just select one of the wards, bringing the UV toolkit
and you squat down wrap. Now we have a better result. And let's see what about these? These are the ones in here. And since they're going
to be covered by this, I'm not actually
carrying too much. You see, all of those have
been covered by this. And it's great. But you're now
getting a better text cell density on this one. So I'm going to select it and make it flow
to this direction. Now let's go for this one. And I'm taking that hidden
on breath because it's only using one side and
there's no seam as well. So let's apply a checkered
pattern on it to see if the textile densities
are right here it is. So let's go back and the rest of the pieces
should be the same. So let's do the same for these. Just select them and unwrap. This is it. But
because of this one has a lot of long lines. We can put some themes
here and there, so that it doesn't
distort too much. Though. The leg seems to
where you want them. And convert to seem okay. This one looks like you
need to do some more. This is at the last
while selecting that, I'm going to go on it on rough. Now it's a better one. Okay, let's go back. And now this one is
also a simple one. Just hit on bread. And you're good to go. Then about this one, Let's
take them all and unwrap. Because we deleted a
lot of those backside, it makes the process
a lot easier. So this one unwrap. This one as well. Unwrap. So now let's go
and combine all of them. But I'm going to first
remove the material on this and take all of them, give them the same material. And take, and the only thing that we need to do
is packing them. So with these settings. Now let's go apply that
checker to see how it does. So it's good. I'm happy with the results and now
all of them have the same material as well. So now I'm going
to join them all together and place the
pivot right in here. I'm now going to bring this in the center and bring
this one in as well. So let's make this one stand-up. And it needs to rotate in
this direction as well. And now we need to fill
this gap with this door. So now this is the active one. Let's go set it to
vertex and active. Now I'm going to snap
it right to this one. Now this needs to be the pivot. And here, pivot to select it. Now this one has the
period right into place, but this is not the end of it. We're going to add some
ornaments to that as well. So again, I'm bringing this ornament pack and
start to select from them. So for this one, we already
have this That looks like it. So I'm going to copy
and bring it in in here and start to
place it right there. Let's rotate that and then rotate in z Ninety
degrees as well. Okay? Now we need to remove this side from all of
the unwanted geometry. So let's select it based on UV. Because this one
doesn't have any seams. For this one as well. Let's take let's bring it up and place it right in
here and remove that one. And set this one to
bounding box so that we can manipulate them
just like they are. This is looking good. Let's take it and center it
just a bit more. And since these are
already you reroute, play around, we
only connect them. And he'd pack again
because these already have the UV
information in there. Then I'm going to use this one and place it in the
scene, bringing it up. First, let's take
this one, remove. But this is already too big. So rotate that in this direction and
make it a bit bigger, excuse me, a smaller. So to match the flow, I'm going to use this direction. Okay, but now temporarily, let's bring the pivot in the
center so that I can take this one and use the mirror
to bring that to other side. Mirror should be NY. And based on this, now, I'm going to apply this in when we made sure that
everything is alright. We're going to apply
the smoothing on them. On top of this one. Let's
go and bring in another. And I'm going to use these two because they have
a lot of details. So copy and use them in here. So as always, I did the
rotation and I'm going to delete this backside,
save the texture. So now let's bring this up and try to place the
right on this form here. So let's take it and
bring it in place. Okay? Let's already does smooth on
this one to see the results. Okay? This is good. And it needs to be
just like this one, a bit bigger to cover those. A bit of rotation as well
to match the curvature. This one is a good one. I'm taking a look at this one. It looks like this is going to be a great candidate
to add there. Make sure that you place it
just the way you want it. Then I can take this. Now, let's use it the way that it is. Or I can go into scale mode and try to scale this in, why? Invert it so that it matches
the curvature better. So this is it, Let's make it a smaller and give that
the smoothing as well. But there's that
needs to be deleted. Let me go in here, take this and go
into polygon mode. Select this row and
remove up until there. So let's go back to
C. Then I'm taking this and bring it into place. And let's apply the
smoothing as well. And smooth this one out. This one as well. Apply
all of the modifiers. So let's have a look at that. It's starting to look good. Now, let's do something
for this part. For that one, let's take
this and bring it here. And I'm going to delete
the backside completely. Okay, now, let's take
it and it should be rotated in this direction to
match the flow of that one. Let's do something with it. Then. I do the scaling
and mixing as well. So let's make it
just like this one. It's a good one. So now let's take it and
bring it in the middle of the mix and give it a smooth
thing that it wants as well. Then we have these parts that I'm going to use,
this one in there. So I'll just paste it and
let's go binded already. Removed the backside
and just bring it here, rotated in this direction
and in z as well. Let's go and rotate
that 90 degrees in z and bring it in here. So let's make it a smaller bit. And we're going to convert this one to nano
it as well so that it can handle lots of
polygons with no problem. Okay, let's bring it, but I'm going to scale it in x to give it a bit
of more thickness. I can take it and bring
it to front as well. So just like this one, now let's apply the
scale and rotation. And this is already having
the pivot that we want. But I'm going to bring
the mirror, put it in y, and this one, the same thing as the
mirror object and apply. So now let's look at it. And actually I'm happy with
how this is turning out. And the only thing
that is remaining is actually creating a door handle, which we could already use
this one as the door handle. It has a good shape and it
could act as the door handle. So let's rotate that
and rotate that in Z by 90 degrees and make it
smaller and bring it in place. Let's place it right in
here, in front of it. For the lock itself, I have this one in mind. So before that,
let's give this one does smoothing and bring it in. Zoom and try to remove this. And try to scale it in, excuse me, your
rotated by 90 degrees. Now let's try to bring it here. And I start to place it right in here, rotated 90 degrees. And I'm taking that hand, bring it into mix. It looks like it's too
far from the object. This actually looks like
a door handle system. Let's take it, make it a smooth. And I'm going to distort
it just in this direction. And take this one as well, rotated and place it here to
really simulate that handle. So now that we have everything, I'm going to select them all and apply the scale and
rotation to all of them. And now let's go to face orientation on these two
because we inverted. We talked scale and did
something like this. The normals are distorted, so select them shifting
to alter the normals. And on this one as well, Shift and N. Now I'm going
to select all of them. Let's first see if the
UVs are correct here. The UV should have
the same name. I'm selecting all of them. So I'm going to select them all and select this one as the
last one and join them. Now, let's apply the
scale and rotation again and see if any of
the phases are wrong. So now it's good. Let's go and do
another pi QV on this. I'm going to UV editor,
select everything. And because everything
already has the UVs, I'm going to bring in. And this time I'm going to use this magic UV and use
the pack on this one. And of course it looks like the map on some
of them is wrong. So let's go in here. And these are the ornaments. So let's pack them. Okay, This is it. And now
let's select them all. Excluding this one. Let's go do that in the, selecting all of them that
do not belong to the pack. And now select this one. And also ING to select anything
and including this one. Invert the selection. And I'm going to separate by selection so that
you have this one. Now on this one I'm
going to remove this UV. And on this one, remove this because the UVs are
stored in there. So I'm going to select this. Of course before that,
select this, copy, the UV map, and paste
the username in here. Now I'm going to join them
and now select them all. Now, I went back
a lot of steps to go actually to the root of this. And of course, we need
to go into UV editor to be able to see things
just like this one. And now I'm going
to select them. First, select this one
and copy the UV name. It looks like we need
to take this and invert the selection and
bring all of these. And these need to change
the UV name to that. So I'm going to join them all because these all
have the same UV name. I'm going to rename
the UV to that one. Go back, join them together. Okay, now I'm gonna go n, and now we have every piece
of detail that we want. So selecting them all
pack and it packed, but we are getting bad
textual density on these. So I'm going to select these
parts that are more visible. The pieces that we
have added before, the pieces that are non
ornamental, select everything, including this one and this
one, and re-scale them. Let's select these ones as well. And I'm going to re-scale
them just like this. And now let's go to UV Packer and try to test the details. While having this one selected, I'm going to disable the
rotation and scaling as well. So selecting them all pack. Now, these actually have more detailed compared to this,
the way that it should be. So now this piece is done. I can call this the high poly and low poly at the same time. And this is done as well. Two of the major
pieces are done. And now I can take this, of course take this 1 first, make it the pivot, and then pivot to note, make this one period and
then this the cursor. And it already has the name because we inherited
from this mesh. And then instead of entrance, let's call it the entrance door. And we'll move anything
extra from here. Now what I'm going to do
is actually taking an exporting this to the folder. And let's import to test it out. And this is the piece. I'm going to import that and convert that to nanometers away. And this is the piece and
I'm going to activate the snapping so that
it snaps on the place. So I need to bring it back. This is the door. And of course everything
is working. All right. Now to make this snapping
easier on ourselves, I placed the pivot on here, but if you want the door
to actually happen, you should place the pivot
on somewhere like this, because if you decide
to rotate this, it's going to rotate
around the pivot and actually creating
a wrong transition. But you need to
place the pivot on somewhere like this so
that when you open, it's going to open a lot better. But to make the snapping
easier, we did this. So this is about a door. And later on we will
texture that as well. And now we're left
with this window shop, which we're going to
do in the next one. Then after doing this, we are
only left with two pieces, which are these windows and the door for the museum as well. Okay. See you there.
80. Finalizing Residential Kit: Now finally, it's
time to go and create a latest piece from the
residential K8 building. For this one, I'm going
for the window shop and actually I'm
not going to put a door in the middle of that. But I have something like this, which style is extruding
into the sidewalk. And I'm happy with it. And I'm going to mix that
with something like this. I'm not going to
actually make it round. I'm going to make this
something like this, but an oval shape
into the sidewalk. So the ornaments are going
to be something like this. So let's go. And right away, we're going
to start with a default cube. So let's bring it
here and I'm going to start laying out the foundation. This one is a good
one for the starting. Let's do something like this. It's better now, apply the
scale and rotation as well. Now I'm going in and try to give this a bit more
resolution to work with. Now that I'm looking at this, the base of the pillar needs to be a bit bigger
than the top of it. So I'm going for it. And now I'm taking this and
extruding it up until we reach this part as this one. I'm going to scale it in just
a bit and bring it down. An extruded in here
so that we can detail this piece out of it. So now I'm thinking how
to detail this one out. Let's go and take the edges. Bevel little bit, add a segment, do some detailing like this. And for this bottom
part as well, let me go select all
of these and I'm going to do an insert by holding down, I create an insert. And this one is
going to first push, Enter bit, re-scale,
extrude, re-scale. Insert again, push n, and another inset. Okay? This is good for the period
of detailing on top of this. And in order to make
the ground piece a bit more grounded, I'm going to take this,
bring it up. Of course. Let's take everything,
including these pieces in here. And I'm going to
bring them up just a bit so that I can
create a piece in here. So just take this one and
bring it on the ground level. Just like so. And I'm gonna take this and
scale it out, make it bevel. And above is going
to actually have lots of segments and
clamps that as well. Select everything in the Vertices Mode
to Welter vertices. Well, now this is alright. Let's go and add
details on this one. So as always, start with this, I'm going to take this, bring it in and make a bubble. Then this one can, we can extrude it up
to act as a pillar. So let's take this one. I'm going to scale it
and then pebble again. This one as well. Let's scale, but let's make this one
sharp Instead of that. So again, I'm going to weld
are all of the vertices, but it looks like
nothing happened. Okay? Alright. And I'm going to make this 3030 degrees and a smooth. But I feel like
this bottom part is actually not in their
scale that I want. So I'm going to select
them all and do another scaling in this
part and this one as well. But instead of that,
let's go back one step and do another
whole resize like this. And then a bit of scaling, a bit of manual
scaling on this one. Then this side and hold down Shift to make the
transition better. So let's take this one, take all of these vertices, and I'm going to drag
them down to create something like this
for this top part. So I'm going to take
this and bring it in here and join these
two together. Just select both of them. Now I'm going to take these
and these ones from here. I can take them and delete them. Now, right-click and
bridge edge loops. So it's not doing, let's
do a scale, excuse me, extrude and do a scale that makes sure these
are overlapping. Select them all. I'm going to only select
these merge by distance and bring the threshold,
the threshold up. Now let's take this
and do a symmetry to that side to make it better. So I'm going to take everything from this side and remove. Now let's go in here and
apply the mirror modifier. And it should be in x. Let's
make this one the pivot. And it's not doing that. Let's make it in y instead. So in y, it's going to work. Alright? Now let's
go bring in an empty to make it the axes. And this is the piece. Let's go select this one. And I'm going to
take this axes and drag it out until roughly here. Now I'm gonna go to some
manual detailing and that is actually taking
this another one. Now I'm going to
take this edge loop, just this one and insert and extruding to make a bit of
separation in this parts. So I'm going to apply, and now we have this details and take this one and delete it. Now for the top part, I'm going to bring in the
curve and use a path. Now, let's see which
way it's rotating. I'm going to rotate
it 90 degrees and place it right in here to use one of that
ornaments for this, though, apply the
scale and rotation. And in here, I'm going
to make the depths 0.1. Let's use one of those profiles. But we need to
increase the scale just a bit and a
scale and rotation. Let's use one of the other ones. This one. No, this one is better. That one had too much details. So fill the gaps. And I'm going to convert this one into a geometry already. In the object mode. Go to Convert and
convert that to mesh so that we can
scale that in here. I'm going to place
it right in here. Let's go in and take these
vertices and try to match them up with this, this part. I'm going to take
these and try to match them up with this part. Okay, now, I can go
in here and bringing the knife tool and hit C to make it cut through and place a Cart. Confirm. And I'm going to take everything from this side and delete. Let's go back and zoom on. It. Looks like this needs to know It's
actually doing a good job. Let's take it and bring
it back a bit to make it exactly stay on
the top of the wall. Just like this one. Now, I'm actually going
to select this one. And this one already
has a lot of details. So I'm going to apply
this scale and rotation. I'm going to go and grab
the middle vertices, which is exactly in here. So I'm going to add one. And I'm going to bring in
the proportional editing. And while having that, I'm going to bring
this and the sideways. Just something like this. We're able to create a piece
just like this one for that, and for this one as well. Let's go and apply lots
of details in here. Lots of details in here. I'm going to take
this middle one and start to exactly
follow the same shape. That is. Now we have something
more beautiful to look at. But one thing else I
need to take this, let me isolate it and
I'm going to delete this last row of vertices
around this one as well. I'm going to make sure that I
have all of these selected. I'm going to drag them in. Now without a
proportional editing, I'm going to drag them out, align them to left, so that we have a piece like this that is going
through the wall. Okay? Now, let's do
the same for this one. Of course, let's not do
for this one because this already has the shape. Exactly. What I'm going
to do is taking this. And because this is going to
be rendered, for example, the player is going to
work through in here, and they can take a look at this part and this is
going to be rendered. So I'm not going to remove this backside because the
player can see that exactly. Now I'm going to bring in the vertical and
horizontal bars. And I'm talking about these. I'm going to bring
some larger ones and some smaller ones. So let's select the lender. This is too big.
Now, let's bring it right in the center, in here. I'm going to isolate
that with this. This is exactly
the center piece. Now, let's take it. I'm going to take all of the vertices in here
and drag it up. And let's go back exactly
this one and bring it back. Okay? Now let's make it a smooth and 30 degrees
as smooth as well. Let's take this from here
all the way to here. And I'm going to do an insert, but I'm not actually
going to confirm that. I'm going to do an
insert and disabled it. Only a small piece. And just two on a
scale in this part. And now I'm going to
select from here, all the way to here, make an extrusion, bring
it up from here as well. All the way to here. And another extrude. And let's make it exactly
the same height as this one. Okay, Now, let's go
and look at that. Now it's starting
to look better. Now, I need to play
some instances of this throughout the whole mesh. But let's first make a scale and make it thinner bit and apply
the scale and rotation. Now I'm going to do some
more copying from this. And I feel like three
of that is enough. This is good. And the next one, I'm actually going to
make it symmetrical. So I'm going to add first, apply the scale and
rotation are the mirror. And the mirror part is going
to be the centerpiece. So let me go drag it in and use NY so that it's
perfectly centered. So this is it for that. And now I'm going to bring
into smaller horizontal bars, which are these ones. So exactly before that, let me go and take this. And I'm going to bring
it right in here. This one is a vertical bar, but a lot thinner,
just like this one. Again, it's going to have
another piece in here. Just like this. I'm going to take these
two and join them together so that I can create a mirror
piece on this side. So it applies scale and
rotation and do a mirror. And let's do that in Y. This is going to be
the centerpiece. We created a row of vertices
that we needed Apply. Now I'm going to add
the horizontal bars. So I'm going to take
that from here. And it's going to start from
here all the way to the end. So let's apply the
scale and bring it in. And I'm going to isolate
that with all of these vertical bars so that I can move that and
displays it based on these. So let's apply the,
everything on that. And let's see about the
geometry that we have. We need to have a lot of horizontal geometry to make
that transition smoother. So let's take this one. And bringing the
proportional editing. I'm going to drag this
out and take these two. While making the
proportional editing weaker. I'm going to make them
flow right in here. Okay, now let's take these two. And I'm talking about
this one and this one. Now, let's manipulate
these to go in there. And this one as well
needs to be fixed. So having those selected, I'm going to drag them back and create something like this, but this is a bit thicker
than what we wanted. So I'm going to make this
scale a smaller, just a bit. Okay? But I need to make it
bigger in this side. So now this is good. Let's take it. Then I'm going to do some
duplicates on top until we reach this part exactly
who created the window shop, or at least the big shapes. Now it's actually time to add
some details to this one, including taking this one
and adding a small bubble. Let's go in here as well. I'm going to add
on these a bit of trouble to make that more
pronounced from here as well. All the way to here. Let's add the bubble. And hit C as well
to make it clumped. Okay, now, this is more pronounced and we have
more detail in here. So let's go in here, select everything
merged by distance. Nothing happened, and it
means that it's alright. So in this part we do not care because it's not
going to be seen. Now, to add a bit
of more detail, I'm going to go in and try to add a bit
of detail in here. So let's go and two vertices
here and one in here, so that we can select
from here to here. Something like this. Okay? Now I can do an inset. Looks like we have
some odd geometry in here that is the result. It's a result of the
bat mirror that we did. So I'm going to take this
and import it into ZBrush to DynaMesh to remove
any extra vertices that are present in here. I'm going to export
the export this one. How important that
and make sure that you go and check for any awkward phases and looks
like this is totally ruined. So I need to take
everything and hit Shift and N that right, okay, This is the first week and the next one is actually
triangulating this. And I'm going to
re-explore that. And then we import a result. He did it and correctly as well. But now there's too
much geometry in here, So I'm gonna go and then
the decimation Master try to optimize this a
bit and do a decimation. And now it's better actually. Let's go mask this
part out and make sure that the back face
mask is turned on. But let's go Let's go one step
back so that we have this. And when we paid the mask, we're getting a good result. So in here, instead
of using paint, I'm going for rectangle mask. Now, select this. Now using a rectangle mask, I'm able to mask everything. So let's go for
back face masking. While having the mask, I'm going to press for back face masking,
remove everything. And now I'm going
to mask this part. Looks like it's
doing that anyway. So let's go in here and try to remove this part,
hold down control. And while having the control, have the Alt as well, so that you can
remove that part. Okay, now we have this part only and we can do
some things with it. For example, we can go
into the Deformation tab. And for example, let's
control and I to invert that. And we can use the
inflate but in negative direction to
create something like this, to give it a bit of details. And now let's go for scaling and bring
the scaling in here. And I'm going to
do that just like this one to give it
a bit more shape. Okay, Now, while having this, we can do the same thing
for this part as well. So let's do the same
for this part as well. So I'm going to go for mask and try to
mask this part out. Of course, let's choose another brush and try
to mask this part. I can invert the mask
by hitting Control I. And let's do a bit of in-flight in the negative way
and bring the scaling in. Bring it here, try to scale
that in both x and y. So now we have this piece. Let's do something like this and I'm going to read
DynaMesh it again. Now there should be a better
distribution of vertices. And now let's go
in here and try to mask a bit of parts
and a smooth stem. So just try to smooth these
parts so that they are not so jaggedy and do not
over smooth that as well. This is going to look like mood, not plastic or
something like that. Okay, Now we're
good with this one. And it can also take, for example, this
dam standard brush. Then you can add some
paneling in here using this term standard.
This is too intense. If you're going to make
the mouse a slower a bit, he can go into this a stroke. And in here, lazy mouse, you want to bring in
the lazy radius up a bit so that when
you're dragging it, you see the stroke
becomes a lot smoother. So using this one, I'm going to go and
place my stroke in here and then continue from here
all the way to that port. And the reason that I'm
going to do this is actually giving
this a bit of hand sculpted detail,
not too intense. Let's go back and start to place another
stroke from here. Actually, let's go and try to
mask this part out as well. So I'm going to mask all of this part and now remove from
the mask, mask actually. This is it, this one for this, Let's remove from
here, not too intense. Let's go over here. And
the good thing is that it has selected the
other parts as well. So I'm going to go and do another inflate in not too much. Let's go and apply only a bit. And then I'm going to
resize it as well, but not in this direction. Let's try that. Now it's better. So let's go and pick up this one as well. So I did the same thing
for the both sides. And now I'm going
to do with DynaMesh again and do a bit of
smoothing in this area. First, make the brush
size is smaller and try to click smooth. A bit of this part's not so much just something
to consider, okay? This part as well. Let's go and smooth some of these edges. So now I believe this is
done in terms of detailing. It's good. So now let's go and apply
the decimation master. We fix the geometry
in here as well as adding some details
and decimate. Okay, it's good. Now, I'm going to export it and just give
it a random name, an export as FBX, using all of these details. So in here, I'm going to
take this one and hide it so that I can
import that back. And this is the piece exactly on the place
that you want it. Let's go see that. You see a lot of detail
happening in here, but it's a bit jaggedy
on these parts. If you want something like
this, he can go for it. But if you want to
make it a smooth, you can do that as well. But I'm going to keep
this the way that it is. Because this is what I'm going
to keep it just like this. And now for testing, I'm going to select everything, including all of these parts. Take these, this
one as the last, and I'm going to
join them together so that I can test
them inside Unreal. So let's see what
we have selected. We have everything. Now, let's take
the name from this and just change the
name to something descriptive and export it. Of course, later on we come back and separate these parts, UV them and texture
them as well. So let's go import. And this is the piece that
we want it to import, import all. And this is it. Okay, now, let's bring it exactly the way
that we want it. So now this is it and I'm
happy with the results. Of course, there's
something wrong about here, which is this mesh
is a bit too high. So later on we will
fix that as well. Maybe with vertex blending or maybe with other techniques
to make this one go lower. And we're able to see that. So now this is done. It's completely
done this building. And now the only two
pieces that are remaining, or the window for this and
a door for this building. In the next lesson, we
will create them and finally finished the
geometry creation parts. And then we go to the next chapter which
actually the shader creation. And we'll bring this
all of them together by creating a lot of masks,
blending them together, creating shaders,
creating all sorts of, a lot of materials and
a lot of cool things. Okay, see you in the next one.
81. Museum Windows Blockout: Okay, everybody, congratulations
for coming so far. And in previous lesson, we
finally finished the spilling. Of course, there are some unwrapping and
texturing needs to be done. But as far as geometry creation, this building is finished. And if you look at this, we're really creating
a good result. And if you put time magnetic and even invest more on that. So now we're gonna
do these two ones, which are the final ones. And these belong to the museum. I'm going to create one
window than one door. And it's actually going
to be bigger than this one and maybe
more intricate. So now I'm gonna go for
something like this. Now, actually going to
create a curved piece. And maybe we start to
reuse these ornaments. And of course actually I'm not
going to create ornaments. We have them already, but we may give them
a wood material, so we're going to
repurpose this. I'm going to bring
the materials. And another time we're
going to convert this to I would want and actually I'm
going to look like this one. Now. I'm opening up Blender
and picking these two and you see that these
are two different ones. This one is flat and this
one already has an arc. I'm going to copy them and bring them and create a
new scene with them. But I'm going to
have this so that I can use them to
create a blackout. So first, let's start with the window because it has a lot of empty space and we can work with that easier
when we made that, we can reuse and repurpose the geometry to create the door. And about the building. It's mostly glass material. So I'm going to create
that so that it has an arc similar to
this one on top of this. Now, let me go bring in a plane. I'm going to rotate the
plane 90 degrees in y. I'm going to bring it up
until we fill this area. It's exactly fitting
the way that I wanted. Just a bit of re-scaling
and I'm going to apply the rotation and scale
at the same time. So now we have
this one in place, and I'm going to make
the arc reversed. We're going to have a piece
like this on the above. So again, I'm going to go and bring in a cylinder,
but before that, let's actually bring
the pivot to here so that when we apply
bringing a mesh, the mesh is going
to be spontaneous. So it's only a matter of
rotating that 90 degrees. So let's make that
a smaller a bit. I'm going to make that
a half circle and it's going to be
a perfect circle, not an oval shape, but it's going to
be a half circle. One. And this one as well
is going to be one. Now, I'm going to take any polygon in here
and delete them. Of course, Let's go for box X-rays so that we can see
anything and delete this. Okay, we're done now. But let's go and
select this one. Go to edge mode. And
while holding Alt, just select on this
right-click and Shift N, excuse me, right-click
and N to create a face. So now I'm gonna do
one thing and that is extruding this to here. And I play a scale and
rotation at the same time. So now that I'm looking at this, I'm going to create this shape. And we're going to do a Boolean. So I'm selecting the Boolean
shape and then after the main shape control and minus to create
this Boolean piece. Of course now the Boolean
is non-destructive. You can take it. And as long as you haven't
applied the Boolean modifier, you can take the
Boolean and try to re-scale it to get the
result that you want. I want something like this. So let me take this and
apply the Boolean modifier. So we can take this
and delete it. So we have a piece
to start with. And I can actually
go in and try to bring this down just a bit. And let's do, instead of that, let's do that in all of the directions that we
have this one in here. Let's bring it up. Then I can take this and take the edge extruded
and bring it there. And take this edge as well, extrude and bring it here. The whole purpose is to
have this shape in here. But I'm going to
bring it down a bit. And again, this edge, I'm going to take
it and bring it up. Okay, Now this one,
we're going to give the wood material. So let's drag it back a bit. And we have this
piece to be created. We are going to
create a cylinder. And this cylinder
is going to be so, so smaller than this. Let's make it like so
and bring it down. Of course you can take this
and that it's a global. And this 12 bounding box so that you are able to
manipulate from here. So I'm going to drag it out. I'm going to make
it different part, not actually going
through here to have this part hidden in the
body of this geometry. I'm going to have it
visible all the way. So this is it. Let's go for smooth
and 30 degrees. And I'm gonna take
this and bring it up all the way to here. Okay? Now I'm taking this and
selecting this geometry. I'm going to take
this and bring it down until it goes in there. Of course, I can take this and bring it to this area as well. So I'm going to
take a duplicate. And actually instead
of shift and D, he can take Alt and D so that when you change
something in here, it's going to be applied
in there as well. For example, if I go in
here and change something, you see it's going to change. Okay. I'm going to take this
one rotated 90 degrees, excuse me, a 180 degrees, so that we have this piece. And now let's take this one
and bring this even more. Now, let's take this, select everything
and do extrude, Bring it out until this one
covers the part perfectly. To cover these empty spaces, I can go and select
this and bring it down. Until so. Now, let's
take this and you see, you have created this one, but since actually it's going
to be rendered flawlessly, we have no problem with that. So again, let me take this
and the pivot of this one. I'm going to bring it
in center so that I can mirror this to
the other side. So hit mirror. And I believe that
we should go in y. Based on this, like
a perfectly done. One more thing that I'm doing is actually taking this
and bring it up. Because I want a bit of wood
to be displaced in here. And here, we're going to place the glass basically if
you create it later on. So let's go in here. And I'm going to take
this and all of these, these bottom vertices and
align them to bottom. Now, instead of having
that copied over, I'm going to bring in a mirror. We're going to do that in z. Z, and let's put pivot to
be based on this one. Okay? Now instead of making
that to this one, you see, it brings
it up right to here. I'm going to bring in an empty. I'm going to bring this
empty right in here, right in between these two. Then I'm going to place it
based on this empty instead. Looks like you've
selected the wrong thing. Let's go in here. And this one is going to
be based on this empty. So now I'm bringing this empty up until you have
something like this. Of course. Now we can go
ahead and apply that. If you isolate it, it can activate the
material using this icon. So now we can either apply
the empty or have this one. Basically, it's your choice of what you are going
to do actually. Okay, now, let's hide
everything and take a look only in the solid view to see what we have created so far. So now I'm happy with it. And I'm going to take
this and bring it back until we are able
to see these pillars. Now on top of these pillars, I'm going to bring
in those ornaments. And for this, let's go
and apply the smooth on this fixed us moving. And actually I'm thinking
about something else because this piece
is so, so small. Instead of bringing
those big ornaments with which had 4
million polygons, I'm going to bring in
some smaller ornaments. So let me take this and I'm
going to take this edge, bring it up, extrude, make it bigger a bit. Bring it up. And extrude again. Bring it up, scale
it down, extrude, scale down until now, Let's make it
something like this. We created a basic, basic shape. Let's take and bring it. Here. It looks like we have a bit of problem
displacing this. So I'm going to fix that
after that basically. So let's take this one
and instead of that, let's do that based on empty. So no fixing. We'll fix that later on. Now I'm here and instead of using those complex geometries, I'm going to bring this one. And since that is a
very small piece, this is going to be the answer. So let's bring that in and
I'm going to isolate it. Let me select this one
and this one and isolate. Now I'm selecting this and I'll just remove the
mirror modifier. He doesn't actually matter. So let's place it in
here based on that. And I'm going to place
it right in here. Just like a crown
that is going to be placed on top of this. So let's displace it
and bring it here. Now let's go and make it extrude
a bit in that direction. And I'm going to take this and based on
UVs separate that. So I'm going to delete this one. Let's go back. I'm going to bend it so that it feels this part
just like a crown. So apply the scale and rotation. Let's go bring in
a simple deform. And now I'm going
to use the blend. And excuse me. So it looks like we
need to rotate this again and do rotation as well. So now let's bring it in and
try to bend it negatively. And let's see what we
have created so far. And let's go try that in z. Now in here we
have a better one. And let's duplicate it. Shift T on top of the modifier and make that in x so that
we have something like this. But I do not want that
to be so intense in x, just something like this. Now I'm going to apply
all of the modifiers go back and I'm going to place
it right on top of this. And let's rotate it until we get the portion
that is symmetrical. Just like this one. And let's apply the
smoothing as well on this. And since it has the UVs, we have no problem in that. We created the crown
basically, let's go back. And now you see it's
where it actually compared to creating
that piece from scratch. So let's take it
and I'm going to bring it out so that we
are able to see that. Let's take this and bring it
in to something like this. So this information
is a lot better. So I'm gonna go select this one and add some
vertical, excuse me, vertical points so that I
can take them, scale them, bevel them to create some shape so that it's
not really so flat. So let's take this
one, extrude it, make it so that it's
not a simple shape. So now that I'm looking at this, it has an ornament that emerges into this
ornament in here. So in here, let me take this. Now I'm going to take this
and make it smaller in z. Okay, Just something like this. I can take this
and bring it down. And let's apply the scale and rotation as
well on this one. Now I can take this. Before that, let's
apply the cemetery. And I'm gonna go select
this all the way to here, controlled select on this one. So I'm going to Shift D and P by selection
to separate that. Now we have this piece, but this piece is
already geometry. So I'm going to go in object, convert that to a
curve so that we can apply some modifiers on it. So we go to Geometry
hand profile. Let's set this one to 22
and add a bit of jobs. So let's do one of
those ornaments wants. This one is good, but let's apply the
scale and rotation. And let's choose that one. Looks like, let me go
back and try that. This one gives a better result. I'm going to go take
this and bring it up. So now I'm going to take this and delete, dissolve vertices. And this one as well. I'm going to dissolve vertices
so that we have this one. So let's take this
and try to move that n. And try to
move this in as well. So let's take it
and bring that in. So there's one more thing
that I'm going to do and that is actually smoothing this. Of course, before
that, you need to go and convert that to geometry. Now, I'm going to smooth
and 30 degrees as well. So before that
actually let's go and apply Move modifier on top of that as well to
make it really smooth. Phil Knight is going to
handle all of those geometry. So I'm going to select any geometry in here
and you know the rules. I'm going to take and
deletes any unseen geometry. So we have something like this. So I'm going to do another
copy and bring this one down. Let's rotate it a 180 degrees and place this
down and bring it here. So now it's only a
matter of taking this, taking all of these vertices
as well as this one. And dragging them up
until here. So let's go. And I'm going to
take these vertices and exactly line them up
in here based on these. So that later on we
can help them easily. So let's go select these. And I'm going to
select all of these. And I'm going to join
these two together, it Control and J. Now I'm going to
select these vertices only because I want
to work with these. Let's select them
in here as well. The overlapping
vertices merged by distance and bring the
threshold up a bit. And if it doesn't work,
you can take them. For example, just
take the vertices in here and align them either on bottom or top so
that they are exactly aligned. And let's go for these
other ones as well. If that doesn't work actually. And I'm going to align
them to bottom as well. Now, having all of
these selected, I'm gonna hit em and
merged by distance. Okay, just like so. Now this is a United piece. Someone can go back and
actually take these two and drag them out in here. Just like this one. And let's take this one and delete it. One more thing that
I'm going to do is actually taking this backside Shift G and select by normal so that I can drag this
piece out in here. Because the player
is actually able to see the part in here. So I'm going to hide that. Now that I'm thinking
I can take this and start to borrow some
of the geometry from this. No, let's not do that. I wanted to place
this one on this arc, and I decided to not
to do that actually. So now I'm going to hide
this and take all of these, make sure that you
select all of them. So now I'm going to join them. These need to have vertices. So let's go for smooth. Of course we can go and
delete the custom normals. Then a smooth based
on 30 degrees. Okay, now, I'm going to
bring this one back. Place the period right in here. Now I'm going to take this
print a pivot to here, and the pivot of
this one to cursor. So let me take the name from this and I'm going to paste
the name on this one. Instead of entrance window, let's say entrance window frame. Okay, to have a good
naming extension. So now I'm going to take
this and using the buttocks, export that in this folder. And we will do the unwrap
hand texturing later on. But for now, only to visualize this when I'm
actually happy with the result. So now in Unreal Engine, we're going to import
that as always, which is this one and okay. And convert to none right? Now it looks like
this is the piece. So while having the
snapping turned on, I'm going to bring it and it does snaps perfectly to place. So let's come back and we need
to bring it only once in. So let's go and it looks
like we need to bring it in. Once more. We created
that wooden panel. And actually I'm happy with it. Let's go in here, apply the carillon rotation and see if we have any
awkward phases are not. So not if you're seeing
this one because this one is a one-sided geometry and it's normal to have
something like that. So let's go back to
the normal mode. And now we're going to
create the door actually. So let's take these
two, drag them out. And let's just start
with this one. And since this one is actually having the same geometry
and all of that, I'm going to use
this and set this to global and this 12 bounding box. And I'm going to bring it
here so that I can use it. But there are some manipulations
that we need to do. And that is, one of
them is taking this. And let's separate it by selection so that I can go in and start to
remove these parts, this bottom parts, because
I want these to be flat, just like this one. And I'm deleting them. And
of course it's better to go into polygon mode and delete. Okay, Now let's
take all of these. All of these as well and
align them on the bottom. Now, I'm going to drag them in. Z. So let's go back. The next thing is actually taking these parts and removing them because it makes it really repetitive compared
to that window kit. And we can have a place to
showcase this one as well. So drag it in. And I'm going to
select this 1 first. Let's we need to flatten this one out as
well. So let's go back. And based on this one, I'm
going to flatten this. And that includes taking
all of these vertices, go to polygon mode. Of course. I need to
create something in here. Let's go for knife
tool and make it C to cut through and valid
highlighted vertices. Just place your cuts and
you're good to go once. For this one as well. It's C and highlight the vertices on top
of that and do that. Now, I'm going to
select everything in see-through mode and
this one as well. Now, what we're going to do is taking all of these and included these and align them to bottom and drag them
down. Let's go back. It looks like there's a bit of more work to do
and this is done. Now the door is actually there. There's a ornaments
supporting that as well. And we have a platform for
that as well that goes in, but we need to do something
in here as well to make some wooden platform or basically those kinds
of things available. So I'm going to go in here and it looks like this
is already selected. And I'm going to take
it Spice selection. Let's bring the pivot then. I'm going to take it and drag it out so that we have
some platform here. Now this is good. Let's go and try to see
what we have created. Now we have the base n, and I'm going to borrow
the geometry in here. So let's go take this polygon and control
all the way to that side. Now, Shift D and
P to separate it. So now I have the geometry
for the door as well, but I'm not going to
make that cell thick. So let's go take this one. And this one is good
for the tour itself. Let's apply this
scale and rotation. Right now I'm going
to select this. Now that we have
selected this one, right-click and N
to bring in a face. And in here, right-click
and N to bring in the face. So now the door is carved
in the place as well. But if you want it to really bring in some
spacing in-between this, you can go and take the vertices and bring
them down a bit. Just to make it sound natural. Or he can go and
scale it down a bit, but let's go and disable that. And try to re-scale
it down so that in all of sides we have a
slight buffer zone in here. And it's not going to
be visualized as well because it's going to be
hidden under this ornament. Just something like this. And I feel like in the end, I'm going to remove this
part as well because using only one side and then
doing the symmetry will save a lot of
texture memory. And because you have assigned
too much space on this one, you're going to have better
results in Substance Painter. Now actually, on this one, I'm going to place a
difference line in here. Let's select this one
and this one. Join them. And I'm going to do the same
on this backside as well. Now, I'm going to select
this and the bubble. I'm only wanting one vertices. So let's go bring
in a line in here. And I'm going to take this line, convert it to Polygon, and delete it so that we have a bit of
difference line in there. And I'm going to
take this creates a new face by hitting
right-click and n. And on this one as well, Right-click and N to
create a new phase. So we have something like this. Now, for this part, I'm going to actually borrow the ornaments from this because this is a
great ornaments. And for the bottom part as well, we're gonna do some
ornaments as well. And I'm going to take this one, copy that and bring
it over in here. But of course now it
has the material. I'm not actually using
the material on it. So let's take this
and bring it in. And I'm going to use this one, but this time we're gonna
give that a wood material. Let's go to Solid mode. And I'm going to place it
right in here or above. Okay, now, let's give
this one the pivot in the center so that I can
symmetry that based on that. So as always, scale
and rotation applied. And now I'm going to bring in the simple deform and use bend. And this time again, I'm going to do the band
Kayla and rotation. But before the band,
Let's actually do mirror. The mirror. Let's see what
we're going to do. Let's do that in z
based on this one. So let's remove that so that
we have the mirror only. I'm going to bring it to
the site that it was. And now let's do y. Y is better. It looks like this
is a good piece. So let's apply the modifier
and now scale and rotation. And I'm going to bring it in, place the pivot in the center. Now simple, the firm
should work properly. Place it in here
to rotation only so that you're able to
do the band like this. So let's spend it
negatively. This is good. And I'm going to
bring it right into place and drag it out. Now, looking from far away, it actually gives a good sense. And to give it even more detail, I'm going to bring one of
these and place it there. For example, this one. So let's place it and
rotate this direction. And again, I'm going to take all of these vertices
and remove them. Okay? Now, rotate in this
direction as well. This one already has the UVs, so we have no problem. So let's drag it in. And I'm going to take this one. I'm bringing it up just
a bit so that you have enough from for this
to happen. Okay? Now we have a good or a
normal cell piece in here. So let's drag it in and
give it the smoothness. Just like so. Now let's
apply the materials.
82. Finalizing The Geometry: After doing some changes are
made up with this design. I just took this
one, duplicate it, rotate 90 degrees, and bend
it a bit to get this result. So now for this middle part, let me go take this
one and I'm going to completely de-select that so that we have
something like this. And actually let me
take it and select this part and remove
anything but the main piece. Let's bring in. Now I'm going to just
do a cut in the middle, bring it up and do a cut, another one in here, so that I can take
these two I to insert while having inside
you can hit B so that it separates them
based on the boundaries. Now it didn't, so I'm
taking them individually, insert and I'm going to have
the amount in mind as well. So this is the amount. And let's go and apply
the insert on this one. And paste the amount. Delete these two. And I'm going to create
the illusion that the door is going to be
opened in the middle. So simply take this and do a bubble and only with a single segment and go into polygon nodes
and delete this. Or let's not do that. I'm going to disable that
and change another design. I'm going to place
something in here. And actually let's
take these two. And I'm going to put another
line of vertices here. Bring this one, and create
two separate panels in here. So I'm going to select
this and extrude, drag it out, make
it a smaller one. Insert. Extrude again. Let's drag it out. And instead again,
another extrude and then a scale to create
something like this. But I feel like this
is too intense. So let's go and bring
this one instead. And try to take all
of these vertices and scale them in so that
they're not so contrasting. So something like
this is better. Now, I'm going to do a mirror and mirror
this based on itself. So it's going to be in y. Now we have this one to
be inserted as well. So insert and do not
make it too much. It's enough. So I'm going to do an extrude, scale it in and bring it in so that the
normals change that. So we have something like
this and I'm going to bring an ornaments in here. And I'm going to use this one. We haven't used this
already in the process. So pasted in. There are a lot of things
that need to be removed. It takes a bit. So I'm going to
take all of them, just try to select one
thing from the whole thing. I'll remove that. But we did it and now let's
apply the modifier on that. And let's put it to one instead. Because it already has
a lot of geometry. So we should already
rotated in this direction. Now I'm going to just place
it in here, just in here. And let's zoom on it a bit and place it right in the study. It should be okay. And actually now
this is too deep. I'm going to select the polygon
and bring it out a bit. And this one as well, hold down Shift to be precise. I'm actually not happy with
what we have created here. So again, I'm gonna go to polygon mode and select everything through
all the way to top. And select this one as well. And take all of these. And right-click and bridge. Looks like we have selected
these unwanted Lee. Now right-click and bridge. Like this one doesn't actually read the
rest of the design. So I'm going to drag it in just so that we have
something to look at. Just something like this. And this is already
in a good place. Later on, we will
create ornaments for this to make it look better. Now, let's go and create
something for here as well. I'm going to bring in an
edge from here to here, insert a bit, only a
bit, and re-scaling. And a beautifully
scale in z as well. So now I'm taking this from the same design
and bring it down. I'm going to apply the simple
deform to remove the band. Actually. Let's rotate that
and apply the scale. Now using this one, I'm actually removing any band in here, okay? Now this is good. I'm
going to make it smaller. Just like so. Now apply anything and I'm
going to drag it in. And I'm going to repeat
this just like this one is a toiling piece. Once more. And I'm going to take
this and drag this one in the middle so that we have
a tremor of designing here. And actually, I like
this one better. So let's conduct all
of these together. I'm going to remove any
polygon that is not going to be seen for a bit
of optimization. So from here, anything can be
deleted from here as well. Now, that is done. Now let's go in here
and I'm going to select these ones only and drag them back to create something like
this. Just like so. And I'm going to scale them
up and a scale in a bit. Okay, now, the design is
more consistent throughout. This is actually
what I'm happy with. I can go and select
this and this, do another insert and Extrude. Extrude in this direction. Okay, Now I can take this place, the pivot in the center and bring it in and do a rotation, for example, for example, 90 degrees to make something
like this happening. Did it? And I just move this out to create a symmetry piece. And on these ornamental pieces, the symmetry is actually the key to create something
authentic hand, when I'm looking at this, I'm happy with the details. Now the next thing is
actually selecting these, including this shift D and P, two separate by selection. So that we have these in here. And we're going to
convert them to curves so that we can give
them a bit of profile. So let's set this one to
turn into and a bit of curve happening in here and go for
one of the effects, go back. And this is actually
a good one reading, creating a good effect. So I'm gonna do the same
for this one as well. I'm going to select this
edge and this edge, this edge loop that goes
all the way across. Now Shift T p. And I'm going to select
only those edges. Again, convert them
to curve profile. For resolution, I'm
going to put 22. And this time, let's
use this one as well. I'll go back. This is a good one,
but let's see. If we can increase
the depth a bit. It's okay. So now let's go
take this and convert them to geometry because
these are now curve. So this one to mesh and
this one to mesh as well. And as always, I'm
going to take them and remove this part that
is not going to be rendered to save anything. Okay. This is too far. Let's go back until this, and I'm okay with it.
So let's go back. Without losing anything. Actually, we were
able to do that. And to give it more
detail, again, let's try to add an insert
in here and extrude it in. I'm going to again scale
it in this direction. So let's go back again. I'm going to take this one
and bring it in. Okay. Just like this one. And I felt like this
door is already having lots of details
and I'm happy with it. But the thing that
I'm going to do is actually taking these ornaments and make them as separate
material because this already take
a lot of details. So these three are going
to be one material ID. So let's give them
the mature Real ID. The name should
be something that differs from other
things. For example, 01. And the rest of it
including this. And basically the body of the door is going to
have only one material. So let's give this 10 to give all of these ornaments,
the second material. Okay? Now we have these. Take them all and give them
a united material to all of them because they take a lot of space and I do not want to
lose the resolution on this. So now let me take
again all of these, excluding the kid piece. And I'm going to join
them altogether. And it messes up the
smoothness so we can go and clear
the smooth normals. Clear custom normals. Again, smooth by 30
degrees. It's good. Now I'm going to go and export it to own real and testator. So let's copy the name
from here and paste it in and call it introns
brain. And it's good to go. So now I'm going to place
the Pivot to select it and put the cursor to fix that. So now I'm going
to export an added that classic mistake because
this has two material, more than two material IDs. Of course we're going
to fix that later on. We need only two on this. So I need to disable this one. An export, not duplicated
these pieces across. And now I'm going
to import that. This is the piece and it's by far the strongest piece
that you have created. It has the most geometry. So import abroad
that in as well. And it's sharing the same
pivot with this one. So let's take it and
duplicate it once more. Now finally, I believe that the geometry creation
section is over. And the next one we
will actually unwrap this and you give them
texture and bring them in. To finally move on to the
shading chapter, actually, we had a lot of fun creating
these geometries and I hope that you have learned something to learn
in your projects. Okay, see you there.
83. Unwrapping Shop Window: Now that we have ever
geometry created, it's time to go and unwrap them. And I'm taking this one and I want to give these
two material IDs, one for the root parts and
one for these middle parts. Of course, all of them are wood. But I'm going to separate this center piece from
the rest of the geometry. So we go in and
I'm going to take this and having
those ones selected, I'm gonna hit P and
separate by selection. Now that we have these
as a separate mesh, I'm gonna go clear any custom normals and then
has smooth by 30 degrees. Because all of it is
composed of only cylinders, can really easily separate the sharp edges from the
rest of the measures. So let's go see
if this one here, this one already has the UV. So I'm going to jump right
in and select a sharp edges. It has selected
these edges for us. And you should
remember that it has selected something
from these as well. So we're going to make this page that loads in here to
separate the body. So I'm going to
right-click and Mark seem. So now we need a horizontal
one on these as well. So I'm going to just select this one because it's
already selected. So we're going to overwrite that and select anything
on these slides. And you already know that we
separate something on the top and separate something on the bottom and separate
something horizontally. Now let's go select this one. And this one as well. I'm going to mark seam
this one as well. And in here as well,
we need a siem. We only need one seem to make
a perfect unwrap on this. Now that you have
selected anything, I'm gonna go to polygon mode,
right-click and unwrap. It looks like we need
to go and select something from the
backside as well. It looks like in here, we need to do something as well. So let's select these that I'm selecting these row
because it's already a seam. So I'm going to put the same already on the place
that it has created. So Mark seem as well. Now let's do another unwrap, and this time it's better. Of course, the textile density is wrong on these. So let's go. In the object properties
I need to scale and rotate and then
do another part. Although it's better, but definitely it needs
some improvements. So now I'm going
to give this one a checkered pattern
material so that we can look at textile
density on that. And definitely on
these vertical woods. We need to have something.
Let me take them. And I need to scale all of them except for these cap ones. I'm going to de-select them. And I'm going to scale them in y so that we have a better
textile density on these. So it has to go to scale. And why? Now we should get something, a square like in here. This one is good. So now
I'm going to UV Packer and I'm disabling the rotation and scaling and selling
this one to 0 as well. High-quality. And now let's say pack. And now these have
better textile density. Now let's have a look at these
and on these ones as well, we need to have more
textile density. So I'm going to
select one thing, alter energy to
separate everything. And I'm going to scale them. Let me see if I can scale them. Yes. Now, this is better. So pack again. Now, this is going to
give us a backpacking. And if you want to
make it better, you can go and select
edge in-between. For example, in
this middle parts, an edge that loops around to separate the
islands from themselves. I want only edge loop
that edge ring, this one. And this one as well. And this one, and finally, this one. Mark seam. And now I'm selecting
these horizontal ones, selecting them an add-on wrap. So it has made a lot
more islands from them. Let's see if we can go to UV toolkit while
having this selected. And Haidt who had
unwrap, of course, we need to disable the UVs
sink and now quad and wrap. And of course we can go select everything and
everything in here. It got on rap. And now let's again
go with pack. And this is the best
that it can do. Okay? And we're happy with it. Of course, not ultra happy, but this makes it better than actually having
a worse on rap. So I'm going to go back
and start to work on this. And on this one it's
mainly all about. Using the lines and placing the UV seams in this
curvature areas. And now you only need
to control select all the way to top here. And mark scheme. And
you're good to go. It's good about
these measures that actually we can place
the UV seams so easily because there are a lot
of information that you can use to select
a UV seams from. Unlike the previous generation
geometry where we had to put the seams on
a specific places. You have a wide range
of curvature in here and you can put
the seams there. So let's put the same in here. Controlled select through here. Okay, it's done a good
job, but it can be better. Let me, let me go and
de-select this part. Start to work like this one. And work our way
right on top of here. Looks like we need
to go back and start to collect our way through. It's not doing the
best job that we need. So now one more click. Okay, Let's mark this one scene. And on this one as well. First, let's do this one. I'm gonna make this
area the same. Okay? And try to select the seams. This one is so sharp
and we need to make sure that we select
the best for you. Okay? Until here. And mark c. So let's see if we
have a phase in here. No, it's alright. So we need to do the
same thing on this part. I'm going to select this edge that goes right away to the bottom
and make that one seam. And we may play some
themes in these areas because this is a
90-degree angle. And 90-degree angles mostly
need a different UV island. So not this one. Let's go from
here all the way to here. And of course I'm not going to remove the centerpiece
and use symmetry on this because this is a special piece and it
creates a butterfly effect. And if you do not know
the butterfly effect, It's something that when
you do the symmetry, you have some
information in here. That information
being inverted and repeated in here just
like a butterfly, that is called the
butterfly effect. Basically, you want to avoid
that as much as you can. So let's put another
seem in here. One in here. I'm selecting these sharp angles
to make seems. Okay? I'm deselecting this
because I do not want it. So let's see if we have
selected anything from there. No, let's select this
one has a seem as well. So right-click mark scheme. Now I'm selecting this one
and right-click and unwrap. It did a good unwrap in here. So let's see what it is. It looks like in here. We do not have a perfect unwrap. Let's go in and looks
like we need to separate these parts as well because
it has it has this one. It didn't create
a UVC mean here. So let's go put one
in here. One in here. Let me select it and go in here. This is the same. And let's mark scheme. And now select this one to
polygon mode and unwrap. Now it's about one. And if you want actually
he can go and place another seem in here
to separate that part. So I'm gonna go do that. Let's select these and
do another unwrap. And now we have a
better unwrapping here. So now it's actually time to go and continue to
work on this one. And to actually make
it easier on yourself, you can go and select this one, select everything based on that, and hit P by selection. And I'm going to separate this so that I'm able to
work on this only. And maybe, maybe I can
go and select these. And let's make sure that the UV name is the
same on this one. Uv map and UV map on this one. So let's select them and do a pack so that these
use the same material. So let's say pack. And now we're using
a lot of that. Is that texture space
to our advantage. And to save a bit of texture space because
you see these are so way we enters a lot of
wasted space in-between them. You can actually go
select them and having the UV active mode turned
off, let's disable it. And you can select
them individually and headquartered on rap. You see, it tries to
make the straight on rat so that there's minimal
wasted space in between them. So this is another
good idea to use that. So I'm going to right-click. Looks like there is already
a part of a hue in here. And make it a cube, so that whenever you hit Q, you're able to do that on the
fly and you do not need to go in here and do another one. So I'm going to go select
them and do cool down wrap. And this may add a bit
of distortion to the UV. But the quality that
you're getting is actually a lot better
than what you lose. The balanced game you, sometime you need
to do something, loose something to
create something. Okay? Now, this one is better. And let's see about this one. Maybe I go and split
this one into half. So let's select
this one as well. Let's do an unwrapped to
see how it excuse me, do a pack to see how it works. You see because of this one, because it tries to fit this in, in this area and keeping all of them a small relatively to this, a lot of wasted UV space
is happening in here. I'm going to go in and select this one from the center Right-click and a
split selection. So we splitted this. Now, it's done this one, but let's apply the
rotation to see. Now we are having a good ones. And although there's a bit
of wasted space in here, it has done a great job
in laying these UVs out. Okay, let's go back and
I'm going to work on this one and make
this one a single UV and a single
material to work on. This object is going to
contain two material IDs. So let's go and work on that. And because we have
this one separates it, it's a lot easier to work on it. So I'm going to select this and Shift-click all
the way through here. And it's going to, let's
go. And this one is better. And sometimes selecting
the long distances will give you not the
best result possible. So in those areas, you want to go back and try another Click to see
if it works or not. So let's make this
one mark seam. And I'm going to place
a line in here as well. So let's go put the line
and this around the area. And just Control select to go right around the object to
place the same in here. It's a bit tricky to create the same for this one. Not tricky. It's not hard because we are actually having the
knowledge to UV this one, but it takes a bit more UV this because it has a lot of ups and downs and
a lot of cavities, a lot of pigs and
hills and valleys. And it takes a bit of time to create a perfect UV for this. So let's go in here. And I'm going to select
something in here, Shift G to separate
based on the normals. And it's great. And let's see if we
have anything here. And I'm going to delete
that because you know, the player is not
going to see that. Ok. Now in here, I'm going
to place a seam in here. And it looks like we have
a bit of geometry in here that needs to be cleaned. In order to clean this pasta, you can select row of polygons and extend the
selection just a bit. Break the connection from here, and also break the connection
from here as well. Having this selected
because it doesn't have any relation to the other
parts of the geometry. It's easier to select that
with Alt and G and remove it. So let's go for this one. And this one got
removed as well. Now let's go in here as well. We have the same thing. So I'm going to select
exactly this one. Remove. This one,
remove as well. It's again having a
connection in here. So let's go and remove
all of these quotes. Okay, and I'm going to control select from here as well
and to remove everything. So now this one and this one, and finally this one. And we have some
floating geometry in here that we can easily
take and remove. Well now let's go
back and try to UV this the way that
we did early on. So select a UV and control, select all the way to
the bottom in here. Mark sin, and make sure that you select all the way
through the latest one. And you see in here you
have opened the gap, which might cause
a bit of problem. So this is good. Now, let's click from
here and all the way. So the counterpart
in the other side in here to a click and mark seam. And I'm going to select
these sharp edges until we get the
same perfectly done. So in here, there should
be one in here as well. From here all the way
to here. Mark seam. And let's do one thing
to make it easier. Of course, you can skip this
part and UV that completely. But to save a bit of time, I'm going to bring the pivot
to center and I'm going to do the rotation
location as well. Apply all, it's going
to apply everything. So I'm going to bring
this one again. I'm going to do a mirror. Let's do that in y. Or before that, let's remove. I'm going to select
this middle part completely right, until here. And these remaining ones
need to be selected as well. You can remove it
and places symmetry. But since the geometry
is a bit tricky, I'm going to go with the same method and try to
UV this, the old method. Let's select this and
go all the way to top. Because this place is
not going to be seen. I have no problem
to actually do a one-click right on top of here. So let's create a seam in here. Now that I have this separated, I'm going to hit Alt Angie. I have this part, and actually this part isn't going to
be visible by the player. So I'm going to delete it
to save some texture space, as well as having a
bit of optimization. So this one as well. Let's see. And this is why I'm telling
to close all of the gaps. And here you see
we have something. So now let's go select
this and remove. There's a possibility to
remove this part as well, because player isn't
going to see that. So let's go and place the
same in here to remove it. Because there are some
odd geometry in here, I'm making sure that we place the seam on the latest
points on the geometry. So let's select this
one and go on top. Doesn't matter where it plays the seams because it's
going to be deleted anyway. So let's select all
the way through here. Great. And one more
stroke. Mark to seem. And this one all the
way to here, to here. Once more to close the gap. And now let's go to
the polygon mode. Select this to see what we
have selected are actually. So this is great
and I'm deleting. This actually makes it
easier because it has already placed some
seams in here as well, and remove the bit of texture
space that we can use. So let's go and try to move
from this part as well. Okay? Let's Exactly,
It starts from here. That is the latest point in the row and then go all
the way to the top. And I'm doing only one click because this is
going to be deleted. And who cares? Once more? Let's go back. Another
one from here, all the way to the bottom. So let's make it better. Let's go back and try to place the seam on here to
remove this part as well. It really removes the need of unwrapping this
part so completely. So let's do one last stroke. And let's see if it
has been closed. No, let's do one
here and one here. And I'm selecting this Alt G
to separate based on themes. And this part as well removed. Let's do one more stroke. Because this either couldn't
be seen by the player. So let's have an optimization
all the way to here. So mark scheme and
take it and delete it. And this one as well
isn't going to be seen. Let me delete this one. And you can control
plus to extend the selection only and remove until it
reaches to this part. So let's take this, looks like we have selected
something from here. Take it and remove. Okay, now let's see about here. We can do the same
for this one as well. Let's go and put
the selection to here and grow the selection until it reaches
to the top part. So just a bit more. We can exclude the selection
and remove this part. So now let's go around
to see what we need to create and removing those parts. We already have done a lot of the UVs because we do not
need to place the UVs there. So let's apply the same on here and go
exactly on top here. And because it has
a white curvature, it's great. Actually. Mark seam. And let me take this one, Shift G by normal. It has selected these
two top parts and since they are not going
to be visible body, the player, I'm going to
Control click and delete them. So the rule is actually
delete on the parts where the player is not going
to be able to see them. So we've done this part. Let's go select this and control-click array all
the way to the bottom. Let's select from here. Looks like it's not doing
the best selection. And if it didn't, you can
go and do another shortcut, choose another path to
select what you need. In here, we have no
problem actually, let's go down until
here or from here. And mark scheme. And we need to go around and make this one
the same as well. So this UV creation isn't actually the most
interesting part of the whole production, but it's an important one. If you want to have
the best quality out of your textures, you really want to
enlist a bit of time on this UV
creation process. So it's inevitable you need to spend some time
creating good UV's. Otherwise, you're
going to have blurred textures, sharp
textures together. And it's going to ruin
your game really. Okay. Now, there's a bit of a
space in here as well. Controlled click,
Control, click to here. Now let's pick from
here and here. And all the way to here. Once more, Right-click
mark scheme. And I'm going to create a
seam in this area as well. So up until here, mark scheme, and one stroke all
the way to the bottom of the list. Perfect. Let's make it seem not sharp. There's one more in
here that we can place. Control click all
the way to here, to here as well. There's a angle that needs to be UV layout
in here as well. So let's go back and place
the seam until here. And one seam is in here as well. Let's Control click here. Once more in here. All the way to here to find the latest
point, which is this one. So now I'm stopping this
lesson in here and actually do the rest of the UV in the
next lesson. See you there.
84. Baking Shop Window: So this is our progress
and now there's only some extra seems
left to be liked. So I'm going to do one in here. And let's bring it in
here and continue down, up until we get here. This curvature line really leads you to create the
bestest stroke possible. Let's go back and
bring it from here. Okay, mark scheme. Let's click one from here. Because we do not have
any sculptor details. It's really easy to sculpt, to go through all the way
and select a seem to here. It's selecting the best parts. Let's control again. We do not have any
problem because there's only one line in here. It's actually doing a great
job laying out the UVs. So let's go back and do one more stroke through
this curvature line. Let's select all
the way to here. And let's go back and do one more in here to see what we get. Okay, perfect. Now let's do the same
for this one as well. I'm going to go to here and mark a seam on this curvature lines all the way to the
bottom of the shape. And make sure you put another seeming
here to finalize it. So we need to select from
here all the way to the top. And let's go to the other side and place another
stroke in here. Looks like I've done
the wrong thing. I should have done this one. Okay. This is it. This is a good angle as well. Let's go select it. And I'm gonna put
a seam in here. Go back from here all
the way to the bottom. And once more, we have
separated this one as well. So let's see. We need to
put one more in here. One more in here is a selection. Now we need to sort out this top edges to
create the seams. So because this is a huge mesh, we need to have a lot of
zoom in and zoom out. Other than that, the UV creation
isn't that problematic. We only need to select our UVs. The sharp angles, sharp edges, and place the curvature there. Now more to here
to separate that. Now we need to take this
one and let's go back. I'm going through here
and put a control click. Okay, it did a great job in
selecting that scene for us. So mark scheme, and we
already have one in here. Let's do one stroke from here, all the way to here to the top to separate this UV
Ireland as well. So mark scheme, I'm going to
mark seam in here as well. One in here. All the way to the counter side. Okay, in here and control-click. Let's go back a bit
and control-click mark seam until here as well. One more until here. And let's close it. One more needs to
be placed in here. So let's take that up until now, this has been the most
time-consuming piece that you have been doing. So let's go. I believe
that we have done enough. Uv, seems to be able
to unwrap this. So I'm gonna go select
this one also and g, two separate based on the seams. I'm going to do one on rap. Okay, Done. Let's
select this one. Okay, Let's totally
select everything. And I'm going to do on unwrap. And under problematic areas, we will create the seams. I'm making sure that
the UVs are laid out. And then when we made sure
that everything is working, we can skip that part. But if we had any
problem in some areas, we go place those extra
seems to make it better. I'm going to pause the video
until it finishes it did it. And there are some areas
which need a bit of fixing. So activate UV sinks to be
able to inspect the problems. So let's separate
based on seams. And in here looks like we didn't put a seam on this bottom line. So this is where this
diagnosing, it comes handy. So we need to put a name on
here all the way to here. And let's see. Yeah, this one is a good one. And let's see if we have
the bottom UV in here. No, we do not have
that bottom UV. So let's select one from here. This is not particularly
important because as you know, the player never
going to see that. But because we need to have the UVs laid out pretty
well, we need to do that. So let's go again and
do another unwrap. It improved. And now
let's select this one. Hit F to zoom in. It looks like we didn't
put a C in this area. It looks like that
seem that we placed isn't particularly a good one. So let's go in here. And we have a scene. Let's select it,
which is this one. And select this. Looks like you need to
put a seam in here. So I'm going to select
here and Control, click through here
to select this one. And if you want, you
can right-click. And this time clear, seem to clear that part. So that's Control. Click from here to here. It looks like the UVs
on this isn't so great. So I'm going to manually
continue on here. Mark seam. It's doing a good job in here. We need to place one in here. You see we do not
have a UVC mean here, which you need to fix. So control-click mark scheme. There was an odd zoom in here, which will need to remove,
which is this one. And Control click
through here to take that and right-click
and clear C. Okay? Now I'm going to take this and select this until we
get to the end of it. One more thing, I'm going to
create a scene for this one. You are going to understand
why in just a minute. Let's go and place the same. Because the player is not going
to be seeing here either. I'm going to remove this. When we made sure that
we place the scene. Let's do one more click to here, right-click and mark scheme, and I'm taking this
one and remove it. Okay, Other than
that, it's good. So let's go right-click
and do another unwrap. Now, it again got improved. And let's select this one. And we need to place one more same in here to
separate this part. So this is good. Now let's go check to see what is
the problem in here. So we need to put one extra
seam in here to here. Okay? Now let's go see, I believe this part is
problematic as well. It looks like an all of
these areas we needed to place a horizontal seem as well. So let's place it up until here. And here it has been separated. So let's select this one and
see where it is actually. So zoom on it. And in here as well, we need to click
and create a scene. I believe that other than
that there shouldn't be any huge problems. So I'm going to select them again, right-click
and unwrap. It, did it, and now
it's a better job. Actually. I'm happy with it. I'm going to call this done. Now we have these meshes
ready to be exported. So let me go back. These pieces are already unwrapped and I'm going
to bring them here, take this one and delete it, and bring this one as well. I'm going to place
them just in here to make sure everything is alright. So let's see about the UVs. Let's give you the material. Doesn't actually matter
what the name is. And this one shouldn't
have this many materials. So I'm going to
delete all of them and create a new
material for it. Then this one needs to be one material and
this one another. Because I'm going
to separate them from each other and
textured them that way. So let's take this one
and bring it closer. And these are the
extra pieces for the residential kit.
And I'm going to just Take them and export them
as a single FBX file. Okay, just like this one, and limited to
select the objects. When we take this, we come back and join these two pieces together so
that when we export them, we have no problems. Again, in substance,
I'm creating a new one. And the leg this piece, open it, it open. And we have these normals are pointing to the
right direction as well. So everything is alright. We have this one, this, this, and this, okay,
everything is okay. And we're gonna bake. And because this is the
high poly as the low poly, I'm going to check the use low poly mesh as high poly mesh. Bring this one up and
make this one for k, and bring the height as well. And I'm going to take the selected textures and
see you when it's done. Okay, now the bank is done. And actually to test the bake, I'm gonna go in this
smart materials and bringing this dusty concrete
and place it on here. Of course, I'm not
going to use that. It's only for saying if the materials are
baked correctly, so correct on this one. And this one is alright as well. And it looks like there's
a bit of problem on here. And we're going
to diagnose that. So let's this one as well. It's alright, and
doing a great job. So let's go for here. We have a bit of baking
problem in here, which we need to fix actually. So let's do this one. This one is okay. Let's
see about the UVs. Let's go for this one. This is the result. Let's hit F3 to go. And here we have a bit
of problem in here. Let's go in Blender. And these are three
different measures, and we didn't want that. We actually wanted this
one to stay the same one. And these two to be one thing. And now you just look
at the material name. This one is the different one, and these two are having
the same material. And if you go in here, you see a bit of overlap
happening in here, which is causing that problem. So I'm gonna go take
this one and these two. Join them. I'm going to remove this
cube material from that. Now when I select it, you see the UVs are
laid out pretty good. And if you select this one, we have no overlapping
UVs either. So let's actually activate
these two. I need pack. And now we have a
better textual density and texture resolution
on this one. Okay, happy mistake that we did. So let's take all of them. And again, I'm
going to overwrite it with this one and
do another bake. And it's actually a good
advantage to be able to find your mistakes
and correct them. Okay, Let's go in here, select this one and re-import. Now you see it's correct, but we need to do a bake
to fix the results, especially on this one, because these are
having a good time. So let's apply that. And this is exactly
doing the work. And I'm going to break
the material for this cube and this material to, let's copy this one to this. And this is okay as well. So I'm going to go for only
these 22, separate them. You can go in here to selection. And I'm going to
deselect these two. And now you see it's
baking for 16, not 32. So everything, alright, I'm
gonna bake. Baking is done. Let's apply it in here. And no more wrong normal
maps and bake on this. Okay? This one is good. Let's go for this one. And this one is
doing great as well. Okay, now I'm going
to save and I closed substance because I want the texturing to be
done in another pass. But meanwhile, I'm
going to take this exported and take this one
and export it as well. And on this one, I'm
going to take this, of course the pivot is wrong. Actually. The pivot
needs to be in here. Just like this one. You see, this period is right in place. And I'm going to first make
sure that these two have the same UV name and
different material. So let's go to Material tab. This is good. This is good as well. So I'm going to take
this and join it to this one which has the
Corrective Control J. And we can clear
costume normals, smooth and based on 30 degrees. And I'm going to
export this one, but I'm going to uncheck this
one mature reality because this one already has
two material IDs. So export and re-import
them inside Iran VM. So let's take this one and finding the content browser
and hit very important. So it's alright. If we go in here, select a UV. It's doing a good job actually. So let's take this one as well and find it
and we import it. And it looks like
after we importing, we need to convert
these into 98 as well. Because sometime when importing them breaks the
non-native connection. Okay, now let's go
up top in here. And because this already
has the texture on it, of course, prefab texture, not actually what we want. We import the UV
layout should change. Of course we didn't change
the UV layout for this. So now let's go to
nano it unmask. We see in here that this one
should be converted tonight. So let's find it.
Right-click nano it unable. And on. This visualization mode
is a great tool to use to see which parts are nanometer
and which parts are not. It looks like you're doing
a great job in here. I'm gonna go with late. And it looks like we're
done with this lesson. Of course, there's a
bit of problem in here. Of course you can go and correct the UV
excuse me, correct. The blueprints we have been talking about the UVs too much. So in the next one, who
will actually go and create a UV for this one and then
texture them together. And creating the UV
for this shouldn't be that hard to create because it's mainly composed
of simple shapes and these ornaments already
have the UVs in place. So the next one, we
will unwrap this, baked them and do
a separate lesson for the texturing
on all of them, maybe a lesson or two. Okay. See you there.
85. Baking Museum Doors: In this lesson, we finalize the UVs for this museum
door and window. And let's go start to create it somewhere already in Blender. And this is the project
that we're going for. These two measures are actually the placeholders actually
representing these, so that we know how to create those on what the borders are. I'm going to drag them back so that I'm able to
concentrate on these. So let's see, yeah,
this one is the mesh. And let's start a UV. And already we know that
this outer measures are huge waste of uv space
and not going to be seen. So I'm going to take
them and simply delete. Let's go about
unwrapping this one. I'm taking this shift
G based on normal. Let's not do that because
we have brought in that ornament that's first separated because it has
a different UV layout. You see the, these are two UVs. So I'm going to
separate this and let's bring it over.
Okay, this is it. Now let's go in and select this. And on this one you do
not have any information. Everything is placed in here. Okay, now, let's take this one, take this, remove
the first TV map. And on this one,
everything is in here. So now let's rename
this to this one so that they have both the same
UV names and no problem. Okay, now let's go for
this one like this, and let's separate it to start
to work on this one only. So Shift G based on
normal and unwrap. This one also shift G based
on normal and unwrap. And there's this piece
that needs to be textured. And I'm going to
select it on rap. And these two that's placed
couple of themes in here. So let's place it on the places that the player
is not going to see. So I'm going to place one
in here and one in here. Let's make seem selected. Of course, select this one, all the n, hit unwrap. Not that way. Let's select anything and go to UV active mode to be able to separate only this one. So let's select this. And this is it unwrap and
it unwrapped perfectly. So. Now let's go to UV Packard
and start to type this. Set this one to one and
hit pack on all of them. Great pack. So now it's
time for this one. The cylinder is easy to do. The only thing that you need
to do is taking this one, Mark seen, this one on the bottom as well,
and mark scheme. So the next thing, this 11 on the top, mark scheme and one a stroke, the middle. Not here. It should be vertical. We placed seems in here, and let's place one in here. And one on the
bottom. Not this one. Let's go and pick this
one up and take this one, take everything, and hit on rap. And it's doing that.
So I'm going to take this and go to UV toolkit
and codon wrap this one. Of course, we need
to disable the UV, sink and cool down. Grab this one quote on RAB. Let's see if we have any
texture distortion on this. So let's go down here. But a bit of problem
on this one. Let's select it and
select this one fully. It's not having the
same size as this one. So let's make it bigger
just like this one. And then do another pack. Solve the issues. It's done. Let's go check the UV. And it's all having
the same size. Now this one is already
having the UVs as well. Let's go in here. And I'm gonna give them
all the same material. Doesn't matter for the
name of the matter here. Now, let's select all
of them and join them. So we have all of the UVs
laid out, let's say pack. And it did a great job. So let's go in here,
remove the check your map and we have a
good packing in here. But if you want,
actually you can go and place a couple
of seams in here. One in here and one
in here, mark seam. And take this unwrap,
not this one. I'm only looking for this
in the middle. This one. And let's go and separate this. Unwrap. Now this one unwrapped and separate
this one as well on rap. And this one as
well. And unwrap. Now select everything. And this time the packing
should be better. Not actually. Let's disabled rotation and make these all rotate
to the same direction. 90 degrees, this 190
degrees as well. Now let's do part.
Didn't, Let's go back. Now this one is better actually. So let's looks like it hasn't
done the best UV on this. So let's separate them. And of course let's make the
selection based on normal, not the UVs, so that it can
be separated, fully separate. And now let's start
to work on this. This is what you're
getting in here. Let's take everything I need on, but it did it. And I need to take this. And in the UV toolkit
hit quiet codon wrap. Not the best idea. Actually. Let's go on some place, some seams in here. So one in here. It doesn't do. So let's put the
knife tool to make it through and
select this mark c. So I'm going to put
one in here. Again. Cuts, cuts through land, separate this one and
make it a C. Okay. Now, select this one
separate based on seam, on rap, An audit, the same thing on all of
them and an unwrapped. So now let's join them together. Now do another pack. Let's select everything and
go to UV Packer, unpack. And it looks like this is
the best that it can do. So no problem. Let's go back and the pivot should be the same
from this to this, okay? Just bring this one to bounding box and select both of them. You see both of them are
sharing the same UV. So I'm taking this one
and bring it back. And now it's time to
work on this one, which already has
the UVs in place. So this one should be separated
into two different parts. Let's go in. And I'm selecting all of these that are having
the simple shapes and separate by selection so that
these are the same parts. And if we go in, we
already unwrapped these and pack them
in previous lessons. But they also need a bit
of more packing as well. Because I believe that there
are some overlapping UVs. Yeah, You see them here. So let's do another peg. Well now the packing is done. We have a better
results in here. So let's go back and now we
need to work on this one, which is relatively
easier than this one. So let's go and
first things first, let's remove this part. And on this one,
I'm going to select this shift G, normal. Exclude everything from
that by going here, selecting only this
one and remove it. Now, let's go and first,
scale and rotation. And let's see face orientation. It's alright. Let's go back
and start to work on the UVs. First, give it a material
and a random material name, just like this one. So let's go. And to make it easier, I can take all of these, including this one, all
of these ornaments. Let's take them and I can separate them and start
to work on this one only. So there's a piece
in here as well. Let's take this. This is from those pieces that
the player can never see, but this bottom one day may see. So let's delete these as well and start to
place the UV seams. So this one, because it's
mainly composed of sharp lines, we can go and hit, Select sharp edges and Mark C. So now let's go select
everything hit and unwrap. And it's done a great job. So let's select this one and actually separate
based on seems. It's good. This one as well.
You see it's because it's only composed
of sharp lines. It did a great job. And now I'm going
to do this one. And let's see what we have here. It's already cleaned out. So we need to place some seems to make this
operation happened. And I'm going to
start with this one. So I'm placing the seams in
the corners so that we can separate them based
on corners and make them smaller so that
the packing becomes easier. Here as well. Not this one, this one, and this one, and only some more remaining. And couple of more. This one and this
one mark scheme. And now I'm selecting this unwrap and it's not giving us the
result that we want. So let's go play
some more seems, seems to be vertical. This one, and this
May 1 be horizontal. Let's select from here. And select one
from here as well. Mark scheme and one from here. Now, let's select
everything and hit unwrap. And there are some
things to be fixed. So let's go see this one. And we haven't placed
a seam in here, which we're going
to fix mark seam. Now, another unwrap.
This should be good. I'm going to take them
and make quad on rap. First disable the UV, unwrap. I'm gonna do the same
thing for all of them because it gives
the better result. So let's go for this one. Again, quad unwrap. And because there
are so many seams, it may take a bit of time, but it's worth the
price actually. Later on, it will save a lot of texture space because
the Illustrator, the UVs be the better
result you are getting. So it looks like it's
not doing on this. Let's see, which is
this part. This is it. And let's go and
place some seams in here so that the unwrap has
easier time connecting them. So one in here. And let's take this one, unwrap. This one as well. Han wrap this area on rap and it looks like you have a bad as
stretching in here, which you are going
to fix eventually. So unwrap. And now let's select
everything in here. Pack. And let's apply a checker material to see
the texture distortion. That distortion is
basically in here. So let's go select this. And we're actually getting this because we cannot put a
lot of seams in here. So let's go and select this
one. This one as well. Then I'm going to
separate them based on selection and go
in, isolate this. And because this has
a lot of distortion, we need to bring
in the knife tool, make it cut through, and do some manual fixing
to make it better. So this one cut through as well. Now let's take them like
everything and don't unwrap. And this is becoming
actually better. Let's do some more. And once more in
here on the top. Select everything and unwrap. This is the best that it can do. Let's select these to join them. Merge by distance and then another pack
to see the results. Okay, this is the best
that we can not do, actually something about it. So let's go back and remove
the checker material from all of them and connect
them to each other. Just like so, and
hit another unwrap. And it looks like this
one is preventing us from having a great unwrap. So let's select it. Mark seam and mark c
mean here as well. And take this one and unwrap. We can now hit another pack and now we're getting
a better result. So this is good. Let's now go back and check for
the UVs of this one. So let's remove this material. It's okay. And now
let's go for the maps. This is mapped to 01
and this is UV map. So let's take the name
and paste it from here. This is an important one. So now I'm gonna check
this one as well. Bring it here and
I start to export these to substance to
do the baking there. Let's select them. And these are the high value and low poly at the same time. And I'm going to export it and bake them on
top of themselves. And if everything is alright, we should get three
different materials in here. So let's bring in the file. Actually, these
are the materials. This is that this is the door. So let's go and bake
just like always, resolution two for k with
sampling four by four, which activated and use
low poly as high poly. And now we're going to bake. Now, baking is done. Let's go bring in
the smart material to see if everything is alright. It's correct in here. It's actually doing a good job. Let's apply it on this. And it's doing a good
job in here as well. And it should do good
on this one. And okay. And if you do not see anything because the backside is off, and this is the piece also. So now let's go and try to
export these To Unreal. I'm going to go Export and take these two and combine
them together. So Control J, just
like this one. Let's see the name. We should go and disable
this naming and export this. And actually a
mistake that I did was not changing the
name on this one. So let's go and remove any
extra letters from the name. The name should
be as the same as you import the first
time basically. So let's go in here,
right-click and re-import. And now it's alright. And if we go, that ugly
distortion is gone. So now on this one as well, I have done the
naming. It's alright. I can easily go in here. Point D, Static
Mesh and re-import. And this one got very
important as well. And it's doing a great job. And it has two
material IDs as well. One. So it's not isolating, It's an unreal engine block. So now I'm stopping this lesson. And in the next one, maybe we put a lesson or two
to texture these. Then finally conclude this
chapter and move on to the material chapter.
See you there.
86. Texture Residential Special: Okay everybody, now
it's actually time to texture these that belong
to the residential kit. So now I'm going to
start with this door. And to save a bit
of performance, I'm going to remove these, not this one, so that we're able to see this one only
and work on this one. And when we made sure good food material
has been created, we go and create
a smart material and start to use that.
For the reference. I have something
like these in mind. I'm going to have
shades like this. And of course, a bit of
boldness just like this one. And because this
is a special piece that is going to
be used only once, we may add some
special details to it. For the base, Let's go. It looks like this is going
to be a good base color. And because the UV rotations
are different to each other, you are seeing different fibers going into different directions. And if you are going to
fix that, you can go, let me go into base color.
You can go in here. And instead of QB,
you can study to try planar so that all of them
face to the same direction, but it's around the original, want them to be vertical. So let's go to rotation
and rotate it 90 degrees. And under tiling as well
introduce pair of tiling. So this is a good place
to start to work with. Of course, you can start
to use only single values, but this one gives us a
good base to work with. Let's check that and go into
the technical parameters. Let me bring this up. And let's bring the
height range up a bit so that the wood fibers
are more intense. So let's make that and it looks like how it
isn't doing anything. So let's go for normal. Okay, now you see
it's more prominence. So it's good. Now, let's just start to create the masks to give
this one more detail. First, I'm going to bring
in the general masks, just like in substance
that we brought in those tiling wants and
created things based on them. And then after that,
I bring in mappers, measures specific
maps, for example, curvature maps and
things like that to really make it
really customized. So because now I'm only
going to add colors. Right-click, add a black mask. And on this one, for example,
and this black mask, I'm going to add a fill
layer on the black mask. And in here select the different gradients.
For example, this one. I'm going to do one thing, make us basically to
make a shortcut for us. First, I'm going to go bring in the ambient occlusion map
and apply it on this. And I'm going to separate
only the color and roughness. And maybe sometimes you add
a bit of height as well. So I'm creating a base
that is masked as well. And this mask on, we are going to add a
fill to it as well. Let's select the
mask instead and add a field to
mask, not that one. So you see we have a 0.5 value which is going to
blend between both of them. Now, I'm going here, control C to copy that. And every time we wanted
to place a new mask, you simply paste this here and do another
grunge on top of that. And then what made
sure that it's good? We change the color. And to make the grunt selection, let's go to textures. And all of the
changes are in here. And instead of actually
having to go in here and this fill and scrolling, we are able to see them
in here and real-time. So let's go and try to place
the oranges. First one. And let's set it to try planar. And of course the tiling
needs to be higher. So this is a good value. And of course, now let's go in here and try to pick up
from the references. So now I'm gonna go
in here and try to pick up single
values from these. So I go to base color, pick up from here. Okay? Now it did a different one. And I'm going to bring
the roughness up just a bit and to cycle
through different modes. Actually, he can go, let me bring this up in here. You can go and hit C to be able to select the
different channels, for example, base color. Now, this is metallic,
you do not have any, this is roughness,
normal n, etcetera. So now this is good. And if you want, you can go and bringing the balance down. Bring it up. I feel like
this one is better. So let's go to base color and
we are seeing the results. It's full white and full black. So I'm going to go for
something in between. And let's go in here and bring the base color
down just a bit. We want to be settled
on placing these. So let's paste that again. And let's go in here
on this fill and make it try planar already. Again. Take this one
and Control C to copy that so that
every time we copy, we get one with the field
that is actually try planar. So let's go in here and try
to test different ones. For example, this one. Let's apply that and
see where we are going. Though. This is it, but the
tiling needs to go up. Let's go for four or
is actually good. But let's go and bring
the balance down, not to make it so saturated. So bring the balance down only to have some of
these areas selected. This is it. And now on this
one, Let's go in here, bring the roughness up and I'm going to pick
a color from here. So maybe a darker shade. It's old and it has
been used too much. But on this one, Let's go and apply the height
channel as well. And I'm going to take the
height and bring it down to carve a bit of normal
information into the store. And the roughness,
Let's bring it up. And this one is good. So let's go in here. And let's bring the balance up. So this is now too noisy
and we do not want that. So let's add another fill on top of this and use
this one for example. And try to subtract this
from the previous one. And now you see we
have better selection. This is the mask
that we have here. This is before, and this
is after subtracting that. So let's go in here again and
try to remove some of that. And we have this gizmo
as well that we can select the information
that we want to be shown. So now let's go to material. Then you see it's
happening in here. So let's bring the
balance down a bit. You do not want to
make it too noisy, only some bits of
information or enough. So not this low. Let's go. This is good. Okay,
now let's go again, hampering the pace that mask and go in the field and try
to use different oranges. And this is good.
Try planar already. Toilet to four. This is good for
adding some colors. So let's go in here and bring the roughness to
something like this. And try to pick this
color, not this one. Let's pick a lighter color,
something like this. And let's add a bit of height, but this time in a positive
form, not negative. Okay, very, very tiny bits
of height information. Now go in here and
try to work with the balance to see what
you can get. Okay? This is it and now
dislikes to procedural. I'm going to bring
another bill again. And this time bring
this one in and try to subtract or multiply that one so that it washes
some of that away. So you see, this one is better. But now I feel like this one
isn't actually too natural. Let's go ahead and
make the color darker, but in those shades, but a bit darker. So let's make it just like this. Okay, now we're only
adding those tiling ones. When we made sure that we have
enough definition in here, we bring in those
that are actually belonging to the mesh
and baked mesh maps. So let's paste. This time, let's make it UV projection and try to
bring these and test them. So this is a good one. I'm liking that the
way that it is. So let's go and pick
one of these colors. This one is he adds a lot
of cool details in it. Now let's go for roughness. Let's make it the
way that it is. And you can go, and this is
the base color that we have. And the more layers
you start to bring in, the richer the base color
is going to get right away. Let's bring in a paint. On this page. You can
actually paint anything. So I'm going to make this pass
through so that everything we do on this layer is
going to be uploaded onto all of the pillow ones. So the filter and this filter, I'm going to add sharpen. So you see now the base
color is a lot richer, but I do not want it to make
it so noisy, only some bits. So now everything
that we do going to be placed below the shortness. And let's take this one, just call it sharpen. So now let's start to
layer more at this one. And in the field, start to
bring in different branches. And let's title this four times. This one. Let's take it and make it really, really smaller. You see this effect happening. And let's make the color
to something darker. We can bring in the color more. You see, it darkens a
bit of these areas, as well as adding some
roughness, variation. So let's make it
something like this. And let's paste again. And use this one to see which information
we get from that. So let's go for tiling, set it to for a
good overall dirt. It's a good one. So let's go select the color and select a lighter
one. On this. It's already good, but let's
bring in the roughness up. I'm going to add a filter. And in here I'm
going to bring in the contrast and luminosity. Bring the contrast up a bit and maybe a bit of luminosity. To add more separation. Now let's go and bring in
the high channel as well. And I do not want
that to be so much. Only some bits. If you add too much, it's
going to make it way noisier. Okay? If you are happy
with it, it's good. But if you want to
add more or Atlas, it can go in this
base color menu. You can change the
height and this height, you can bring it in or out. So let's do something
in the middle. Let's go to base color again. We're actually
creating a good one. You see, the color is
getting richer and richer. Now let's add another one, and this time, let's see
what this one offers. Let's set the tiling to four
and again overall dirt. So let's take this one
and make it black. Okay? And the black isn't
actually two new. So let's bring the roughness up, but I'm not adding
the high detail. Okay, This is good. Let's check before and after. You see overall
darkness a bit there. So another one, and this time, I'm going to use these oranges, these third crunches that are actually creating good results. So this time or again. And let's set this one to
be the color from here. Let's pick from
here. And it's good. It's adding some dirt in here. Let's make it whiter. And let's add a bit of height, n positive so that
they're poking out the base color. It's good. So now let's add some
general ones in here. I'm going to add one in here and use this
one in the mask. These directional
fibers really give that illusion of wood fibers. So for now, let's go for eight. Actually eight is good. So now let's go for color. I'm going to pick one
of these darker ones. And you see a lot of
these fibers happening. And let's make it rougher. And this is the effect. Now, we can actually go
to the Mask to see it. And I'm taking this bringing
a level and let's inverted. Now let's see the material. It's better with the
inverse already in place. So let's cycle through
different ones, see what we can create. There are a lot of good
ones that you can use. So let's bring in one more and try to bring
in as the mask. This one is really good for
adding some custom details. So let's set the title into two. It looks like somebody
has painted the door and the paint has been removed
throughout the time. And since this one is
actually a custom piece, I could use this one, but I'm actually not going
to make this so old. It's not fitting with the environment that
we're creating. So let's go and try to
pick a color from here. So this, this is good. Let's take the base and bring it down. Let's not
bring it down. Let's add it there. It's good. Let's bring it in. Let's keep it. Lets, it's good. I'm actually taking the base and bring it to the
half of the value. So this is good for
tiling texture. So let's take them all
and bring a folder. And bring them all in, in there. So let's make this tiling. Would I'm naming that trilingual because if you apply
it on any tiling surface, you'd get the same
results because these are all tiling goods are
now on top of this one. I'm going to create a new one. Let's take this Sharpen
and drag it out so that it applies to all of them, not only the tiling. So I'm going to call this
one baked mesh maps. So that didn't hear who plays things that respect
the geometry. So make it really localized. And on for this one, we're
going to this mask section. You can actually
bring in a color and drag the mask onto it to
work. And it's going to work. But there's a drawback to this. And that is wiping all of the color
information behind it. You see it has converted
all of them to white. But you can do one thing. And that is bringing in
the layer, not a fill. And on this one study
to pass through. And after that, apply
this one in here. Now on this one, we're going to
bring in a filter. For example, Hue Saturation, soda on top of this. When you convert the colors, change them, you see instead
of making that pure white, It's taking the color
information into consideration and changing the layers beneath it and showing the
colors as well. So you can compare that with the fill layer and the site
to see what is working. You either want this
one or this one. I believe that this
one is better because it's respecting the color
information behind it. I'm going to delete this one. And this one as well. Because I do not want
the mask for now. And I'm disabling
the Just as well. So I'm going to copy
this as the default one. And note that this is passed through and it means
that it's going to take all of these values
and apply changes to them. So let's go for
this one as well. This was a great one. To see the changes we need to
go to this and activate it. So let's change it to
make these ones darker a bit so that they're a bit different to the
layers beneath them. So you see now a
bit of separation. If we go in here,
this is the richness of color that this
one is adding. Okay, This is good. Let's, let us see if you can
add a bit of saturation. And this is a good result
that we are getting. You see almost immediate
separation between these values. So let's paste again. And this time let's
use this cavity was to see what we get and apply that. And it's applying on
this cavity areas. And I do not want these
to be sold lighter. So I'm going to go in and take this and make it darker already. I'm going to take
this one and drag it under this one so that this information
is on top of that. So let's go in here, bringing the mask editor. And I'm going to bring
the global balance down just a bit. And maybe the contrast
as well down. Or let's bring the contrast up. Looks like the contrast
up is giving us a better result because it's
wood and wood is harsher. So this is now all
over the place. I'm going to bring in a fill. And this fill, let's bring in one of these procedurals
that has a lot of white values because
I'm going to remove a lot of those from this. So let's bring this in
and now see the result. This is it. Let's go tile that, for example, four times. And now this is going
to be awesome subtract. So this is it, this is
before and this is after. If you want to have more, he can bring in the balance
up to remove more from this. So just something like
this. You need to know. And to get the most
out of this mask, you need to have three
types of masks in mind. One, occlusion, ones, which are mainly targeting
the occluded areas. For example. Let's go
bring this occlusion. They are more towards
the occluded areas where these places collide. And next type of masks
or the edge masks, which are these ones
that mainly work with mask and sharp places like this. And then the surface ones. For example, this paint old. You say it's
applying the mask on anywhere plus some of the edges. So there are some occlusions, some edges, and some surfaces. And in order to
create a which one, you need to bring in
from both of them, from three of them, excuse me. Then there are
some special ones, for example, this ground. So if I take this and
apply that you see and isolate the mask you see it's more prominent
in these bottom areas. And if I take the color and
make it really lighter, you see it's affecting the bottom portion bigger
than the rest of the areas. So having that in mind, we're going to now go for
some more occluded ones. Well, let's paste this and
let's bring this moss. And activated. It's going to occlude is areas. It's an edge one plus a bit of occluded and some
less surface details. So let's bring this. And I feel like really
darkening this. Okay, that later on we can highlight these edges to
create more contrast. So let's paste again, and I'm going to turn this on. Now let's go for some of these
edges scratches and this highlights the edges but
not really too contrasty. See that happening in here. Let's bring the lightness up and change the saturation
to something else. And now I'm gonna go
here and bring it down so that you have
different values everywhere. Now let's bring in this edge, which really highlights
the edges in this way. For example, like chipping
and those kinds of things. So let's take this one as well. I'm going to bring
the lightness down. Let's bring the pill
that is in here. Let's go bring some
more edge ones because I'm going
to finalize this. So this one is getting
too prominent. Let's go and bring
the mask editor. And we can that affect the bit. So now let's add a
fill to this one. And I'm going to have
only the high channel so that I can take
the height channel. And on these areas, I'm going to make them look
like they are chipped. Just like this. Another way
of adding more details. Let's go bring this one in. And I'm going to use
this edge is strong, highlights the edges in the best possible
way that we want. So let's go again. I'm going to add a fill. And this fill only want the
height to be positive a bit. And then go for here. And for the color itself. Let's bring the value up. Not so much because this
is getting too unnatural. But let's go and bring the curvature and
global balanced out. I only want some
sharpness on the edges. Okay? This is it. And now
let's take all of these. I'm taking this ring domain. Let's not bring them
in. Let's add more. So I'm going to
add this and this time instead of
adding these masks, I'm going to bring in the
ambient occlusion and curvature to light
based on that. So let's bring in
a fill and then this one just search for
curvature for example. And you want to select the material O1
curvature, which is this. Now, let's separate the mask. Let's see the mask. This is the mask. And let's see what we
can do about the mask. Let's add a level. And on this one Let's invert
it and see the results. So before, after. And let's separate the
values a bit more. I'm going to bring the whites down only to these areas
and add a bit of contrast. Just like this. And now
let's bring in another one. And this time I'm going to bring another fill and this
time ambient occlusion. Just search for it. And this is it.
Ambient occlusion. And let's see the mask. And right now we
need to invert it to separate these darker areas. So after this fill, I'm going to bring in
a level and invert it. It has now selected all
of those occluded areas. And this one is actually, I'm going to go and take
this one and make it darker to make these
areas darker a bit. Okay, Now, this is it. Now, I'm going to select
everything in here. Select from here,
all the way to here. And right-click. You can right-click and select this control and g to gather
them all in the same folder. So let's take this one
and name it would, or let's name it mild. Okay, now that we have this right-click and
create a smart material, now I'm going to bring these. I'm going to use the same as smart material on all of these. So let's apply. This is the result in
here, pretty good. And let's apply it. And here we have a good
result in here as well. And you see the consistency
between the kids, how beautiful this
is actually looking. Okay, now I'm going to apply
this one to here as well. Now this is good. But for this one, actually, no, let's leave
that the way it is. Okay, You see that by
only creating one, a smart material who are able to texture the whole thing
for different parts. So let's go in here. And for this one, for
this one actually, I'm going to do one thing
and paste that again. And this time, let's go
for this a smart masks. And I'm going to bring
this ground dirt so that we can create such an
effect just like this one. So this ground, dirt, let's separate the mask. And of course, let's
go in here and make it lighter. Just like this one. Let's go in here and
use this one instead. Now this one isn't
what you need. So let's use the
same ground, dirt. And the color needs to
be different a bit. So let's make it whiter and change the saturation and hue. No, not for the heel.
And let's go in here. And for the base color, Let's bring the base color
down to something like this. And now you see we added a bit of a special
detail to this, but it's too strong
all over the place. I'm going to go bringing a fill. And from this, let's bring
in one of those procedurals, one of those tiling procedurals. Let's bring this and
let's toilet or times. And this one is going
to be subtracted. So subtract, not too strong. Let's make it like
this and it's good. So now let's bring all of these. And you see that only by
using one, a smart material, we were able to
texture wide variety of things and it's
affecting this one as well. Okay, Now this lesson
has come to the finish. And in the next one we
will actually texture the windows and the door
for the museum kit. And right now, I'm going
to go Export textures. And using the same
template that we created, target. This is it. And let's make it for k. And we're good to go. Okay, see you in the next
one where we finalize the texturing of the
museum kit as well.
87. Texture Museum Specials: Now we're finally here. And in this lesson
we will finish the texturing process and then import them and test
them in Unreal. Let's see which one is this? This is the ornaments one. And this is a start
with this one. And now the thing that I'm going to do is actually going in here and find a smart
material that we created. And also there is no problem
in reusing this part. I'm going to change some
things about this matter. We have, for example,
let's go in here, remove and remove,
remove the base colors. And now we need to
bring in another would be the base color
for this basically. So let's go to the
materials and in here we have two kinds of goods. Let's bring this one
in. This is good. Let's go bring in making, try planar and make it
rotate to 90 degrees. Let's add four times
tiling. Now this is good. And adding a lot of
details and making that really different
to one that we created. But before that, let's
go bring in a filter. And I'm going to add a bit
of contrast to this color. A bit of contrast, not too much. Just like this one. And for the luminosity,
this is good. And there's, this would as well. Let's try that. Again. For this one, I'm going to make it try planar four times and 90 degrees, but the color on this one. So in here as well,
we're getting this wood paneling
that is good as well. So on this one,
Let's apply that. But I need to take
this one and overly bright and database because although it's a
part of the door, but I want to have more
concentration on this. So I'm gonna go in here and
just like this sharpen, I'm going to add a filter so that it affects
everything below it. Let's go bringing
the contrast and luminosity and make
this one litre a bit. Put more focus on that. And a bit of contrast as well. Just something like this. Or we can actually use another different
material on this. But let's go and bring
in color and going this. And I'm going to bring
in a edge highlight, to highlight a lot
of these edges that we have to make it
really separated. So let's go find it. This page is strong,
is a good one. So let's go in the
mask editing mode and bring the global balance
down just a bit. And in here, I'm gonna
go bring the color down. I only want a bit of edge
highlight, something like this. Okay? Now, I believe that the texturing process for
this one is done as well. Now again, I'm gonna go
and export the textures. And again, using the same
template and Target. And for K. Okay, they've got imported
and now I'm going to bring up Unreal Engine and try to test these in the scene. And when we made sure
that everything works, we finalize this chapter
and move to the next one, which is actually
creating shaders. And we're going to learn a lot of cool things there as well. Okay? Now I'm gonna go into this baked one, an
important textures. And first I'm going
to start with this. And the textures are in here. And I'm going to open, and you already know that
I'm going to go take the normal unmask and
do the changes on. And hopefully it didn't
convert these into normals because they have
a bit of normal shading. So for the masks, actually, I'm gonna
go make it mask. And for normal, I'm
going to go show all Atlantis details
and flip green channel. And I'm going to do
the same thing for all of these and get back
to you when it's done. And how did them, and it's
time to apply them on these. So I'm gonna go then this window menu and
I'm going to drag a content browser so that I'm able to select the
textures from here easily. And my textures are now in here. So I'm going to select this one. And I'm going to
select these and create a materials
by these names. Material name is
now material 00 to. I'm going to create
an instance and apply the textures that I can
find it here in 00 to. Of course, these are Museum
textures that are important. Now let's go important
residential as well. And now I'm finding
this 002 in here. Okay. Take days unimportant. And I will do the same
for these ones as well. And now I'm gonna
go just search for the material name
and for example, copy that and want to
bring this in here. I can see that those
ones that have been created with this
material are present. And that is because the naming
convention of substance allows to incorporate the
naming of the material. Onto the textures. Now I'm doing one demo for
you to see that. Again, I'm going to
this content browser in these materials. And these ones are just
simple materials that we're creating for visualizations,
not actual materials. So I'm going to
take one from it. And for example, colleague
zeros 02 and bring it up. Activate inputs. For example, we can
bring this in here, normal to normal
and mask to mask. And let's find it
in here and upload that it applied to the wrong one because
this has two materials. Let's bring the material selected and we should
apply that in here. No, on here. Okay, now
I'm going to save. And now it has
been applied here. So this is the way
I'm going to go and create the rest of the
materials for these as well. And I'm gonna do that off the
camera because we have been doing a lot of times
throughout the lessons, then you already know
how to do it. Okay? See you there when all
of these are done. Okay, Now finally we apply
the textures as well. And now they're looking
sharp and crisp. Although for these ones, we may add a bit of darkening to get rid of some of
these white values. And for this one as well, It's becoming to saturate it. And we're going to fix that. Other than that, I'm happy with all of the details that
we have added in here. The woods are holding strong in for medium and even close
up details in here. We have a lot of details. Now, congratulations
for finishing the second iteration in
here you see we went far away from some
simple lad planes all the way to having a
lot of nano geometry. We created a lot of things, learned a lot of cool
optimization techniques and brought this statistics one. And of course, I forgot
to create one for this. Okay? This one is
now done as well. And we created a lot of things. And you see that we got from
those floodplains all the way to this intricate
details that we created. And personally I'm happy
with the results as well. Now, until here, we
have only geometry and base textures and we haven't
created a master material. And the mass of material
is going to give us the ability to control
the base color, Roughness, metallic
if there is any, and a lot of aspects
about that material. And then we are going to
create vertex color as well. For example, sometimes
in this street, we might paint a bit of water. We might paint a bit of planks, a lot of things to
make this really go to the next one and
the next one also. Maybe we create
masks for these ones as we create a
second uv channel. These only have the
first TV channel, but we're going to create
a second uv channel, unmapped some dirt and grunge to them so that these
are not so light. For example, this has some grunge from substance
applied to this, but this one is
the base material. And you remember that you
use this base material on this and applied some grunge to make it something like this. And now we're going
to do something like this in Unreal and
make it real time. For example, you
have the ability to control the amount of grunge, the amount of dirt cavity, normally strength on these. And we will learn a
lot of techniques to bring this one to
the final level. Congratulations for
finishing the first, excuse me, the second iteration. We first started with
modularity theory. And then when a way to creating the blog called
for this and after that, creating the first iteration and making sure that
everything is working alright. And after that, we came
to second iteration, which was the longest chapter in the next one who will go for material creation to
really finalize this one. Okay. And congratulations for
finishing this chapter as well. Okay, see you in the next one.
88. Material Functions: Okay, everybody,
congratulations for finishing the second
iteration chapter. And of course, you
can go as much as you want and refine them
as much as you want. And you can go, for example, create some interiors for these. And the sky is the limit
on how far you can go. But since this is a tutorial and we are a bit
limited on time, we are sticking to
the exterior parts. And of course, anything
that you learn in here, you're going to be able to
do that on interior as well. So now it's time for creating materials and everything that we have been creating so far. Just raw. It's just like ingredients
that you put on the stove to bake them and you haven't still lit the fire. Their role just like that. And by incorporating
materials so you can really customize them and
start to give them details. For example, for a lot
of these modular pieces, we're going to create a second uv channel so that we can play starts on those areas and we can add vertex blending as well, for example, to add
some stains in here, maybe we start to
introduce decals. We start to introduce water puddles and a
lot of those things. And after creating this
material and the lighting, the scene is going to
be finally completed. Material and lighting together, they are one of the most, two of the most
important aspects of any environment that you
are going to be creating. And although we have
put a lot of effort to make this as
good as possible, he said without
the good lighting, it's not really finalized. And if I go and take this directional light that
is here than for example, try to rotate it to make these, some of these firms a
bit more pronounced. You see now the scene is feeling totally
different and we have a lot of cool details that are reading that you see
with this lighting. Everything is dull. And we cannot see, for example, and separate the shapes
from each other. And you see that this column, it is pillar, is
exactly just the same. I mean inform and shape just the same as the P studies behind it. But if we take it
out and start to introduce light and shadow, you see now we have a lot more separation
in-between the forms. We can read them a lot better. So for now, I'm going to keep it though until the lighting pass. And the next one that is very important is
actually the material. And you're seeing now a lot
of them are similar pieces. But with materials
we can customize, we can add a lot more details. Basically, the sky is the limit
on how far you can go and approach that we're
going to use for materials as well as
just like modular. And you see in some cases,
just like this one, which we have packed a lot of information into a
single file so that we can move around
and do a lot of things with for the
material as well. We're going to do the same
thing for every material. We are going to create a layer. And we're not going to create
a layer for everything. We're going to create a layer and it's just
like application form. And you can think of this
one as an application form. There are a lot of
predefined sentences. For example, these are
predefined sentences. They are the same throughout, but there are a lot of empty spaces which you
can fill in information. For example, for the material
he can bring in Base Color. You can bring in information about how rough the
material is going to be, how strong the normal
is going to be, how it's going to
interact with light. And a lot of these things
we're gonna do this approach, we are going to create a form. And that form initially is actually without
these variables, we are going to
create something like this that is called
material function. That is a prefab. We create a material
function that has a lot of information about materials,
about different materials. And then when we had that, we have the ability to
do a lot of things. We can bring in multiple
of these, for example, three of these and blend them together to create
a vertex paint. Or we can use the second uv channel to apply some dirt and grime
on top of that. So this is basically
the approach we're going to go modular
for materials as well. So that later on
you have this form. And every time you are going to create a game, you have this. And the good thing is
that you can move it around your project
and give it to people. And if you are going to work in the same machine on
the same project, let's say that you go and
change something about this. For example, adding
more information. For example, about
emissive color. You add some information about emissive color and the
moment that you save it, it's going to be
shared throughout the team if you are working
on a shared environment. And the good thing about all of this is that you
can reuse them. They are versatile. And whenever you
change something, it's going to be changed
throughout whole project. And another benefit is that
it reads a lot better. So let's go in here. In this starter content,
I'm going to bring. One of the materials
that is having a lot of nodes being
connected together, just like this one, this
creates only a single material. If you are going to
blend, for example, use this way without material
functions and you want to blend some materials
on top of each other, you have to copy this node. For example, a lot of times
with something like this, he cannot actually see what
is what and what goes where. And basically these
kinds of things, you get basically a mess like this which you can
not guess what it is. And there are a lot of
wires that you need to check to see if anything
is right or wrong. But when using
material functions, we use all of these and pack
them into a single node. So let me copy the whole thing. And for demoing, I'm going to go and create a simple
material function in here. So you just right-click
go into the materials. You have the material in here. So material function, as
long as the URL goes, it's the same as the
Material Editor. You see this is the
Material Editor. We have this button here. Instead of having
this main node, we have this output. So now instead of using this and for example, copying that, a lot of times we pack all of
this into a real function. So let's say that this
is a material function. I plug it in here
and save for now. Do not really about the
different things in here. But I'm thinking only to get, now that we have this one, I can take it and bring it here. And now we see all
of these functions have been packed into
this single node. And the result goes here. If you double-click on it, it's going to bring you up in here and you can change them. And if you change
something, for example, you take this one and remove the texture or do I
basically any change? It's going to be changed
throughout all of the projects. For example, you use this one in another material and you go change something in
this material function. This change is going to be reflected in all
of the materials, master materials that you are using this
material function in. So basically, the way
that we're going to go is creating a whole set of material
with a lot of controls. For example, creating
normals, roughness, a base color, and basically whatever we
need for the project, and then make them variables. And right now you see in here, we have only result. And this result is going
to be fed, for example, into base color or
into material blender, or basically what,
wherever you need it. But we cannot change
in the gameplay. So in order to change
that in gameplay, you need to bring in variables. For example, these material
functions and love to work with texture objects
more than a texture samplers. Of course, you can
use texture samplers to act as a dominos Because texture object has some problems connecting
to a lot of these nodes. So let's bring in object. And you see that
texture object in here, and it's under the function tab. So now the thing that you're
going to do is convert this one to a
parameter and name it, for example, T for
texture object. And I'm going to
plug this into this. Now this is going to
be following this one. And in here we're
manipulating the UVs as well. So now everything that
you put in here is going to be fed into
this texture sampler. And then all of these manipulations are
going to be done with it. And you see, when I drag this, It's not going to be
connected to these wires, but we do a trick. We connect that to a texture
of the texture sampler. Now he can not bring
any texture in here. Although if I
disconnect this one, I'm able to go grab any
texture that I want. But if you bring
this texture object, it's going to act as a
dummy node so that we can use the functionalities of texture sampler by
a texture object. So now the next thing in here, the ability to
control the tiling. So in here, you
can right-click in here and promotes a parameter. Of course this is a parameter, but the better way is actually
to use function inputs. Function inputs are
just the parameters that you can use
to change things. For example, let's go and this material ground grass and
create a variable in here. So I right-click this and
promote that to a parameter. And let's see what
this parameter, I'm going to apply this in here. So now that we have this
parameter and the name is B, I'm going to save this. And these parameters gave us
the ability to be able to change things in the runtime
without actually needing to, without actually needing to open the Material Editor each
time you are going to change something and then save go well change to see
what it has changed. So let's go grab
that. This is it. And now I'm going to let
say that for example, I want to drag it in
here to use it in. So now it's locked. And if we're going to change
something in the gameplay, for example, changing
anything about it. You right-click, create
a material instance and drag it in here. And you basically get now the variables that are
available in this. So let me go. And the tiling of that
macro material was point. Seventy-five, never bring it. You see there's a bit of
change happening in here, although not too much, but because this is a macro texture and
not the best example. But you can see that
by changing this, for example, this base color, I'm able to change a lot of
things about this grass in the runtime without actually having to go to the
Material Editor, find it and do these things. This parameter is good
for Material Editor. But if you're going
to use something like this in the
material function, it's called function input. It's the same as the
material parameter. Of course in here
for every parameter, for every type of parameter,
you need to bring something. For example, this is
a scalar parameter. And if we want a
color parameter, we need to hold down three and click in here to
bring in a color. Then convert that
to a parameter. Now this is a vector
three or vector for parameter depending on
if it has Alpha or not. And you go change it. And for example, you change
the color in the runtime. But in here we have an input, and in here we can choose what type of inputs
we're going to use. For example, Boolean
is yes or no. A scalar is just like this one. And vector three is this one. We have texture 2D, which is actually this one. And that node is very versatile. And now we need to connect a
scalar parameter into this. And if I connect this, it's going to give
us an error because fellow tool is not
compatible with float three. So this node is float to note, it has two channels, you
tiling and v tiling. It's our Angie, but this
one is R and G and B. And when you multiply
them together, it, it doesn't know actually
which channels are rich. So now in order to
make that right, you need to either do the
multiplying by a scalar or by a vector to a lot of
times I go by a scalar. And now this is the previous
value. Let's right-click. Or for preview value, Let's bring in a constant
and plug that in here. So when I hit Save in all of
the materials, I get this. So let me go and change
the name of this one. For example, let's
name it tiling. And when I hit Save, it should get updated in
all of the materials. And if it doesn't,
it's for a bug or current version
of Unreal Engine 5. It should be updated
and they should fix this bug in the future ones. But if it doesn't,
I'm going to close this and then let's go find it. And when we bring that up, This has changed to tiling.
And let's go to this. Oh, and it has changed
to Thailand as well. Now we can parameterize
this one, for example, I can right-click and
connect that to a parameter, and it changed the
name from this. And every time I save
this now in the viewport, Let's go select this one and
see the material instance. Of course, it should
be connected to somewhere so that we
can see the results. So let me take this and
I'm going to take this and bring the results
into base color for now. Now if I go and apply
the material you see the tiling is
present in here. And that texture as
well as present. We can use any to
exert that we want. So this is basically how
much of your functions work. And that is what we are going
to do in this tutorial. We are going to create
material layers, each one in a material function, and then mix those together
to get the result. For example, for this walls, we're going to make this one
the base and maybe create another material so that we
can make that, for example, the dirt that goes on top
and then the dirt that goes in these cracks or the
overall dirt that we paint. The whole point of this lesson
was to actually see what the material functions are and how actually we can use
them in our advantage. One more thing that
I understood is that this one needs
to be converted into a blueprint so that we can bring in one of these windows
in here and use it. So let's go in here and
convert that to a blueprint. And bring up select the actor. Now this one is the base and everything that we put in here is going to be children of this. So now let's go and
open up this blueprint. And in the viewports tab, I'm going to select all of these so that I can
copy them there. So this is it. Just hit control and C and
come in here, control V. And it brings them up in here. And I'm going to go for
global transformations. So let's deactivate this one. And I'm going to bring this
until it fits right in here. And I'm going to select this, remove it because this
is now two ornamental. So let's go select all of these. And I'm going to
bring it up in here. And now we have this
piece finished. So easy. I can take this
one, for example, Control D to duplicate it and bring it up
once more in here. So I'm going to hit
Compile and Save. Let's go find it in the browser. And while having all
of these selected, I'm going to select them all right-click and convert
to this blueprint, okay? Now this one is done as well. We'll create a simple window
for this and finalize that. I forgot about this. Now, in the next one
we're actually going the material creation process and we're going to create
the first material function. And it may take a listen or to finish the material function. And when we created that, we start to layer in them. Okay, See you there.
89. Base Color Controls: Okay, everybody. In previous lesson we talked
about the material functions and now it's actually time to go create some material functions. So I'm going to put them into material and I'm leaving
this blackout folder. Of course I wanted to delete it, but since it contains a lot
of these preview materials, for now, I'm going to leave it. And maybe at the end of
the project where we disconnected all of these materials, we
go and delete them. Now, I'm going to go and create a folder and call it actual. It doesn't matter
what you name it. I'm just going to
differentiate that from this blackout folder in here. And I'm going to
create a folder and call it master material. Another folder and call this one material
functions so that I can separate them
and it looks like we had a bad character in there. So Done. And now I'm going to go in here in the material
functions folder. Right-click in the materials, bring the material function. And for a good naming,
I'm going to hit max F, standing for material function underline and just
call it base layer. Now, this is the
material function. And now we're going to create
a master material as well. So let's go in
here, right-click, and then here I'm going
to create a material, just call it M for
master material. And I'm going to just call vertex paint so that we know that we are going to vertex painting this material. So we're not doing
anything in here for now, are only created this so that
we know there's something. Now the only thing that
we need to do is actually creating this node so that we have these
controls to work with. So this node is called material. Material attributes. It has base color,
metallic roughness, and a lot of things. And in here, I'm
going to right-click and bringing
material attributes. And we have a make
material attributes, and it's the same
node as this one, but it has an output and this output is going
to be connected to here. Now, everything that
we do in this material is going to be
outputted through that. And let me do a demo. Let me save this. Now we have this
material and if you are going to bring
this, we either, we can go into here, grab it, and bring it in here. And now we have this result, but there's something
wrong with this. We have only one node in here. It cannot be connected into
either of these nodes. So the thing that
we're going to do is actually one thing and a better thing is
actually converting this one into a huge
material attributes. So it shrinks it down
to a single node. And when we drag this in here, it's compatible with it. And now everything that we do in here is going to be
done in here as well. And another method which you can use that as
well is dragging a note and just call for
brake material attributes. So it does the reverse of that. It's taking those results than bringing in the base
color everything for you. And if you are going to do that, you can drag the base color. For example, I do
not want to use metallic or use a
specular roughness. For example, opacity
if you have any. And using these two
methods, you can do that. But if you're going
to, for example, change and blend things
together, for example, you're going to blend the base
color you need to create, for example, another material. Let's say that this
is a stone material and this is a dense material. So if we're going to
combine them together, we can bring in alerts. And we should bring an alert for everything that
you're going to create. For example, let's see the base color in here and
the base color in here. And this slope is
actually taking a and B and we're turning
based on an alpha. That alpha could
be a vertex color. For example, let's go
bringing vertex color. And everywhere, for example, that we paint red, we're going to see this third
color and you drag in here. You have to actually do
this for everything else. For example, if this material
has normal and anything, you need to plug this one
into alpha of any of them. For example, on the other side, we want to combine
the roughness and the roughness of these
two together and combine that into
this roughness. And for example, we have, for example, a specular
as well in here. And note that all of these above materials must
go in the same inputs. For example, all of these are in a and all of these
blue ones are in B. It doesn't matter,
actually the order. You need to keep them
all in the same place. And let's say that for example, I want to place the
specular in here and the specular of
this one in here. And I'll connect this
one into a specular. And the things get worse. When you start to
introduce more nodes, you get a lot of
more wires in this. So that's why I really
recommend you shrink this down to a single
material attribute. And now to blend these, you actually need
to do more things. You cannot use slurp
in this one because it doesn't support the
learner in this way. In other words, you
can bring in material. Layer blend and you have a lot of these
ones that you can use. So let's bring in this standard. And now we bring in
the result in here. And it includes all of the
base color, roughness, AO, and anything into a single
node being connected in here. And then this is the
dirt layer, for example. And then we have an Alpha
that is the vertex color. And we simply connect that. If we have another layer, we bring it in, for example. And we bring this one again, connect that, connect
this one in here, and connect this one into that. And then the green
vertex color in here. You'll see that a
better representation, all of those 30 nodes
and things are packed in here in these pre-fabs
and in the master material, we are having a more relaxed
I looking at these, okay, Now I'm going to delete
all of these and start to create
things basically. And I'm going to shrink this
down to this single node. Okay, now start to work
with this one hand. The first one is the base color. For starting the base color, we first need to
bring in a texture. This texture is not going to be a texture Sampler
because as we said, material functions and love
to work with texture object. So let's go and bring
in a texture object. And now we're going to
plug this one so that we can use the abilities of
this texture sampler. This is only a dummy node and
the main thing is this one. So now we're not able to parameterize this
outside of this one. So to parameterize, you
can drag and no doubt, and bringing the
function input while, excuse me, I selected
the wrong thing. Let's drag a note out. And I'm bringing
in function input. And now you see that it has selected the right type of node, which is a texture 2D. But if you bring
it, it's going to default to a vector three. So here, if you create a node, it's going to be the default. But if you drag and no
doubt and bring it, it's going to be the
thing actually that unit. So I'm going to plug this
one in here and this one, Let's go and see why
I'm using this texture. And the first thing is
that the sRGB is turned on and all of our base
colors are turned on. And the next thing is
that it's one-to-one aid, but you want to eat and
it's a very cheap texture. If I go into content browser and bring
one of these as the base, for example, convert this
to a texture object. Every time I'm going to
copy this, the project, it's going to have this
for k texture in it, and it's going to
make it very heavy. So as the sample, you need to bring in
something that is liked it a lot
cheaper than that, so that you can have
more optimization. I want to create
texture is rarely, rarely, basically really
cheaper than a fork a texture. So the next thing that you're
going to have in mind, the sampler type in here, which for base colors you need to set the sampler
type two color. Of course by default, it is. An another thing
is go in here and source sampler study
to shared wrap. This allows you to use more
than 16 texture per material. So this is technical
things to have in mind. And other than that, we need to have tiling system that we can, for example, bringing
this tiling texture, you see we have
titled this 12 times. So we need to create
a tiling system and plugging into this UVs. So let's go in here. You can hold down you and click to bring in
texture coordinate note. And the other way to bring that is search for
texture coordinate. And it's in here,
it's the same node. So now there's one thing that
you need to keep in mind. This coordinate index 0
is the first uvw create. And for example, in Blender. If you go in here, we have the UV map. This is the first TV. And if we create another one, this is now you'll be
0 and this is UE1. And later on when we create the second UE channel
for all of these, we might use this
one for tiling, but for the third and
things like that, we make this 11 so that we
use the second channel. And you should know that
unreal is zero-based. And it means that 0 in here
is the first TV channel, one is the second movie
channel and so on. So by default, it's
tiling one-on-one, but we're going to be able
to change this in real time. So drag a node out and
bring in a multiplier. And this multiplier is
basically multiplying. We have this one and
if you multiply, it's going to make a two-by-two. So let's right-click. No, that's not right
click drag and no doubt. And bringing a function inputs. So in this function input, we can name it basically. So let's go in here. And for the name of this one, I'm going to call it base color. For the name of this one. I'm going to call it. Filing. So it has a preview
value as well. And for premium value, just bring in a
constant or he can hold down one and click
and select this one. This is only a preview value. It's not going to do anything. I'm going to hit one because the default of
this one is one as well. Then by multiply because
everything timed by one, everything multiplied
by one equals itself, for example, two times
one equals itself. So in order to keep them
neutralized as possible, I'm going to use this. So let's take this one
and drag it in here. So I'm going to take
this hit C to create a comment and just
call it tiling system. We have not done anything yet. So now I'm going to
drag this one n Save. And let's go bring in
the master material. And I'm going to
call this one in. So instead of going in the Content Browser
and dragging it out, I'm going to right-click. And there is a material function called and by
default it's empty. So in here, you can go
and write the same name. Let's hit F and
Matt f base layer. You see now we have two
inputs and one output. Then we can drag this one in. And it gives us errors. And it needs that, thanks to be plugged in here. So for now, we're not
going to do anything. So let's hit Continue. Later on, we will come
back and refine this more so than the
first thing that we need to add in here
is the ability to be able to desaturate the color. And you'll remember
in substance, we had HSL hue, saturation and
luminance, luminosity, excuse me, we are
going to create those controls for
this base color. So always for the first one, I'm going to bring
in the saturation. And this desaturation gets the base color that you give it. And it's going to
desaturate for you. It's going to convert that into a black and white texture. Now the node is
called the saturation and 0 means no desaturation. We are getting the full color. And one means full desaturation. If you go negative, it
makes it saturated. So that's ringing
a function inputs. In this way, it selects
the right thing for us. And since now the preview
value in here is 0. The saturation by 0
means no desaturation. And if I take this
and make it negative, Let's bring in a preview value instead and connected here. Then if I make this one, you see it gets desaturated. Just hit live update. And if it doesn't
just right-click on it and start preview. Now at this saturates and makes it a black
and white texture. And if I make this 0, we have no desaturation. We get the same basically, then if I go negative one, it gets saturated and
more vibrant colors. So for the default, because I do not want to have anything applied at the default. I'm going to set this one to 0 and right-click and
stop previewing. And I'm going to name this one. Albedos, this saturation. Okay, now if I save it, we can go in here and
see that that will be the desaturation is in here. And I'm going to
do one thing for the reordering of these. For example, having the
textures in the same category, albedos in the same
category, and so on. But for now, let's go
and create the controls. So this is the saturation. And now we need to
add a contrast. Basically, that is how dark or how shiny
we want that to be. So I drag and no doubt there's a node is
called power node. And this node basically
takes the input and makes the contrast higher. It darkens the darks and brightens the white to
add a lot more contrast. So let's start
previewing this one. You see, now we have a
lot more colors in here. The dark have become dark and
whites have become wiser. So let's disable this. On 0. We get nothing on one. We get the same thing. And if we bring it up more, we're getting more contrast
until it becomes pure black. So you see that in here,
we're getting contrast. So for the default, I'm going to set it to one. And let's bring this one as the preview and
drag this one out, bringing a function inputs. And I'm going to call
this one albedo contrast. And this is going to
be in the preview. And let's set it to one so that it doesn't
change anything. So let's stop previewing node and we have created
this one as well. The next thing that
we're going to do is actually the ability to dark and the texture
or lighten it basically. So I'm going to drag a node out and bringing the multiply,
and let's multiply. Let's see, the effect
to the default is one. We're now multiplying
this by one. And you know that everything
multiplied by E1 equals one. And if I make it 0.5, it becomes darker
because higher values, for example, close to one
are going to be white and 0 is going to be pure black. And if we multiply it by
color bigger than one. You're basically making
the colors whiter. So this is for controlling the darkening or
brightness of the texture. So for the defaults, I'm
going to set it to one, bring a preview value and
set it to one as well, because this only
needs a scalar value. So drag one out and bring a function input and you see it selects a scalar for us as well. So I'm going to
connect that in here and name this one all Beadle. Brightness. This is it as well. And now we need something to be able to change the
color of this one. You know, from the beginning, we were able to make the texture black and
white by desaturation, add a bit of contrast,
but it is power. And now we're making it darker or lighter
in the same shade. But if we want to change
the shade completely, you need to bring in
a multiply again, but this time we need
to bring in a color. For example, put the red
color against the screen. So hold down three to bring
in this vector three, which has three
channels, RGB and B. And combining this, you can
have full spectrum of colors. So for default, I'm going
to set this to white. Because white is the
default in multiply. It's going to multiply in
all of the channels by one. So dragon, no doubt, and bring in the function input. And I'm going to call
this albedo tint. Now, let's test it on this one. Final connected to base color, and let's see this one. So now you see we are
getting the same base color. But if I go in here
and change this color, for example, to read. Now we're multiplying
that green by red, which results in the
color to be red. So let's go back. And if you set this
one to be red, that is a preview value and
actually not so important. So let's hit Save. And now in here you see we
have all of these controls. And it means that this
is a base material. And later on, if we are going
to create other materials, we can copy this one and drag nodes into create
different materials. And from this single node, it can create millions
of materials. So now that we have
created these, let me take all of these, bring them up and
I'm going to hit C and just call them albedo. So that we know that this
is the albedo controls. Let's stop preview
this one and hit Save. And if you're seeing some of these nodes being
so badly created, you can go in here,
double-click on a node to create a reroute node. And using this one,
he can bring it up and make it better organized, just like this one so that
they are not a lot of nodes crossing each other
to create a bad effect. So now the next thing
that I'm going to create is for a specular,
because on these, we do not have a metallic
and non-metallic is basically a single map you
connected and it's good to go. There's nothing about it for the specular people use to create a separate texture
for the specular, but I'm going to use the base color to create
the specular from. So let's go in here to be
able to visualize that. Let me disconnect that and go in here and bring this one so that we can use
the base color. So let's go bring in a material, bringing a texture, excuse me. I'm going to bring this
and select this texture. So let's bring it in here. And I'm going to
connect it in here. And you're seeing that the specular is all
the same in here. If I go and make
the roughness 0, you are seeing full
reflection of the light. So let's make it
something like this, but there's something
to change about this. The realistic is that the
darker parts of the texture, or not shining as much as the lighter parts
of the texture. And in here you see a
lot of the darker parts. So we need to separate these darker parts so that
they are not so reflective. You see in here, this is fully
reflective on roughness 0. Roughness is basically how rough the material is going to be
for something like water, you need to stay close to 0. Then for something like coal or concrete or things like that, you need to stay between 0.9
or those kinds of values. And it's a value between 010 means not rough and
something like a mirror. And one is going to be totally rough and not reflecting
any light pack. So now we have the specular
and this specular is actually controlling
the shininess, how shiny the light
is going to be, and how this one
reflects the light back. So to create something from it, we're going to borrow
the red channel of this. So we see in these darker parts, we should not have as much
light to shine through. The reality is that in here, we're getting the same result. So I'm going to
drag this one out and there is a node that
is called dot product. This dot product needs inputs. Let me start previewing. This needs an input and a B, which is needing a constant. So I'm bringing this n with 0. We're actually not
saying anything. So let's bump it up with one. We're getting something like
this. Let's go for two. Or you see, it's selecting
between these colors. Now we have this one. Now we're going to connect
this one into this specular. So let's go stop
previewing this. And of course to control that, we need to clamp that
because it goes beyond 0 to one and a specular needs
to stay between 0 to one. And there is a node
which is called clamp. And this basically you
divide a Min and max for it, and it's going to
always stay between 01. So let's connect that specular. So now the CDF fact, let's take this one
and make it 0.5. And this is the result
without a specular. If you make it one, it's going to be
totally non-reflective. And if you control an L to shine a light
through or hold down L and shine the light you see you're not getting any
after reflection back. And if you make it 0.5, it's going to make
it just something like this, something in between. And if you drag this one
in and control this one, for example, let's make it for, you see that on these areas we are getting more reflection, but on darker areas
we're getting less. So this is a representative
of the specular. If I make it lower, it's going to go pure black
and not shining anything. And let's see the material. Now, it's not shining anything. But if I make this
one, for example, point to, it's shining
a bit of light back. If I make it, for example, 0.8, it's shining a
lot of light back. So this is a control
that is optional. You can either use
that or leave that. And to make the shader
a bit more optimized, Actually, I'm not
going to do that, but if you're going to do
this is the way to do it. You can take this, bring it here, and connect
that in the specular. This is as easy and
for this one also, you can drag it into the
red channel of this. And this is created for
optimization purposes. So now who created this one? And in the next one
we will actually bring in the pack texture, which is this one that is
having RG and B are roughness, G4 height, and before ambient occlusion
and start to use this in the material creation. Okay. See you next time.
91. Vertex Blending: In previous lesson, we created this final master material, which is actually this
one token instance from it to test it. And we saw that what
capabilities that gives us. So now we're gonna go and introduce more layers into this. And for the measures
just like this one which are non, non-IT measures, let me go into nano
visualization and mask. Right now. Nano it does not
support vertex blending. Of course, you can pre-baked
a vertex to the mesh itself into ZBrush or planter or
whatever program that you have. But for now, there's
no way actually to vertex blend on top
of nano eight measures. Now, the thing that
we're going to do for these wet meshes that are
non-ionized pressures, we're going to create a
vertex paint material that is copying
this whole thing. And then trying to blend
them using the height, vertex blending and some
other changes as well. If you bring in, for example, this and
want to blend them, the note that we are going
to use for this tutorial is called material land. That is it, then this
itself is a function. And if you double-click on it, you see that there
are a lot of nodes in here being packed together
to create this function. Then of course what
I understood is that it has some controls
for the blend, the height and things like that. And we can already go
and start to remove this height intensity
and contrast from here. But nothing is actually a stopping us from leaving
that. I'm going to leave it. But if I found this one
to be more intuitive, I do not change these. I'm not going to delete them. Of course you can
go and delete them, but we have something in
here to control the blends. So you bring the results
into here, into material a. And the results of the other material that we are going to create into the
results material B. And then we have
height of this one, which is this height
that we created. Before. You see from this texture, this mask texture, we
talked a green channel, which is actually
the height channel, and drag it in here to create a separate output called height. And for the next one as well, you're going to do that. And then we have
vertex color in here. And we're going to bring in the vertex color
node and assign, for example, for the red. I'm going to paint a concrete
material on top of this. So that is what we are
going to do for now. I'm going to take this
one and delete it. And I'm going to
create a new material, but I'm not actually going
to create it from scratch. I'm going to use the same
master material function and then take it, take the whole thing, Control C and Control V in here. Okay? Now we created another
material, but for now, in order to separate these, I need to go in here
and change the name. On these, change the name and change the name of
the group as well. Because if you, if you
do not change the name, for example, I want a tiling
on this one to be two. I changed the tiling two2. Now let's go up and see here, you see that hurling of this
one has changed to two as well because both of the
materials share the same name. If you change something there, you're going to get
it reflected in here as well. So let me go. And again, looks like I press
the Control Z sometimes, uh, let me bring it out. And you see in here now the tiling as well
as to set two to the first thing that
you need to do is actually go in and change
the name of this one. You can either add something
before, for example, material hasZero to underline, or you can add this
one after the name. But the most important
thing is that the name should be different
from the one above it. Or if we brought in three
different materials, they should have
different naming. So I believe that it's easier
to put the name in here, not a real 0 too. And just go copy this one. And when you select
a one below it, you can simply click in here and add the name after that one. So this is easy. It's only to separate the
parameters from each other. And later on, we're
gonna give them different groups as well so that they go to
their own groups. So now I'm going to paste the name after all of
them and get back to you. Okay, I changed the name on all of them and now it's
actually time to go select these and put them in the group that
they should be. So after that, because the textures and
these are different. I'm going to select
them individually, okay, now it's in group two. Now we're going to blend them. Actually. There's
something important to tell and that is I
brought these materials, they are free and I
got them from nets and they are free and I can
share them with you as well. So as always, I went ahead
and created something. Of course, these
are jpeg materials. They can they are not substance materials and
they cannot be changed. They are scanned
materials and they are available for free on
net and I'm sharing them with you with
the project files. So as always, I created
a preview material in substance as well as
this or a material. And let me go in here
and call it a as well. So this is the second
one that I downloaded, and this is the mask one. And this is the result
that you are getting here. I'm going to blend these
two materials on top, on top of the breaks
that we have, as always go under on the graph. And export outputs at bitmaps and pour the
format target is okay. And I'm going to remove this and only export the base
color, normal and orange. And the resolution is
already set to four k. Okay, Export. This is the result, normal base color
and the mask one. The same thing goes for
this concrete as well. Everything is alright,
and I'm going to remove these and only export these
two textures can export. And now I'm going to import
them, which are these? Looks like three of them were diagnosed as
normal map and there's something wrong with
them because this one already has shaped that
is close to normal map, so it has diagnosed
it as normal max. So let's go in and
try to fix them. This needs to be all
advanced detail and then slip green channel because
the normal is a direct X1. So for this one as well, I'm going to make
sure that it is set to flip green channel. And now this one, by mistake
has been set to normal map. So let's go set it
to mask this one. Now this one should
be set to mask. Sometimes it happens
because this has a similar shape to this one. All blues and reds and purples. Unreal Engine diagnosis
that has a normal map. So sometimes this happens
and you need to fix it. So now I'm going to bring in
the node that we need that. So right-click material
blend, It's gonna be here. So now the first thing
we need a vertex color. So let's bring in the
vertex color node. And for the first one, I'm actually going
to use the red one. Now we need a material a, and let's plug this one, the result of this one in here. And then we need a height. And the height is a height. So let's take the height from this one that we created before. And then we need material B, which is this one, this
one into material B, and then height of
this one into there. And then in here we have
some scalar parameters. We can easily right-click
that and promotes a variable so that we can check them inside engine
to see how they are. And that is actually going
to be very good created for us by right-clicking and
promoting to variable. It's going to change the
name for us as well. So let's promote
this one as well. And right now, I'm not going to give them any default value. They're going to be 0 basically. But for the name, Let's add underscore,
read after that. So that we know that
these are controlling the vertex color for the
red, red vertex colors. So I'm going to copy and
copy the name in here too. All of them. Okay. This one and this
one at the last one. Now I'm going to put MA, which is the material
under material attribute. Later on if you needed
something, for example, needed to bring in
another material. This is going to have
a height as well. This height is a combination of this height and this height together based on
the vertex color and based on these values
that you will put. And it's very strong one. But because we now only
have two materials, we're going to use these only. So this is the vertex color. I'm not going to do
anything with it, but in order to
categorize these, I'm going to go,
It's like this one. This is texture one. I'm going to collect them
all as the texture one. Blending. Now let's hit save. And now we need to set
up the material in here. And right now you see the second material has
been displaced in here, and that is actually
not what we want. We want a break to be shown. Now the second material
is totally taking that. So let's go in the material
itself, bring it up. And now we have some
textures to plug in. Let's go for this
texture is now this is what is actually
getting shown here. Normal and normal. And let's go to there basically. And bringing this concrete. Now you see the concrete
has been showing here, but we do not want that. We want a break to be
the default so that when we paint textures
using vertex painting, this one gets shown in the
areas that specify for it. So this is the normal. This is the masked. And for the norm
soiling normal as well, for the detail tiling. I'm going to bring
this because you see, because this one has a lot of cool details and tiling that one will under materials will give us a lot
of cool results. So now, one thing that we
need to do to make this normal is actually
going in here. And actually this one is
going to be the material B. You see, we have plugged in into the material
a and height. So the thing is pretty easy. I'm going to take
the height in here, plug it into height, and the material in here to
plug it into the result a. And this one is going
to be the height d. And the material
is going to be, this result is going to
mature, we'll be input. So when we hit Save
and go into level, it has been fixed. Pretty good. So now it's time to
actually test the progress. So I'm going to Alt and
left-click, drag it out. Amount of blending
that you get is actually based on the
wireframe that you add. So in here you see that we have a good amount of wireframe, not too much, not too
low, a good amount. So in order to be able to paint, you need to select this and go into this menu and
bringing the mesh paint. And then also you have the
select in here as well. So let's actually
go into this mode. And I'm going to
delete this and bring these two side-by-side
so that we paint on this
intersection area to see if everything is going
to be alright or not. So now, time to test. We have selected this and
now let's go to Mesh paint. And I'm going to minimize
this and let's go to paint. And in here we have
these channels. So now I'm only going
to paint with threat. So let's try to paint
hold down Shift. Now you see it is actually getting shown in here and it's a pretty good one. So let's go for this
intersection area. And you see the
paint is flawless. They're very good. And you can paint different
materials to hide the tiling, to basically do
anything with it. So now let's bring up
the material instance. This one is going to
give us some results. So now this is the texture one. And in here texture
when blending, we have some results. So let's go in here. For the blender mount,
we can bring it up. It's going to help looks like this one is not actually
doing anything for now. Let's go close and see
the results in here. Let's disable that. And then we have the fall off. And I believe this should have something to do with
the contrast there. You see in here. It
tries to limit the fall off from the center point that you click all the
way to the edge. If you increase it, you are going to get more
contrast in these areas. And for something like concrete, it's acceptable to have
something like that. If you increase it too much, you're going to get
pixel sharp fall off, which is actually not so desirable for something
like concrete. So now, see in here, now there's a bit of
better transition. And then the next
one is blend power. And this one actually
again goes for contrast. And it tries to remove
anything from the fall of, if you increase it too much, you see it's going to make
it something like this. That again, this
one is something good for concrete as well. Then this one is inverted,
blend in positive. It's going to increase this until it gets
the full effect. But in negative, it's
going to basically invert or totally remove the
paint that you have done. Okay, Now let's go the
select and you see it tries its best to place the strokes as well
in these areas, we have a good one. So I'm gonna take this, drag it back and try to paint some in these areas
to see what we get. I'm going to take this
shift a to select everything with these measures. Now we have these all selected, and let's go for
this one as well. Shift a to select all
of them from here. Now since all of these
are using this material, I'm going to go into mesh paint and paint and
try to paint with wet. So in here, let's try
to paint and play some strokes and hold down, Shift again to
place some strokes. And he's seen here, you can try to break the modularity using this
strokes. Pretty good. For example, in this area which is connection point
to the ground, you can go ahead
and place strokes. This actually creates a
good effect. Very good. The next thing as well is that
you can go for a strength. And if you bring it to one year, basically getting
the full effect. And also the height is getting into consideration as well. But if you bring it low, you need to place
so much strokes. To get something going on, let me bring it higher
or lower strength. You need to place a
lot more strokes to get something that is desirable. And let's remove that. And then you have fall off. And fall off is basically how sharp or how tough the
transition is going to be. So let's remove now. Very good. Then you have the brush size. If you make it a
smaller, basically, you're getting a smaller
transition as well as based on how much vertices you
have in your measures. And the more vertices you have, the better transition
you're going to get. Let's try to remove
some of these strokes. And try to be some
random on these. And try to paint. Let's make the
strength bigger a bit. Okay? Now, this is the second layer of vert explained that we added. And you see it tries to add
more material in the scene. And it's going to make
that a lot better. Now, we're going to go into the master material and
copy yet another layer. And for that, I'm going
to drag this back. Select this one
control C, control V. Now this one needs to go in B. You see that for the
default material, we plug this one into b. So I'm going to select
this one and plug it into material B and the
height as well to hide p. Now let me connect
this one in here. Now we need to bring
in the vertex colors. So for the vertex color, Let's use green for this one. So this is going to be it. And now we're going
to copy all of these, bring them, and try to
connect them to their points. For the default value,
I'm going to set them to 0 so that we can change
them based on the material. So let's go create another one. And this one is going to
be texture to blending. It looks like I did wrong thing. You see it changed these
ones to texture too as well. So let's make it texture 1. First off, we need to
change the name on these. So you need to go to parameter at something
and for example, 0 to only this one so that
it's different from others. So let's add a name
to the end of that. This one, and this one as
y parameters should have, should not have the same name. Now, we set this one
up and it's time to go and create the
second maturity and the third
material, excuse me. So I'm gonna take
this one copy and bring it in here and
start to work on it. Now the next thing
that we're going to do is actually taking this. And first things, you need to go and change this
one from material two to material zeros three or basically whatever
you named to give it. The whole point is that the name of the material
should be different. The name of the
parameter should be different from other
parameters that you have copied in here,
texture to texture. Let's take these. I'm going to put them all
into texture do blending. And these are all into
texture one blending. Okay, it's alright. Now, the height of
this one is going into height a and the material
is going to go to result. Now we need to take these, change the material from
0 to 203 in all of these. And I'm going to do that off the camera and go back
to you when it's done. Okay. I changed the name on
all of them now all of these have different naming, so I'm going to
select this textures and set them to texture 03. And then all of these data
are from the same family. Texture three as well. Now, select them all. And it's okay Basically
now I'm going to save and go in here. And again, I'm going to take
these two, drag them out. And you see the vertex plane
data comes with it as well. So now I'm going to bring
this brick material. And in here you see that
this material is present, but because we have done
the setup correctly, it's not getting shown in here. So we need to go and apply
the textures on this one. So let's go. In the content browser, I'm going to go for textures. And this time I'm going
to bring this one, okay? This is for the normal
and this is for the mask. And then this one again
for detailed normal. And I'm gonna go in here
for detailed normal tiling. I'm going to set it
to 20 so that we have a lot of detail in there. So let's go in here and
bringing the mesh paint. Now, I'm going to go for paint, and this time, instead of red, I'm going to bring in green. Let's make the brush bigger
a bit and try to paint. And you see, now I'm
painting with Shift. And clicking in here, you see new information gets
present in here. And if I tried to paint. With the same brush, it's going to remove that. So now I've set up
that one in a way that I'm able to paint with
shift and bring that. So now let's go in here and
you see a very good paint. It tries to add in
here. Very good. Okay, Now let's bring up
the material instance. We need to work with
the parameters. So this is the
texture to blending. Let's apply it to fall off. You see, it tries to
limit to the parts only. And then this one
tries to remove that control Z to go back. And then this one is
going to extend a bit. Okay, let's try this one. This one isn't actually
doing anything. So this is the result
that you're getting. The most important factor
is actually the contrast. So let's make the
contrast present and you see the height is actually getting taken into
effect is seen here where the height
was something like this. We get a blend between this material and the previous one. Now, let's try to paint these areas a bit and
do something like this. And then let's go
bringing the red one. And on top of this,
I'm going to paint. One of the weaknesses of this material is that
if you paint something, for example, with green, you cannot add the
red on top of it. First, you need to
remove, for example, go to green and try
to remove some of it. And then bringing the red and
try to paint red in here. This is one of the
weaknesses of the problem. And you have to deal with it. Okay, now, I'm going to go and take these two
and remove them. And let's go and try
to paint some in here. Let's try everything. I'm going to select them and Shift a to select everything. And now go in too much paint so that we're able to
paint with that. So go in here and try
to paint some of that. He see how we can
go in either adding a lot of cool details and
makes that a special, for example, this
one, although they are the same in every aspect, but the vertex point, it makes a difference. So let's go and select
this brick material. And now I'm going to go
for this one, for example, change the color to something
else so that it reads well with the kids and
it's not so perfect white. So let's pick a color from here. And now you see this is having a more color similar
to what we have. So let's for the saturation, let's go for 0, and let's
add a bit of contrast. Now you see this makes much
more interesting results. When we add the paint
on top of this. You have to have this
one in mind as well. You can change the material to get completely
different results. Now we're going to
want to try to paint. You see, this is much
more natural than that white strokes that
we did previously. So try to be random
in some areas. Right now you see, you're adding a bit of cool
details in here. Pretty good. Okay, Let's do that. And a bit of oldness
in here as well. Now you see in here how much
a special details we have, thanks to the vertex
blending system will create it, this one now. And in the next one
we will continue to make up this environment.
92. Residential Second UV RGB: Congratulations for learning
a new technique as well. In the previous one,
you will learn that how we could add some
details that would have been possible by using the default tiling kits we
were using vertex blending. And how powerful this technique
is to add some things in real time on the
meshes without having to rebate we texture
and anything. Now this is the result of the material that
we are getting. We are getting three
different materials combined together. And it's great. Now, I'm going to do one more. And that is using the
second uv channel for this to adding details and
for secondary channels, we need to create
second uv channel in Blender and re-import
the meshes. And this way you can add some tiling details
into substance, create some mask
textures in substance, and then bring domain so that they are black and
white mask basically to tell where two
is white basically do something and there's
black to something else. So now I'm going to do first for this residential
kit as always. So in here, I have separated all of the tiling measures that belonged to the residential kit. And you should note that the naming and
everything should be consistent because when I want to import them
on top of them, I want to be able to only export and re-import
without any problem. So now there's one thing about second uv channel that is
actually it doesn't require as much resolution as
the first TV channel in a lot of details
because in a lot of times we're only
adding some masks. But there are times
when you want to add detail normal and things like that to
the secondary channel and you use that fully. But since we're only going to create some black
and white masks, and those black and white masks actually do not need
a lot of resolution. So you see that in
here we have the full 0 to one UV space
for this occupied. Now I'm going to go and create a second uv
channel for all of these. And actually it doesn't
matter the name of them, the name should be consistent, but as long as the name
are the same, It's okay. Now I'm going to create the
second TV channel for this. I'm going to create one UV, want shared UV four days, and one shared DB for
this roof kit as well. Of course, you can place
them all into the same one. But to get a better result, I'm going to go and do this. These are measures that
belonged to the wolf. And these are measures that belong to the walls
and things like that. So now I'm gonna
go select these. Before that, make sure you
hit Activate icon on this. So let's go take that. Activated is actually
for representing the changes to see
what we have done. So far. It's not that much needed, but it's good to
activate it in here to see how many resolution
each piece is taking. So now we have activated
the second TV channel on all of them and make sure
that this one is active, not the piece that is above it, because we are
going to manipulate the UVs on the
second uv channel. So now that we made
sure that this one is active on all
of the measures, I'm gonna go take them just like this one
and enter the UV area. And since it is
already unwrapped, I'm going to only hit pack. So let's set padding to one
and this one to high-quality, select everything and hit pack. And this is good for what
we are going to create because the second uv channel actually doesn't need
a lot of details. And let's activate a
pre rotate and V scale to see if we get something more. No, this one is better and
it's okay with this one. Now, if we go in here, you see the size of the brakes have changed and it's and it's telling us that we
were doing the job. Alright. Now, if I go and select every album
and bring it in, you see in the second
year we channel, it's taking as much space. But there's one thing. To note that for the second
year we channel you want to, if you're going to bake inside substance which
we're going to do. You want to make sure that you are in the 0 to one UV space. So for a piece like this one, we went outside of the borders of the UVs in the
first TV channel, Berlin for the second
year, we channel, if you are going
to make it baked, it should stay inside. And this is something to
keep in mind as well. Now, I'm going to go for
these and make sure that I activate a second uv channel
for all of them as well, so that we can see the
result upon the exporting. I'm going to do a duplicate
from this and clear the first TV channel temporarily that matches only usable for Substance Painter, because Substance
Painter for now, that does not support
the second uv channels. So we want to copy
these measures, bring them in and make sure
that we export these into substance and take
the second TV channel as the first TV channel. So we're gonna do
that just right away. So let me go take these. And I'm gonna go into edit mode. We're seeing the result in here and all I'm going
to do is hit pack. It looks like it
didn't select these. So first you need to select
them all and hit pack. So this one is good as well. But let's do something
because both of these have a lot of ways
that UV space. So I'm gonna go select
all of them now, let's make them different. So let's select this one. And let's do a rotation to see if we get something
better or not. So let's set that to 08 pack. Of course we need
to the activator rotate and it looks like no, we need to activate that. Let's go for this. And I'm checking
different rotations to see if I get anything
different and no. Okay, this is good. Now I'm going to take a
duplicate from these measures. I'm going to drag these original ones back and I'm going to
take a duplicate. And these ones only
are baking for substance and the name
you see have changed. And I do not care about that
because I'm going to go and remove the first
TV channels so that this one is now the main UV channel that we are going to export
into substance. So I'm going to remove every TV channel from this kid
and from this kit as well. So only go and remove the first TV channel
and make sure that the second uv channel is now
the new course TV channel. Because substance,
as I told you, Substance Painter cannot utilize the second uv channel for now. So now I'm gonna give
this one a new material. So let's go in here. This has a name is material. Let's add a material and
just call it 01. Now. Because I'm going to export
them into substance. And I want these to have same texture sets and these to be in a
different texture sets. So let's take this
one and make it 02. Now the preparation is done. Now I'm going to take this
all and export them as FBX. Now let's just create a folder, call it second uv, so that we know these measures
only have the second uv. So for the name, let's call it residential.
That can be UV. And this is a sample
really much hand. You might delete it later on. So now I'm going to hit Export with the layer selected
objects here, exports. So now we're inside
substance the same as all. I'm going to go to the
folder and important. So right now we're getting to material sets, which is awesome. Now, the only thing
that you need to do is actually go to
texture set settings. And we do not need to add
any color information. So we need to go
in here and into bake HashMaps and
set it to four k, makes sure the low poly
is the same as high poly. And set this one
to four-by-four. And we want to only bake
this on top of itself. So let's activate height
as well and bake it. And this baking is to
make sure that if we apply knows where to
put that mask on. And the only thing
that we're going to work with in here are R, G, and B, red, green, and blue. Okay, now the bank is done. And if you go in
here, for example, let's apply the dirt. Of course before that we
need to bring in a material. So let's go in here and bringing the material
for previous color, Let's set it to be
red and apply that so that it utilizes the mesh maps that we have created
to place that. I believe this one
is a better one. You see are going to see that. So let me disable this and we're not going to
actually texture these. We're going to paint
masks on them. And what we are going to
export as a RGB mask. So in here you see
these channels, we have base color, metallic, roughness, normal, and height. These are basically the
ones that are getting exported when we go in
here and export textures. But now we're going to
create a new texture. That new texture isn't
going to be each of these. I'm going to bring in
from this user channels, user 0, user one, and user two. And we're going to use
these channels to paint. Let's bring in a field layer. And in here you see now we
have user 012 in place. So let's make the user 0. Of course, for the default, I'm going to activate both
of them and do a black so that the background is black, actually not transparent. And if you go in here, you can see the result, but let's activate it. You see now it's black in here. And it means that we have no
information in the user 0. So now let's go, and now you see that it has built that up. So let's go for user 0. And in here I'm going to go, It's the leg, something. For example, let's
select this one. And now you see this
user 0 has been converted into a black
and white texture. And it means that this
is actually a mask. We're going to create three different user channels
and assign one to the red, assign one to the green, and assign the latest
one to the blue. And we do not want that
to be so prominent. So let's go in here. And in the latest
step you are going to export an RGB texture
from this too unreal. So we can do one thing and then instead of having to
look at this user 0, we can go in here
in the material and you see we're not
seeing anything in here. And that is because we need
to have a mask to be shown. So let's go in here. And for color, let's
make it black. And this is for
visualization purposes. And you can totally take
this easy and not do it. But I'm going to do it to see a preview of the texture that
you are going to export. So for this one, I'm
going to activate the color and set
the color to be red. Now what this is
only for preview and I'm telling you that
it's only for preview. So let's disable that one. And instead of bringing in here, I'm only going to
enable color and user. And instead of using that
to bring the mask in here, I'm going to
right-click in here, bringing a black mask. And now let's go these textures and select one that is
actually useful for us. So now I'm going
to take this and of course we need to
add a fill as well. So let's add a fill. And now you see the red
is prominent in here. So I'm going to add this
one to the blank map. And you see that now
the user 0 is in place. And instead of having these
two manipulated separately, we are manipulating
them as a pack. And this red color,
as I told you, is only for previewing so that we know what
we are exporting. For example, we know
that on these red areas, we're going to apply a color or material or basically
whatever you want to solve. Let's go in here. And for that, let's go
and manipulate this. Let's make it try planar. Let's not make it try player. And let's go to UV protection. And I'm going to bring
the balance down a bit. Okay, Just something like this. And you can do whatever we have done up until now, for example, you can add another fill it here and combine multiple fields to
get the result that you want. For example, let's go
set this one to subtract so that it removes
some of those areas. So let's set it to
multiply instead of subtract. Okay, this is good. And now we created our
red channel on this. Let's go create a new layer, and let's call this Red. And let's bring another one. Now I'm going to bring in only color and the
second uv channel. And for this one, I'm
going to set it to green. So let's go in here and
set it to RGB instead. And bring the red down, bring the blue down, and bring the brain all the way to top. Now we have color as
well as the user 0, and now the green is prominent. So I'm going to go add a
black mask and add a fill. Now, I'm going to use
and select one of these. For example, let's
select this one. Now you see a combination of green and red with
a black background. And this black background is actually the main material
that we have there. For example, we
have the brick in here and on top of that
these are being shown. And we're going to control some, create some controls
to select that and make them weaken or a
stronger inside Ron Vale. Okay, Now let's bring
the balance down a bit. Okay? This is it. Or let's
bring the balance up. And I'm going to
bring in another one. And he set this one to multiply so that it's
not so prominent there. So now we have orangey. Let's go create the blue one. Let's name this one. Green. For this one, I'm only going to activate the color
as well as user to. So let's name this one blue. Of course, you can
add a fourth channel and use alpha on it. But since Alpha is going to make the texture heavier, I'm
not going to do that. So let's go in the
Color and again, read down green, down blue, all the way to top. So now let's go create a black mask and add
a fill on that mask. And I'm going to select
one of these ones. For example, this
one is a good one. Let's go make the tiling
more, for example, two. And we can make the
effect less a stronger. So now we created a RGB mask
in here on the black areas, the main material
is going to get shown on the green
and red and blue, the overlaying things
that you will create. So we created this
one perfectly. Right now. We're going to do
the same thing in here and then export
them together. And upon the export,
we are going to create a template that leaves all of these alone and packs these
three into an RGB texture, just like the mask or a mask
that we created before. So now let's go in here. Instead of creating
that from scratch, I'm going to take this information
and drag them in here. But before that, let's go
before actually applying that, I'm gonna go bringing the
same channels that we use, their user 0, user
one, and user two. Now let's apply that. Now you see we get the
same thing in here. Of course, you can go and select different procedurals on different channels
to see the results. Now let's go for user 0. It's good on both of them. And user one is good as well. And user two is good as well. And you see in essence they are a black and white
mask that we tell, for example, where
we have the user to apply that color or material. So we created this one
you can go and create, for example, go in here. And instead of
having this Granges, bringing another grunge,
paint, something by hand. And basically a lot of the substance painter
functionalities are here with you. Now, I'm not going
to actually do anything and I'm happy
with this result. So let's go into export
textures in here. And I'm selecting
the same folder under resolution for them. You can export them with two K and there's
nothing wrong with it. But since we have done for k, Let's add four K for these ones. So now on template, we're going to template and I'm going to create a new one. So let's create a new one. I'm going to name
it RGB masking. Okay, now I'm going to add
something basically in here. We have RGB, which is good for base color normal and
those kinds of things. And then we have
our plus G plus B. So I'm adding that. And for the name of
it, It's only RGB. So we're going to
select this one. And let's select, for example, name of the project first. Let's remove this RGB name
of the project first, and after that name
of the texture set, after that underlying
our GB mask. And this is going to
inherit the name of the project as well
as name of the mesh, name of the texture set
which we have in here. Then add RGB mask after that. So we have three channels
that we need to fill. So let's set this one
to target as well. Let's go in here and
set it to target. And then in here,
in the input maps, we're going to go down
until we find this. I'm going to drag the user 0, which was representing
the red into our, okay. And then the user one, which was representing green, to go into g. And then user
to remember that it's under these two selected and select
it and bring it in here. Okay? Now we have this
template in place. Now it's time to go
and select that. Its RGB masking to output template is that it's
that for that one as well. So now I'm going to export, this is the result that we are getting and I'm going to
import them into unreal. And here we are in Unreal. I'm gonna go create a new
folder and call it RGB masks. And let's go unimportant. And these are the ones
that we created so far. They got imported and let's look at them to see
what we have in here. So the first thing, I'm
going to set these to mask so that no color
change happens in them. Now, let's separate the mask. This is the red mask. This is the green mask, and this is the Blue Mosque. The same goes for
this one as well. We have the red,
green, and blue. So now we're gonna go
into the material and create a template so that we can use these into the material. So that is what
we're going to do in the next lesson. See you there.
93. Finish Residential Building: In previous one we created the second year we channel
for this residential kid. And now we're going to use this in the material
creation process. So I'm going to go in
here, select this, and let's go to the
parents material, which is now in here. Now we have couple of options. One is actually creating new material layers and
assign them to masks. For example, we can create
multiple materials, but this is going to be a bit heavier on what
we're going to do. Because this is going to
create a material that is so heavy and a lot of materials
in the same material. And you're going to use
this on a lot of measures. It makes the performance drop. So what we're going to do is actually checking this one out. There's a node that is called
Brick Material attributes. Now we can take this, this is the result of
the vertex planned. And now we have
different channels to manipulate after the fact. So it's just like
a staging process. We have the first stage
being the materials. And then after that,
we can manipulate only the base color after
these have been created. And it means that
these are going to be get calculated first. And then the result is
going to be fed in here. And then we're going to
manipulate only the base color. And now using this,
we're only adding, for example, vector
three to be the color. And this is a lot. And by that I mean, a lot cheaper than
going to actually create this material and being repeated over
and over again. So this is good for
optimizations as well. Now, I cannot take this one and plug it into here because does not support it. Now there's a node that is called make material attributes. And this is going
to take that I'm going to go and actually plug the results that actually
we're not going to manipulate in their places. So I'm not going to
change the normal at all. The specular, I'm not
going to change that. The roughness. Maybe we
change that base color. We're going to change that. The ambient occlusion is
going to stay the same. And let's apply the
roughness as well. Since we do not have
a metallic now, I'm not going to actually
do anything with metallic. Now, this is exactly what we
have been doing right now. The only difference is that
the base color is going to be changed by masks. And this is a lot
cheaper than adding multiple materials on top
and creating what we want. So now I'm going to bring in
the mask texture basically. And we're not going to import this directly
because this is a fork, a texture and we do not want
it to be repeated all over. So I'm gonna go and
bringing a texture. And we're going to use
a texture sampler. And before actually
applying that, Let's go to this and see the placeholder that we did for this one.
Okay, this is it. Let's find it. And I'm going to use this one in here as well. Let's go to C. We should apply it
here. So this is it and the compression set setting
is set to mask as well. So I'm going to take
this one and remove it. And now the tricky part
is that we want to set this one to work on
the second uv channel. And for that we need to
bring in texture coordinate. And you know that
already we do not any tiling for this because
these are not signing. Of course, if you can toilet, if we create Thailand, it's okay to toilet. But now we're not going to tell them because
they are baked. But in this coordinate index, I'm going to set it to one. And this one is actually
going just like going in Blender and setting. For example. Instead of setting this UV map, apply the changes to this. Now that we have imported that. Let me take these and I'm
going to delete them. And right now I'm going
to take this and export them into Foundry so
that we can use them. So let's take this and I'm going to take
them and export them. And just take them
individually and hit Export. And then after that, we're gonna go and import
them into unreal and check to see if they have the
second uv channel or not. So this one, this one, and this one as the last one. So let's go to unreal. And I'm going to
go on for example, for this one, let's go to the mesh, Right-click
and re-import. Let's go in. And now you see we have
this first channel which is holding the uvea
inflammation or base color. And this one is actually the second uv channel
that will create it. So let's go in here,
and this is it. If we go, you see that
this is the information, but you're seeing a third
UV channel as well. And that is the light map you read around wheel has
baked by default. So we do not want this
because we are using lumen. A lumen is not really
dependent on light maps. So we go in here. There's a generate
light map UVs. We check this off
and apply changes. And now you see we have
only 2101 for testing. And to see what we're
going to create, I'm going to plug this one into the UV and right-click on this and convert
it into a parameter. So now I'm not actually going
to change any name of that. So now there's than this lab, we are going to do the base
color in a and this b. So let's go and change
this one to read. So I'm going to use
the red on that. So I'm going to
plug this in here, plug the result right in here. So now let's hit save. And now we need to go in here, open the material
instance to work with it. So let's go point that mask. It's a can not see that. And actually that is because we have not applied
this one into the chain. So now this has been
taken into account. So we'd save. Now if
we go in here you see on the places
where we have red, this red is getting
shown. Right now. It's not using the material
that we created in substance. So for that, I'm going to go up, check this one,
and we need to go and find the RGB mass
that we created. So this is the RGB. Let's apply that. And this
is not, I believe that one. So now you see how
beautifully restored it to overlay some colors on
top of what we have created. And it's only manipulating
the base color. And it's really, really
cheaper than adding different materials
on top of each other. And everything that
you do, for example, the first layer is
the tiling material. The second and the third layer are assigned by
the vertex planes. And the fourth layer and beyond
is applied by the vertex, excuse me, by these
RGB mask that we pay. Now this was a real demo of
what we were going to do. And after that one, we're
going to create RG and B into the mix and convert this one into
a parameter as well. And as well as creating
some controls to make the mask a
stronger in some areas, weaker in some areas, adding contrast fall off and basically those kinds of things. Okay, we're going
to do that now. So if you want to know
how the loop works, because we are going to do a
lot of work with this one. Let me go and I'm
going to create a basic material to
see what the lab does. So in here, I'm going
to bring in alerts. You can help hold down L
and bringing an alert. Let's apply that in here. And what this loop does is
actually it's going to take the a and B and combine
them based on an alpha. So now I'm going to bring three, excuse me, two vector for this. I'm going to make one of
them red and the other blue. Okay, Just something like this. Let's bring this to full blue. This one is going to go in a and a in here is where the
black mask is showing, and B is where the
white mask is showing. And now by default, it is actually a 0.5
situation by default, you see in here it
has written 0.5. It means that it's taking them
and blending them on 0.5. And it means that we are getting half from this and
have from this. But you can customize that. For example, for alpha, we can bring in black
and white texture. So let's go in here. And I'm going to bring
this one in and use that. So let's bring it and lets us start to
visualize this on a plane. So now I'm going to bring
in the red channel. And before that, let's go visualize the red channel
to see what it is. So this is the red channel. Channel itself is basically a black and white mask
to tell where it's red, apply something and
where it's black applying nothing. On here. You see that the places where
it's black on the texture, we are getting a and we're in
the areas where it's white, we are getting B basically. And to better visualize, Let's go in here and
set this one to be black and this one to be white. Now you see that actually
happening in here perfectly. And this is it, it
acts as a mask. And this a is going to
be the underneath layer, which in this one we brought,
let me bring this one. We brought the whole thing as the underneath
layer in here in a, and it means that
whenever we apply a mask on where it's white, apply a color that we sell
it based on the red channel. This is actually work
that is going to do. Now let's go down. I'm going to select this one. Select the store, and let's go find it in the
Content Browser. Looks like we haven't
a reimported this one. Let's go note that when I hit very important,
it's going to fix. So when I click here, you see this is the first
TV channel and this is the second year which I
know we haven't done that. We did the changes
only for that one. So we need to go on all of
the kids and re-import them. Now it doesn't have
the second uv channel. The moment are going
here and re-import. You see those problems get fixed because now we have
the second uv channel, right ear in here. Perfect. So now I'm gonna go
select this one. And in the material view, I'm going to hit this option
to replace that for us. So now you see it's
showing the mask for us, but it's not actually great because you
are seeing a lot of these jaggedy loans
and that is because the mask is mapped wrongly. And to make it good, we're going to go
and tell this one to sample these colors on the
second year we channel. So note that when I
happen now you see we are getting the basic thing
that we got in substance. Again, to better
visualize that we go, I'm going to bring this brick
texture, bring it in here. And when I apply that to a, you see on the areas
where we have nothing, it's showing the
underneath layer. And on the areas
where we have white, it's going to show us this
one no matter what it is, if it's a color, I mean, if it's every color that you
have or basically whatever, it's going to show that for you. So let's make a permanent color. And now you see that
the soul, this lab, you want the thing that I
do not want to change to go in a and actual thing that
you're going to add in. The basic thing is here. If you have the
second TV channel, you want to make sure
that is applied as well. So now what I'm going to
do is taking the smashes, these ones, it re-import. And as you re-import, they should be fixed. And in here you see there are
a lot of bad lines in here. And that is because we do not have a UV
channel on this one. So let's go to
Import based mesh. And now you see
they are fixed and we're no longer seeing
those bad meshes. So this is fixed. And you see we added a layer
of dirt on top of this. And to make it more natural, Let's go and bring
in a darker color. Just something like this. Let's save, of course
we're going to parameterize this as well. And you see now the
effect is a lot simpler. Now we're going to fix that. Let's go in here and
make it actually a white color so that
we can change it there. So this is going to be
converted into a parameter. Now let's call this one
red underline RGB masking, so that we know
that this belongs to the RGB masking section. And this is masking. And let's go put that in
the same folder as well. So for visualizing,
let me make it red. Now hit Save. Now we can go in here, bring up the material instance, and try to change the
color on the fly. Let's activate it. And
for example, here, you can do whatever color that suits your needs perfectly. Okay? Now that we can change
the overlay color, I'm going to go and add
more controls to the map itself so that we can extended
and those kinds of things. So after that, I'm adding a
multiply at a power as well. So to bring in power, right-click and hit power. This power is good
for adding contrast and removing fall off and
those kinds of things. So always you want
to make sure that if it's for the second
year we channel, you want to bring in and map
it to the second uv channel. So let's bring in a constant, hold down as and when you click, it's going to create a
constant parameter for you. So this one, I'm going
to call it red, mask. The strengths and
apply it in here. Apply that in here, and connect this
one in the power. And this one I'm going to
call it red mask contrast. For the power, I want to
set it to one and for the multiply one as well so that it doesn't change
anything on the fly. So now, instead of connecting this one directly into alpha, I'm gonna go and connect
this one into alpha. So let's go save. And now in here we have
the ability to extend, remove, or basically
do any kinds of things that we
want to the mask. So we have the
strength and let's increase the strength
to say it's going to make it very stronger. And to contrast, you see
it adds a lot of contrast. Here you're seeing a lot
of pixels, sharp lines. Let's do one more thing. And that is adding, add node. Add node is going to
overwrite anything. You see by this small supply. Not only it adds,
multiply a strength, but it's only going to add to the places where we
have already the mask. And a lot of these
areas are going to stay on touched. For
example, if we go. So a greater value, you are not seeing
anything being added. So let's go place an ad in here. I'm going to take this
one, plug it here. And normally I'm going to set this one as the default value to 0 because I do not want to add something to the
mask by default. So let's call it overall. So that overly, it adds
something to the texture. So now this is it. Let's bring in this one. It looks like we
haven't connected this one into the chain. So it's not showing here. Okay? So now it added. So that's a strength is or
should be one by default, because it's a multiply
power as well. It should be one so that
we do not change anything. So this default
value is actually subjective and it changes
from time to time. So let's go in here and now
here not seeing anything, because this string is set to 0. Let's bring it back
to the default value. And now using add, I can add, multiply the effect too much. For example, if I'm going
to add a lot of it, I can, you can bring in the contrast, bring it down, remove it, and to do anything
that you want. Okay, we created
this and now let's go and create a
folder for these. I'm going to put them all
in the Masking folder. So this is the masking. And let's make it
with capital M. This one. Let's save it. So now if I save and go in here, these are all in this folder
and of Berkeley, correct? So let's set this
one so that it's on, touched on by default. So let's go in here. And instead of program, let's call it RGB mask. Now, this is it. Now we
need to add more blends, to add more details. We need to add another lab. And you know that this
is going to be into a, because we want this one to stay on touch where it's green. And after that, I'm going
to copy this whole chain of nodes and connect
the green in here. And instead of red, I'm going to call green. Anything in here, I'm going
to first make the red green. And after that connector results of this one into
the alpha of this. And then I'm going
to take this one and make this one green as well. Let's go in here and
turn off the red, turn on green and connected
in here to the B. And I'm going to connect
it to the base color. So it looks like you
need to extend this a bit to get the result. Okay? Now you see the green
has been added as well on the areas where
we have a green mask. And perfect as just
like this one, we can go extend the mask, remove it at contrast, and do whatever you want. Then the next thing
that we're going to do is bringing in the blue. So again, I'm going
to take these, let me take them and bring them up a bit so that we
can change them. So let's create some
folders around this. Let's create a comment
and call this red mask. This one is going to
be called green mask. And let's copy the
contents again. And I'm going to
call this Blue mask. Now, let's bring in the blue, the blue mask in here. And then create another loop. So this does not apply
to the base color. Apply this one into a, and I'm going to create
one and call this one blue masking and change
the color to blue. And this color is for optimization
visualization purposes. Later on, we will change them
to something that we need. Now, we need to take this one
and connected to the chain. Okay, we have RGB
in place as well. Now, we can go in here and
watch the blue as well. So we created this one
for this building. And now let's go to
the material instance and try to customize it a bit. Of course we need to go and change this one
to blue as well, so that we have
control over that. So just replace the blue with green than the
good thing is that the groups and
everything are okay. They are in Masking folder and all of them
are doing alright. Okay, now, let's go in
here. And here we are. And it's perfect, but it's just like somebody has painted, so we need to go and
bring this one on. Now in here you see that we have the blue and then control, so blue, green and uncontrolled, so green, red and then
the controls for reading. So now let's go and change
the color to something suitable for the blue. Let me go and change the color. So I went ahead and after some experimentation
abroad in some colors. Exactly. I went ahead and picked up the color
from these soda. It's reading with that better. So you can do whatever
you want to do. Now we have this, let's
control the colors. Let's bring in the contrast, a strength for the blew up. You see that happening in here. But normally you do
not want to go beyond one because it creates this
funny effects happening. So let's go back. And the moment that you go up here saying bad colors in here. And then he can go and
after these places saturate node so that they do
not go beyond one. So let's go bringing the
saturate connect this one. And this is very
important for masks. Every time you do, a lot of times you want to
put a saturate. So hold down control so
that you drag this node and put it in this output
and this one in here. So let's bring in
another saturate node. And this saturate, as you know, is a clamp and it's
locked between 01. You cannot customize
that and it's cheaper than the
actual clamp node. So let's take this one
as well connected Save. So now you see that
effect is gone. And if I try to increase no longer on getting
those effects. So you see this is happening. Let's go back and try to increase the strength
or the other mask. And it's actually
like a paint effect. And actually I'm loving
this one very much. Looks like a painter
effect that is, that has been raised
over the time. So I'm going to keep this and let's go see about this one. Let's change it to something
else and bring it up. And you see it can be some color patches
and things like that. Let's bring the strength up. And this is very good. But now I need to go in
here, select another shade. And it can bring in
different colors. You're building. It's creating a good effect. So let's pick a color from here. And it's actually a good one. So now this is how
powerful you can go. The first layer, we added the
base color and after that, some painting, vertex painting, and after that some masks to be overly on top of everything. So let's go, let's go, let's go. This one as the default. And this one as the
default as well, to stay a bit neutralized. Now you see how much dirt we are getting on this building. It's very good and it
hides the tilings as well. And one thing you
want to understand is that because these
are not tiling, the mask that we have been
tiling on this is broken. You see now, although the
texture itself is tiling, but the mask is not. And that is because we
have packed a lot of information into one UV. And if we go in here, you see
it's not tiling actually. If you want to make it tiling. So that when you tie this, the mask tiles as well, you want to go and make
sure that as well as the first UV channel
that is actually 0 to one UV space
tiling perfectly. You want to make sure that
this one as well gets tiling from 0 to one UV
space to stay tiling. That is something to consider. But because in here we
have some scene covers, just like these pillars
and things like that. We have no problem using them. Okay, now you see it has added a layer of age on top
of this building, which is actually quite good. And now once surprised, thing that we're going to add, and that is, I'm
gonna go select, for example, this one that has the vertex color baked to it and apply this
material on that. So let me pick the material
from here, bring it up. I'm gonna go apply this brick
material on top of that. Now you see we are getting
the brick material as well as those things
that we do that we baked. And it means that
this already has the color on top of it. And let me go back
on the materials. Let's go into this block code and bringing this vertex color. You see, this is the amount
of vertex color that we have. Red, green, and
blue are on Place. And if I go in here, there's the previous
one you see, because this one
reading with that, It's actually applying all of those dirt on top of
this one as well. One good thing is that if
I go let me go back again. Let's go in here and
pick up the material. Again. I'm going to copy, copy and instance and
apply that on top of this. So let's go back and there
are some things that you can do to make it this
one more customized. So let's go in here. In this texture blending. Let's go in here and
make them all 0. And you're going
to notice that it removes a lot of the
dirt from there. So let's go in here as well. Now let's go in here. You see that by changing that, we are able to
change the color to something else based
on that vertex colors. And of course this one now It's showing that concrete material. And you can do anything that you want to do with
those vertex colors. And we're going to talk
about this as well later on. But it's surprised to know
that the material that we have created two vertex color is also applicable to
these ones as well, because these have the vertex
color prebaked on them. And we did that
inside of ZBrush. And this is the
vertex color that you're going to do
inside on real. I mean, these materials, not these overlay masks. This lesson is done.
And then the next one, we'll actually go and
refine this even more. See you there.
94. Museum Second UV RGB: In previous lesson, we
finalize this building, and now I can tell
that we do not have anything longer to
do with this one, but there are some remaining
and that is actually going and reinforcing
these as well. So because we created the
second TV channel and we didn't apply the material
on them to test them. Looks like by really important
that the UVs are reversed. So let's come in here. It looks like this is it. So let's go in the first TV, take it and rotate it 90 degrees and place
it back in here. So now this should be fixed. So let's go and
right-click and re-import. We've got this one, correct. Now, let's see about these and
these are alright as well. So let's select them all. I'm going to go and
bring that material, this brick material, and
apply it to all of them. Excuse me, we should have gone there and apply the material. So now this is working. Alright. The second uv is there,
everything is there. But if you want and you are
seeing anything, he can go. And let me say this. You can go in and start to vertex paint materials on these. So let's go for red for example. And we can bring in some
materials on the places to hide. This seems a bit
just like this one. Example in these areas, bring something to your best to try and hide the
measures from tiling. So much. So this is it. Let's go for this one. We can take that and apply some more in here
to hide the meshes. So let's go back. And right now,
it's looking a lot better, has less styling. And it's great hand,
Let's go for this one. And this one as well. I'm going to apply
this material. These get the same material. Now it's alright, of course, this is tiling pedophilia
going to fix that you can go easily and nobody is stopping you from
vertex blending. But right now, that
is not my priority. Now the second thing
that I'm going to do is fixing this one as well. So let's go for all
of the wolf kits, which is this one. And all of these
and hit we import. Nothing has changed,
but I believe that the rotation
of this is wrong. Let's go in here and rotate that 90 degrees first
before applying that. So let's take these 21
of them should be right, one of them should be wrong. So let's come in here
and add one more import. Now, this is alright. And this one is alright as
what everything is okay? But there's something
to be fixed about this. That is, the fact that we need another mask
to derive these darts. And you see we're
getting a lot of these. So I'm going to right-click. And from here I'm
going to create a roof and select this one. Let me call this roof
brick actually, okay? Because these are roof moles. So I'm going to select
these two plus this one, and go in here and
apply that brick roof. And in here, there's
a difference. And that is, you're gonna
go in here in this RGB mask and bring that RGB mask
that was from there. So I'm going to
bring this one in. And now you see those
odd things are gone. And we're good to go. Okay, Now let's go
create the next one. Looks like I'm going to
delete this material. So the next thing
that I'm going to do is creating one for this. So always I'm going to take
my material instances from this brick because this already
has the material setup. And it has these thirds
available as well. But if you want a more neutral,
we can do that as well. So let's go pick
something from this, and let's call this one. I underscore default. Okay? And in here is default, and these colors are in here. But let's go remove
this one and take that from the brick because
this one is better. The more you
underscore the fault. Because this has some things set up in here, which is great. So now what I'm going
to do is actually going and changing the blending. Now I'm happy with this. I'm going to go in here and take everything
from this will, from now on we take material
instances from this. So let's go and call
this 100 score roof. Okay, now it has changed
in here as well. Now, the only thing that you need to do is actually going in here and apply the
roof textures on that. And this is the color
normal and the mask. Now we are changing this. Now we need to go and
select all of these. Dad use the same material. So all of them have
been selected. I'm gonna go rose to this one and change
the material to that. So the roof material
has been changed, but something is wrong and
that is the tiling of this. So let's go select this one. The tiling should be set to one. This is the first thing. And the rest of it
is actually good. And doesn't actually
matter if we change it because player is never
going to see that. Okay, Now we continue to even add more variations
to the modular kitchen, this building as well. So now let's go for this one. And I'm hitting Shift E to
select what is there actually. So let's select
all of the windows and for making sure that
everything is alright. I'm dragging them out. And after this one, I'm going to drag in one
and call it on my Windows. Okay? Now, the good thing
about this material is that there are a lot of
things already set in here. Of course, because
this one is a new one, we're going to go and create
RGB mask for that as well. But for now let's assign
the material to them. This allergy Windows. And let's go to the textures and I'm
going to find that tiling one that is responsible for this and that is this
red brick alternate. So let me go here and
I'm going to drag this on top of where
they should be. So for this one as well, we have that filing one as well. So while having all
of them selected, I'm going to go into details. I'm only underscore
alle windows. This is it. Now. It's tiling to ice. So let's drag them out. You see that? It's tiling twice. But I feel like that
is a good one because the size of the brakes is actually similar to the
size of the books in here. Then I'm actually liking that. And now it's time to go and create the second uv
channel for these as well. So this is what
actually we need to do. And I'm taking
everything and drag them back and as well hasn't
been used as well. So I'm going to take
it and delete it. These two windows are the kids that should be actually created. So now, as always, I'm going to drag
a duplicate and take these two originals
back and take these. So let me drag this one back. And I'm going to go and actually let's take these and bring them. And before actually
taking these back, I'm going to create a
second uv channel so that I can transfer that to substance. So let's go in here. And in the UV maps,
I'm going to add another UV map and
on this one as well. And make sure that you
select that and activated, select this one and activate it. And since these are
already you route, the only thing that
we need to do is actually go in
here and hit pack. It's done, and it's the
best thing that it can do. So now I'm going to
take these dragon back and Shift T to
bring a duplicate. And I'm going to
take these 2 first, remove the first UV map, and then these two are ready to be imported into substance. And for the material, let me go in here and just
call it Allie windows, so that we know this is
what is going for alley. So I'm going to
export this one as an FBX and all of the folders I'm creating a substance folder so that I know
these belong there. And actually one thing
before creating that file, I'm gonna go take all of these, create a folder for them. And let's call that default RGB so that we know will drag
this and it's going to work. And then it's only a matter
of scrolling through here, changing the oranges
and you do not need to set these preview colors
and things like that. So I'm going to
right-click and create an, a smart material and it's it. Now I'm going to
create a new form. And this is the file
that I'm dragging in with all of the details. Okay, it's alright, and the name of the material
is alright as well. Now I'm gonna go take
the material set as for k and anti-aliasing to
four by four as well. And see you in the
waiting is done. Okay, Now it's done. And if you drag it out in here, you see it works. But there's one problem and that is actually
we do not have those users 0 channels
and all kinds of things. And if I go in here,
you see there's no UV, user 0 or user one channel. So you want to make sure
that before applying that a smart material that we
created here, go in here. Bringing the user 0, the first one, user one
for the second one, and user two for the third one. Now, let's drag them and
now they're working. Now, if we go in here, you see that user 0 is in
place, is there too as well? And user two as well. Okay, That is a personal
choice if you're gonna go and change the
oranges and things like that. But to save a bit of time, I'm not actually
going to do that. So let's go and export. And here it is. Let's go and find the RGB
masking which you had. And let's set it to target. And to k is good for this one. So I'm going to export
and I'm going to go in this RGB mask unimportant that. So it is, and I'm going to import it first
things I'm going to go and make sure that this
one has been set to mask. Okay, everything's alright. And now I'm going to take
this and drag it in here. And now it's no longer showing those outlines and
those ugly things. And if I go back,
you see it changes. And in here you are
seeing some problems. But if I go and drag this one, you see now it's a lot better. So now let's go and change
some things about this. We can go in here and we
can go to top as well. And try to give this
one a new color that is different from the one
that is neighboring to it. And a lot of times
you want to stick between these mutual values. Okay? This one, Let's make it brown. Saturated brown. For this one. It's okay. We did this one as well. Although it's only some
pixels that are being shown. And a lot of it is hidden under these measures
that you have created. But if you're going to see
that, it's the result. Okay, let's go back. And we did that as well. And now it's time to go for this museum kit and
do these as well. So now we're in the museum
kit and I'm going to drag this back and drag
these two out. These are the only ones that
we're going to work with. Because when we look at
the museum kid in here, we have this one, this one, and this window that is
repeated or lacrosse. And I believe that this
row is using variation to, this row is using variation one. Okay? Now we have totally for measures that
need to be UV route. So I'm gonna go in
here and select these. And everything is alright. And one thing that
I forgot actually was that I need to go in here, take this and re-import
these two meshes. And I didn't export them. So my bad, I'm going to take these and
these two that have second uv is I'm going
to take them and export them and
they're going to be overwritten on top
of those files. So in here again, let me take them. And if the re-import is alright, we should get a change
in these layouts. So let's go for
this one as well. Yeah, it did it. But one thing I forgot. Actually, I want to cut
this piece from here. So let's go in here. And I'm going to cut this
extra piece and remove it. So simply from here to here, delete, from here to
here, delete as well. From here to here, delete one last time. Now let me export them and taste test results under
right-click and re-import. Now it's done, okay? And you're saying the
result in here perfectly, so you want to make sure that
you re-import them as well. So now we are in here
and I'm going to create a second UV for all
of them will as always, go in that menu and
create a second uv. Now, make sure that
you activate them so that you can preview the results of what you are going to do, okay, on this one as well. And now I'm going to go in here and now I have everything. Let's hit a to
select everything. And I'm gonna go to UV
Packer and it rotate. Now I should hit
Combine as well. So this is the best
that it can do. Now, I'm going to take this, drag it back, take a duplicate. And as always, I'm going to take the first TV channel and
remove that because substance doesn't support the
substance painter doesn't support stuck in UV channel and we need to make this one the default, okay. Now it's done. And I'm going to take
these and export them as FBX and create a folder and just call it second UE limit to select that
object and export. One more thing to
save some time. You can actually go in here in this edit and project
configuration, instead of creating a new file and doing all these
kinds of things, I'm going to go Select and find that FBX file and bring it. Now the project is set up. The only thing we need
to do is actually going and baking, bake. And it's done. And we need to make sure that
in this texture settings, we're bringing the user 012. At the same time, I can
drag this on top of this. This is the result
that it's getting. It's good actually,
it's a decent result. Of course, you have
the freedom to go and use whatever
image that you want, whatever texture that you want, and whatever procedurals,
excuse me for saying mesh. Mesh was wrong. Okay. Now, first I'm going to go in here and change it
from unnamed to museum so that it
exports the museum with the file and we're able to diagnose that better there. With all of these
settings exports. Let me make this one
for k. It's done. And now we need to do the
blender side of things. And that is taking these and overwriting on top of
the existing files. So exports, exports and
this one, and this one. Now we need to go in here, find these and try
to be important. So this is it with this one. Re-import for this one. And this one as well. I need to find them. So this is the file. I'm going to right-click
on this and hit Import. And if you're going to see, you can go in here and
see that there's UV 01. And to make sure that you have a bit of optimization,
you can go. It does generate light
bulb UV. Check this off. If you're not going to
use light my boobies, which in our case we're
not going to use. So let's go in here and
re-import that texture. And this is the museum file. And let's go and materials and actually create
one for this one as well. My 100 score museum. Now we need to create the
textures and bring them here. And right away, the tiling
should be set to one. Okay? Now I'm going to go into tiling textures and find
the museum kit, which is this one
and normal in here, and the mask in here. Okay, Now we created one thing. And now I'm gonna go and select all of these
museum pieces, including these as well. So I'm going to go, this is the museum one
that we need to import. Important that,
but there's a bit of shading problem
that we need to fix. That is actually, let
me go bring this up. That all happens in here. We need to bring in the mask that actually belongs
to the museum. Now you see we're getting
a better shading, but you need to change some colors to make
this one better. So let's go in here and
bring these mass colors. If you want. You can also add vertex painting
on top of them as well. So let's go in here,
bring this up. And I'm going to pick
from these shades. And one from here. And this one from here as
well. This is alright. And if you want, you can
actually go and start to paint using vertex
paint on this. But since this one is
a luxury building, I'm not actually
going to do much on that because the storytelling, this is being taken care of
very much more than that. Residential will link. So let's go for red
and try to paint. You can see that we can paint. Very good and get some details. Okay, this is done. Now. We are done
actually with this, and we're actually done
with architectural pieces. And for the next one, we're going to take care of these nanoscale
meshes that already have the vertex color baked into them.
Okay, see you there.
95. Using Vertex Color: Okay, everybody in
previous lesson, in two previous lessons, you actually created
secondary channels for this modular kits. And now it's actually time to go and create something
for these as well. Of course, we can go and use the same smart material and drag them on
top of all of them. And by that I mean, we can go and use
this material for all of the night
measures as well. But I'm not actually going
to do that and remove this second uv channel for
the nanotube measures. Of course, you can go and create second uv
channels for these, bring him in and use them. But since I want to
be more performance, I'm gonna go and do
another variation of this. Take a duplicate, and let's set the name to vertex point
underlying knowledge. Now we have another variation
of this master material, which we are going to remove the hole that can
UV logic in here. So that is easy. I'm going to go and
bypass all of these and connect our results
into here. So easy. Now we have the second
uv channels separated, and I'm going to take
them and delete them so that we have a bit of
more performance on them. So after this, I'm going to start again with this
residential kids. So let's just start
with this store. And I'm going to
right-click and create a material for it among
hundreds score door. And we need to plug in
the textures in here. So I'm gonna go to textures
in the bake textures, I believe it exists. This is it. Okay,
Let's activate this. This is going to
be the base color. This is going to be the normal, and this is going
to be the mask. Okay, now, let's go find this one and bring into
my underscore door. Okay, right now, you
see no change because everything in here
is set to default. And I didn't create the vertex color for
this one as well. If you want, you can
go into ZBrush and create some vertex
colored data for this. But one thing that I'm
going to do is actually going and darkening
the material. Let's go into Brighton. Let's make it a bit darker. It's better. I do not love
those whites to be shown. And I can bring the
contrast as well a bit. Okay, it's all right. It's
a better color that I'm getting from this burnt
wood type of color. Let's go for this one. Actually, I'm going to take
one from this nano it and call it MOU a 100
score window shop. Okay, now we're going to
bring in that exercise, which I can find it here. So let's go bring it up. This is the fields, this is normal,
and this is mask. And now this one should be actually assigned
to one of these. So let's remove
them or underscore window shop to see if the information that we're getting here is right or wrong. Okay? This is alright. And now we need to create one
more for this one as well, because it has two materials. Okay, I'm gonna go in here, bros, and take an
instance from this. And the name is okay. So in here, I'm
gonna go and bring in the texture that
belongs to that one. Okay? This is it. This is the mask and
this is the normal. So now this is going
to be plugged in here. Now it's wrong.
It's the door file. So again, I'm going here
and manually find that. Okay, this is doing all right, and the mask as well. Now one thing that I'm
going to do is bringing in that road normal material. And let me see how
much I can tie that. Let's go for tiling normal detail and set
the amount to 20. Now we're getting
much more resolution. Now let's go for contrast. Add a bit of contrast
to the color. Okay? Now this is better. Then we have these
ones which you can actually go and start to
plug in the materials too. But actually I'm not going to do anything to them because I do not want to make
this building so much having dirt actually, it's good to have
some resting points for the eyes as well. So let's go and do
something for this. And I'm thinking that
this is good as well. This has already a lot of
details on it. And it's okay. So let's go for here. And we can do some
things on this building. So let's go find this one. And in here I'm going to go
on this dragon material out. And I'm gonna make
this one the default that we are getting,
everything from it. So let's make it the default
and call this one eye. Now we're going to add
some parameters into this, including the texture to add
texture three informations. Let me unlock them. Then we take instance from this. And the only thing that
we have to do is actually plugging in the first
texture information. So on here, let's go and find the textures that we're
going to plug in here. So again, I go to the textures and let's plug
this one into the first one. This is the normal
and this is the mask. For the third texture, I'm going to bring
this normal and mask. And now I have this one. I actually save it. And now I'm going
to grab from here, I'm going to call
this one MOE pillars. We know that this is going to actually cover both
pillars for us. So let's go in here. And this one is going to be
the road, this road normal. And let's go for the tiling and let's actually make it 20. Okay? Now I'm gonna go apply the
pillar textures into this. This is the normal
and this is the mask. Now I'm gonna go
select all of them. Select this one as well. Let's go in here. Am I hundreds core pillar? Let's go. Pillars. Okay, this is it. Now, let's go take
a look at this. And now we're seeing a lot
of the texture being shown. And that is because of
the vertex colored data. So we need to fix some
things about this. So let's go find this. And that is actually
because of this one. So let's go take the texture
and make it darker a bit. So let's go in here
and find the tone to something just like the
colors that we have here. And I can add a bit of
more contrast as well. This is the effect
of the vertex color. You can go and
remove that as well. And now let's go for
this one as well. Add a bit of more
contrast to the texture. Now, it's a lot better. But you are seeing a lot of
repetition detail in here so you can go and rotate this. Sometimes they get something
different every time. The reason that we
set the pivot to be in the center is
that actually by rotating this we get different details every
time in everywhere. So this one done
as well. This one. And for the above as well, Let's go rotate them randomly
in different directions. Okay, Done. Now you see we
have more richness into this pillar is actually, if you do not want these, you can actually go and try to bring this texture
blending values down. For example, let's go in here. And I'm going to change some of these values
to get something. For example, you can add this one to get
some information, but I feel like it's not
to natural actually. Okay, this is good. Now the next thing
that we're gonna go is this one, this square pillar. So I'm going to go into the
materials from this one. I'm going to create an instance. Am I going to score
the score pillars? And now it already has the second material and
third material setup for us. And the only thing
that we need to do is applying the texture on this. So again, let's go and bring in the road answer to toiling. To be two. You get some more
details in close ups. Let's go and textures. And I feel like this is the
information that we want. This is the base, this is the normal, and this is the sound. Let's go select all of these. And they are in here as well. Let's go my 100 score,
square pillars. So in here, it's obvious that we need
to go and select some, some of these colors
and drag them down. So we can go in here
and take this texture, bring this shade to
something like this. This is better and we
can make it darker. Let's go for brightness
and bring this down. And totally, I'm happy
with the progress so far. And if you want, you can invest more time and play
with this more. Later on when we bring
in the lighting in, we can see more of
the details as well. You can invest more
time to bring in more details into these
if you want, actually. But right now I'm going
to stop this lesson. And the next one is
going to be actually the lights last one in the
shader creation process. And we're going to create something for these
ground pieces, no matter if it's a street
or alley or anything. And we're going to bring in a new layer so that we
can paint water as well. Okay. See you there.
96. Finishing The Vertex Paint: Okay, We'll materials section. We also learned how to
blend things together, how to make adjustments
to the materials. And now it's actually
time to create a material that
is our final one. And this one is going to
actually have the vertex color. We're going to use the
blue vertex color to place the water in these ones that
are actually on the ground. So you can either create it in here and create
a switch for it. For example, turn off
the switch to turn off the water puddle actually. Or he can go and
create a new one that only is used for these
kids that are underground. So I feel like I'm going
with the second one. So let's go in
here, right-click. And this one is
actually as well, is going to have three
layers of materials. Then we could use this masks to actually bring
in some extra features. And after that, we're
going to create the vertex color for
water in here after that. So I'm going to go right-click and duplicate and this one, I'm going to call it
underlying water. Okay, Now this is good. Let's save everything out. And now to test our results, I'm going to test them on here. As always, I'm going to create a new default
one from here. So am I a 100 score vertex with water puddle
underlying the false, okay? This is the default one, and I'm going to create that. So let's go in here
and for the default, so I'm going to bring in texture
to add texture to three, so that we have the ability
to vertex paint on some areas and add materials
and the vertex plane down some areas more
to paint water. So Let's bring in
these as always. And for the third one, I'm going to bring this one
normal and to our HA, okay. Now let's go for the
detailed normal as well. I'm going to bring in the
road and so many times. So now let's go in here. And I'm not actually going
to do anything with this. Let's go. And I'm going to drag
something from here and call that my boundary
score, died walk. Ok, now in here I'm going to
find the textures of these. Let's go in here. And these textures are in here. And I'm going to apply
the material on that. So this is it and
this is the normal, and this is the mask. Now we have these masks
as well, but for now, you can go and change
the strength of all of them to 0 to
basically disable them. Now, or the red as well. Now, this is it. And I'm going to
go select all of these and including
these ones as well. And in here, I'm going to go
and my sidewalk, it's here. Now the only thing
that we need to do is actually toiling this two times. So let's go for
tiling study to two. Okay? Now I feel like we could change the color to something
that ritual. And for that I'm going to go
and change this one a bit. For example, this one. No, this one is too dark. So let's go and find it in here and add a bit of
change only to that, then I can bring the
contrast up as well. Okay. I feel like this color
is a lot better than the next thing that
we're going to do is actually go into the normal, flatten and make
it negative one. So strengthen the
normals and you see now the normals
are more strong. So let's go add vertex paint. So you could either say this or you could delete them.
It's your own choice. But to make more optimization, can go take them
and delete them. But I'm going to keep
this connection. And I'm going to
keep the specular. Roughness is going to be changed and normal is going to
be changed as well. But the IO, Let's
leave it to be, so we're gonna do the
changes after this. And instead of having those
second UV masks in here, we're going to add
a new base color. So after this base color, I'm going to bring it out. Of course, I'm going to bring in a lab and this one is
actually going to a, and you know that when we are
going to use vertex color, we're going to set the first
one that is going to be untouched into a for B as well. I'm going to go
bring in and color. And this color, Let's make it watercolor and plug it
in here, excuse me, plug it in to be let's put
them all in the water group. Now we need to bring in the vertex color
and node as well. And we're gonna do all of
the work with the blue one. So let's plug the
result of the tarp into this and go
see the changes. So now it completely
changed that to black and I do not want that. One way to fix that you
can go on after this one, bringing the 1minus node
and plug it into alpha. So he'd saved. And now we have this in here, the result that we want it. Let's go to Mesh paint
and select some of these. And I start to paint on them, but I'm going to paint
with only who is the blue. So let's just start to paint. You can hold down shift. And now you see that
you are painting actually black on this. And if I go in here and change the color to something bluish, you're going to see the
result change so fast. So I feel like something
like this is okay. Now this is telling
us that we could do something to create water
puddles on top of this. And I'm going to keep
this one as the test. So let's go and do some changes. The first change
that we're going to do is actually the roughness. I'm going to bring
the roughness as well and bringing a
linear interpolant. And this one again is
going into a, because the, all of the nodes that
I'm bringing in or go into a and I'm bringing
in and a scalar, right-click and convert
that to a parameter and call it water roughness. This one is going
to be plugged into B and Alpha again in here. And I'm going to connect that
to the roughness as well. So let's put this one into the water as well
or folder and hit Save. Now you see in these areas
where we have water, it's totally reflective compared
to other areas in here. And you see that
we have a falloff as well that we're going to use. So for now we have been creating the water color and the
roughness information. And we're going to do the
first pass to be so simple. And then we let her on, add more details to that. Now, we're going to do something
for the normal as well. And I'm going to
drag the normal, bringing the blurb or just bringing the
assigned a Normal to it. And let's take this one and
bring it here to the Alpha. And now we're going
to create a water normal that actually has
a pair of motion as well. So let's go find a normal map. I'm going to go into this
content browser textures. And you have this normal
in here that you can use. So let me, having that selected, I'm gonna hit T and
we brought this in. But we need to add
some motion to this. This is a still and not moving. So there's a note
card called panel painter and he can
hold P and bring that. It's here. And you can take
it connected into the UVs and you can
give it some direction, for example, that one. Let's bring in others
and test them there. Now for coordinates,
we need to bring in the coordinate, no
texture coordinates. And let's plug it in. And let's tie this
one, for example, eight by eight and
connected here. And right now, I'm going to
only connect that the normal to see if we have any normal
being showing up or not. So now you see on these areas we have the normal
being titled under normal is actually
different from the one that we are getting
here. And that is perfect. And now we need to do something to make this one actually move. So for that, we're going to
use this panel node again. And we're going to
bring in speed as well. Of course, you can go
and put a speed in here. But I'm going to bring
into a scalars right-click or right-click on this one converts a parameter
and call it water. The speed x. This one. Let's convert that
to a parameter and call it what, our speed y. And I'm going to take these and put them into
the water as well. For this one as well, let me
go bring in a multiply soda. We can tell this as well. So let's select this one and bring in a title
and we'll call it water soil ink
connected here. And I'm going to
make this one the default one-by-one so that we can change this one to eight. Okay, now for this
one, Let's go. And in order to connect
these two into the speed, we need to bring in a pen denote append vector,
which is this one, is going to take
to, for example, this and this and
convert them into X and Y are Angie and so on. For example, if you bring in 11, it's going to give
you our one and G1, not just like add that
connects outputs that too. So I hope you understand it. So let's go in here, Save. So now let's go and
save that in here. I'm gonna go and in a speed x, Let's put something like 0.2. And now you see this
is moving actually, looks like these to our speed x. So let me go. And this one make it y
and turn it to 0 as well. Hit Save and Okay, now you see this is
moving only horizontally. And using SPDY, we can
add others as well. And the more you add the number, the higher the speed is
going to go when you see something like this is
actually very chaotic. So let's go and put one in here. Okay, Now we are seeing only
one layer of water moving. And the good thing
is that you see the reflections of
these buildings being displaced in here. And that is a greater effect. So now I'm going to add another layer of
water. To do that. I'm going to bring this one out. I'm going to bring
this one in here and do all of the
changes in here. Let's go in here and
bring in a multiply. And I'm going to bring that
to here and this one here. And I'm going to copy this whole thing
and do another one. Let's go connect
this one into here. And there are some changes
that need to be made. So let's name this one water
toiling underlying be, because this is the
p. Now this one p underline what our speed x and this one be underlying
who are speed v? So now let's hit Save. And now let's go
see the changes. Now the tiling of both of
them is the same is at eight. So let me go in here and title this one even more.
Let's put it to 16. For the water speed. Let's set this one to one. And you see more water
breakup happening in here. And let's set this
one to one as well. So now if you look at this here, you are able to see the who're animation in
here, which is good. Okay, now, let's
go in here and set the color to be darker
a bit because this is not actual, actual color water. So this is okay. And that is really
dependent on you if you want to have more
or less from that. And I'm actually seeing
a bad shading in here. You see this is there are some jaggedy lines in here which will need to correct. Let's go point this
one by selecting it. And this belongs to the
sidewalk, sidewalk kit. So I'm going to open
that in Blender. So here we are. Let's
go to Solid mode and you see the bad
shading happening in here. So right-click Shade Smooth
and right-click on this one, Shade Smooth as well. And the same goes for this one. Let's go Shade Smooth and
one for here as well. And I'm going to take all
of them and hit Export. Now in here, we should
be able to find them. So this is it. I'm going to take them
all and hit re-import. And now you see that
bad shading is gone. And now we have better
geometry in there. Okay? Now the most basic
setup for the water has been created and you can go
and refine that even more. Now the next feature
that we are going to add is displacing the water. When we need to solve,
let's go in here. We're displacement,
world position offset. I'm going to bring in alerts. This is going to be okay, and let's bring in
the Alpha in here. And now we need to
bring in another word, displacement that
is manipulated. So I'm going to take something from this one and do a subtract. And we're going to subtract
from the world displacement. So for this one, because
we're all displacements or word position is
having three axes. I'm going to bring in a vector three and convert that into a parameter and call
it displacements. Okay? Now I'm going to set
this black by default, and I'm going to
plug this in here, like this one and bring this one into
world position offset. Now let me go in
here and take it and bring it into
the water folder. Hit Save. So now let's go test that. But to test, we actually
need to change this one. So something to know
about this one is that this RG and B are x, y, and z as well. For example, or x is x, g is y, and B z as well. They are vector. Now
the thing that we're going to manipulate is
in the z direction. So we need to go to B. And because this is
going to subtract from, so now I'm going to add n. Now you say this
has been displaced ten units and bringing
all of these as well. And when you try to paint more, whenever you're trying to paint, it tries to displace the
geometry as well, okay? Just like this one, very
cool effect looks like the water has
eroded these parts. And even if we go try to play, you see that we are seeing true displacement
in here happening. Okay? This is great as well. The ability to be able to change the surface of the material. I just change the color
to something like this because I feel like
this is more beautiful. So let's go and take
this one as well. I'm gonna go for
paint and try to displace the geometry
on this part as well. Now you see. We no longer are able to see these intersect
with each other. So this is very good. You can go on trying to
remove the paint as well. You see the geometry
tries to come back just like this one. And it's a very cool effect. Now, the next thing that
we're going to do is actually taking the base color, the watercolor, and making
it richer just a bit. And to do that, we're
going to bring in another lobe and
that is recolor. This one instead of two colors, it blurbs three colors. For the Alpha, I'm going
to bring this alpha. And for the first one, I'm going to bring this. And for the second one, I'm going to bring this
and there's another one. And I'm going to copy this
one and bring it here again. Now let's take this one and
connected and this one, let me make it
watercolor p. Now, let's take this
one and remove it. Now, it's going to learn
the original color. And for the color that we add
is going to use two values. So let's call it save. And let's go and
change the color. We're seeing the result in here. Let's go for this one. You see that now in the middle, it's taking that color
and changing it. So let's cancel. And I'm going to do
that for this one. On the outside. I want
that to be something more just like the color
of the bricks basically, and not be so dark,
just like that one. So let's go and bring this up. Not that much. After some calculations
I came up with this. You can go and basically
change what you want to do. Actually created this and now, let's go do some
more things as well. So the first thing I'm going
to go and remove this, just try to select these ones. I'm gonna go remove every
vertex point data WE added. So now let's go
and add some more. It looks like we have all of the channels turned on and
that is not what I want. So let's go remove
everything and you wanna make sure that you have
only the blue channel. Let's go remove the
green channel as well. And paint only with
this one. Okay? Now it looks like
we need to displace the color just a bit. So we bring up the
material instance. And in here, Let's go take that back to
the original plan. It's good. Let's go make this quiet black. Let's bring this one down. This one is a better watercolor. Now let's go for
vertex point and try to remove some of this data. And it's okay in here, you can go paint as much as you want to create what
you actually want to. So this is okay. Now let's go for this one, for this alloy a kid. And for that I'm going to go in the material tab and actually
take my instance from this. I'm going to take that from it. And let's call it my alley. Because we have set up a lot of different colors for the water and we have this
placement as well. The only thing that you need
to do is actually taking these colors from the textures
that are present here. So this is the base, normal and the mask. So let's go select all of these. And in here I'm gonna
go a 100 score, excuse me, Alley,
which is this one. So now the tiling is okay, and the color that you
have is good as well. So let's go and
bring in the normal and make it more intense
that go from negative five. Now we have a more intense normal and it's
better to look at. So let's go for the tiling and
change the styling to one. And I feel like one
is a better value. Let's go start painting. I'm going for paint and
only paint with blue color. Let's bring the size down and try to paint
in these areas. And then this center
area as well. Just something like this. And let's connect
these two together so that for example,
these are connected. Okay? Let's do some more and bring it all the way to here so
that it follows that shape. Now, this is okay. And I'm happy with it. Let's go do some more in here. In this right side. So again, go to painter
and make sure we're only painting with blue.
This is okay. And now the only thing that is remaining is the a street kid. And for this one we actually, we're going to have an
intense vertex paint. So I'm gonna go here and pick
up my material from this. So am I underscore street? Now let's try bringing
in the textures. So tiling, I believe
should be one. Let's plug in the textures. So this one, this is the
normal and this is the mask, and that normally
is okay as well. So let's go select all of them. Bringing my underscore
a street, okay. Now the color has changed. Of course we can
go in here and try to make that a bit more neutral. Just like the road
material. This is okay. And in here, I'm going to
bring in the same material, the sidewalk material.
So that's easy. I'm going to bring
that from here. This is the base,
normal and cobblestone. And for the third one as well, I'm going to bring in another
road, which is this one. So color, normal and mask. Now let's go paint some
on these. First things. I'm going to bring in green and start to paint
some of that road in here so that you see some
changes in the color. Actually. Let's go back again. Or he can erase
using this paint. So first, let's go for red
and try to paint some areas. For example, you have
this and this has been removed by the
actual human activity. Just, let's try to paint some areas and try to
be random on these. Okay, Now let's go for green. And using this green as well, I'm going to paint some areas
and later on we will come back and give these a
bit of more definition. Now we have much more
robustness in here. So let's go for blue and try to paint some
waters in here. So something like this, but let's not make that large. So let's go for the
size and bring it down until very small portion. Okay. And this area
we're going to paint, Let's make the paint
continuous example to something like this, okay? Now, I'm happy with it. The only thing that remains is creating the material actually. So let's go to Select and
only select this one and try to fix the
materials for this one. Let's go up. This is it. Let's change the color
to something more saturated and bring the
contrast up only a bit. And now I need to make
them normal, stronger. Not that much. Let's go
four, negative four. Negative three is a good value. And let's go for this one. Let's add a bit of contrast. Okay, hit Okay. Now that I'm looking at it, this is too intense. The information that we have added is too intense
on the street. I can go into mesh paint and try to remove some
of these areas. Let's go for paint. And I can bring all of the
channels and a star to remove. Actually, let's make
the size bigger bit so that it's not so
randomly placed. Something for this one as well. And I'm thinking about not adding the second road material, only adding this cobblestone and main road as
well as some water. So let's go for paint. I'm going to now only
paint with thread. Let's bring in some of that. And you see it's a better value. And let's bring in
some in here as well. Now, let's make it continuous. Then this one is
better, I believe. And for water as well, we can go and make that
a smaller just a bit. Not to make that so intense. Okay, this is good. Now, of course we can
go invest more time and try to build in more
details that you want. And actually, this
lesson is done as well. So this chapter, and congratulations for
finishing this chapter, we learned something about the material creation
and how to use that. In the next one, we try to add a bit of lighting as well as some proper placement to make the environment better. Okay. See you there.
97. Some Scene Corrections: Okay, everybody, congratulations for finishing this scene. But of course, there
are some things that we need to change to make
this scene even better. And now if we look at this, you see that the interior
of the building is empty and we can do something
to fix this one as well. So I have gone ahead
and downloaded some free curtains models
so we can use on these. Of course, I'm not really
actually bringing in some complicated materials
because these are sidewalks. And of course, because
these are downloaded from net under license doesn't allow me to share this with you. I'm going to bring them in here just for the level
design process. So I'm gonna go take this one. And let's go to Viewport. And I'm going to bring
in the curtain model in here and place
it right in here. So let's go and find one of
them that suits this need. So this one isn't simple one. And I'm going to bring
that and use it in here. So of course, the
size is too much. Actually. I can go in here and
I believe that I showed we scale it
sometimes lower. Okay, this is it. And now I'm going to bring it and place it right
in the center. And then we scale it. Some more. Example. Let's try point to. And now from now on, I can take and
bring this one in. And it takes just a bit of experimentation to
get this going. And it Compile and Save to
see the result in here. Of course now you
see the result per. This is going to hide
that effect for us. Okay, I've got
something like this. Let's compile and save. And if you see them
being too bright, is because I have gone ahead and applied the subsurface
on all of them. All of them are
subsurface and two-sided. And because we have
some point lights in here being rendered, this actually affects
them really much. And if I take this
light and delete it, you see now it's no longer getting effected by that light. Okay. Let me go back. And I'm going to take
these lights, all of them. And I have put them
in a folder and I'm going to turn them off. And this one is for it. And of course the color is
too bright for my taste. I can go in the Color and try to bring it down just a bit. Now you see it's a lot better. Of course, they can create different materials
for different parts, and maybe we do that, but this is good for now. So let's go for this one. I'm going to take this
blueprint, bring it down. And I'm going to use
this one in here. And of course the pivot is alphabet on this
one, I believe. You have to pay this off. So we need to actually
do something like this. I'm going to rotate
that 180 degrees, excuse me, 90 degrees and
then try to place it in here. So I'm going to pause
the video and get back to you when
it's done abroad, descend and Compile and Save. And this is the result
that you're getting. I'm happy with it.
Now for these ones. Of course before that, let's go and do something for
this one as well. So I'm going to create new
Blueprint Class actor, or let's call Convert
Selection to Blueprint class and make that actor. So that when I turn this
off, this actually disables. So now I'm going to bring in a curtain mole and place
it here so that there's no visible interviewer problem though abroad this
in here as well. This is the result that you
are getting. So let's go. I'm going to find material, actually this one,
and it's here. So create a material instance. I'm going to drag this
material instance on top of what we have
here on both of them. So I'm gonna go here and bring this one down so that it's
a more neutral color. So hit Save. And let's go for
subsurface color as well and bring that down. Okay, now you see that better
form happening in here. And I'm actually liking this
form. It's really good. Okay? Now, everything in
here is more prominent. So now, now that we go back, we're able to see these, but there are some changes
that need to be made. For example, I'm going
to go find this one. And of course for
the curtain and find materials. And
that is this one. Again, I'm going to create a
material instance from it. Let's call it just
something random. And then I'm gonna go back and apply the materials on these. So let me go in here on
the material and I'm going to bring the subsurface
amount down. And I can use, for example, a red color
or basically anything. So I went away with this color. Of course, they can make
variations as well. For example, let me go in here. This is it. Now, I'm not actually going
to do anything with this. I'm going to the details panel. And in this Details panel, Let's find the curtain
model that is here. So I'm gonna go to Content
Browser and select this one. And in this, let me
drag this one up. And in here, I can
assign that much area. Now you see I have
different color in here, and we're totally
good to use that. So let's go and give some more. Just in this way. I'm going
to go Select, and in here, I'm going to select
the curtain model, create a new variation
from this example. Let's make this one red. So something like this. And bring the subsurface down as well so that we
see the color perfectly. Okay, just something like this. And I'm going to, while
having this one selected, I'm going to replace that
with what they have there. So now the color
is too prominent. I'm going to invest
a bit of time to make the colors
actually better. Okay? After some investing some time, I went ahead and change
some of these curtains so that they are
not so repetitive. So the next thing
that I'm going to do is creating something for this. And again, I'm going
to go convert this one into a blueprint
and I'm going to make it harvest so that
everything that we create going to be
replaced on top of this. And there's no need for actually manual
replacement for actor. Now, this is okay. I'm going to bring in a curtain
model and place it here. So let me close
out all of these. And this is the model
that I'm going to bring. Now it's huge. We need to go and make it point to one in all
directions to make it better. So let's bring it. I feel like I can actually
re-scale it in a bit. Let's go in here, make it 0.1 again. Let's go to front view so that we're able to
manipulate that better. So I'm going to take
it and we scale it just a bit and
rotate it as well. But if you want a
bit more freedom, you can go in here and hold
down Shift to be more exact. In this, let's apply
that in Y as well. It compile and save. Now let's go see the results. Okay? This one is good as
well. Very good result. We got there. But
actually there's some empty space in here
which we need to cover. So I'm going to go open this one up and copy these
files from there. Okay, so that I can
close the gaps. Just hit Shift and Control and C to copy and bring that in here. Let me take this one, open it and inherence just
Control V to paste them. And now I can bring
this in here. The only thing that we
need to do is taking these walls and replaced
them to get what we need. So this one needs to be scaled. And this one needs to
be scaled as well. So there's this one as well. Let's go. We scale it, Compile and Save. Now everything
should be alright. Okay. But I feel like for the color of this one,
we can do better. So let me open that. And I'm going to take
an instance from this. And I'm gonna make
this one green, dark green, and bring this one to black so that we have
no subsurface in effect. So I'm going to take this one and open this one up
and apply the material. So it looks like it's not doing. Let's do that manually. So I did that. Now we're getting
different color. Let's copy again, bring
this one in here. And I'm gonna give
this one a red color. This one is okay, but let's make it
less saturated. Okay, Just something like this. And I should have selected
this one and placed it here. Okay, this is alright. And I'm going to
bring this one in. And it's okay. And I'm going to do some
more for these as well. So for the first one, Let's start with this. Convert that to a
blueprint class and go all the way
until you see actor. This is it that may open it up. Then I need to bring in
the curtains in here. And this is what I'm
going to use in here. Let's resize it. Of course, in all
of the directions. So 0.1 in all of the directions. To get the scale right. Now, I'm going to take this, bring it up and resize it
just in this direction. So I'm going to bring
it in front of it. Okay, that is it completed, so Compile and Save. This is it. Of course, I'm going to go take all of the materials and bring the actual color down
a bit, make it darker. So for this one as well. And this one, last one. Okay, I did this one as well. Now, while having
this one selected, Let's go right-click on it
and Bros, okay, this is it. And I'm going to take this and all of these right-click
and replace with this. Now, all of them
have the same thing. Then I can take this
one and go in here. Let's rescale it in y by negative one so
that an inverse stat. And then bring it here
in the mix to use it. After investing some time, I created all of them. And of course now we
can go and create a glass material as well
to place on top of these. And of course there's
a glass material in here which you can utilize. So I'm gonna go select
this one which is here. And I'm going to
bring in a plane. Let's add a plane. And I'm going to just
place this on top of that. So just something like this. And if you are happy with it, you can go into the front
view and start to use that. Though, let's make it bigger. And now in, only in z. Okay, this is it. Now having that selected, let's go and apply the
glass material on it. Now, Compile and Save. Now you see the glass material being applied and adding a
good dimension in the sea. That's a very good one. And now that we have this one, I'm going to copy that
and go to all other ones. I'm placed that as well to
use this on these ones. So that's only a
matter of bringing it, rotating and placing that, see how that works. So you need to place that. N. Lets go. This is it. Okay. You see now
it's really looking finalized this class Mansuri and really gathered a lot
of cool things in the C. Okay, let's go copy this, copy this one instead. And now we're in here. Now it's only the matter
of taking this plane, bringing it, resizing and bring it in the front
of the curtain. Bring it out a bit, just to resize and bring it
in place and hit Save. Okay? Now you see it's really
starting to look like a room. And I'm gonna do the same thing
for all of these as well. Let's go for this
one just selected because this is an
instance, this is a prefab. Everything you do is
going to be applied to all of the instances that you
have played in the scene. And it's a huge time-saver. So now this is good as well. Now, happy with this. Let's go do the rest
of them as well. So in here, Let's place it. And all you need to do
is bringing that here. It looks like we have no
we do not have anything. So I'm going to
check the curtain, bring it back and
bring it in place, and I start to resize
it according to the size of the module. Okay, Compile and Save. Okay, Now you see it
applied on all of these. And there are just
some more remaining. This is the other kids. Now let me take
this, bring it back. I'm going to place this
right on the place. Okay, so easy. And this prefab system
really allows you to do a lot of things that are so repetitious in one-click cell
compile and save, and done. And I can really divide the scene before class
and after class. Adding these glasses
really added a lot of realistic minus into
the environment that we are creating. Let's go for this one as well. Open it. And I'm going to bring the plane and start to
use that on top of this. Just drag it back. And you want to place this in-between the curtains
and the door itself. So save, and now this
is done as well. Now finally, for this one, for this one it's actually
a bit harder because we're going to create a
custom mesh vertices. Because I want the mesh to actually follow this curvature. And after that applied
to that, okay? This is the mesh that we have. Okay? Now I'm gonna
go bring in a plane. This plane is going
to be rotated in this direction and I'm going to actually place it in the mesh. Okay? Now, let's take it. We have a bit of resizing to do. Okay, now I'm going to
apply scale and rotation. And I'm gonna give this a bit of tessellation to work with. So set it to sample and
four is good enough. Let's see how much we have. First things, I'm
going to go on top and bringing the proportional
editing by hitting O. Now let's select this top row and start to move, G to move. And when you bring that, just try to increase that so that you get
something like this. And for this one as well, Let's go take this and
this and try to bring it back with a smaller
circle of radius. Okay, this is good. Now we have created the plane
right-click Shade Smooth. And now, final thing, I need to take this
and remove it. We created the plane. So easy. So let's copy the
name from this one. And I'm going to paste the name and call it window.
And it's done. Now I'm going to export. Of course before that, I'm going to borrow
the pivot from here. So as always, this is the method and now let
me take it and export. I'm going to import that here. This is the mesh that
we're going to use. Okay? I'm not going to make that night have that in
mind. So this is it. I'm selecting that and opening this blueprints,
which is this one. And I'm going to just
take this and drag it in. You see that? Because
the period is right, that has been placed right
on where that we want. So let's apply that glass
material to see how that works. And hit Compile. And now we need to
bring this back a bit because I want to see the see the woods actually be in the middle of
the glass and empty space. So what I'm going to
do is taking this, drag it back until we
get something like this. Okay? Now let's look at them. It's alright, just like the glass has a
sticked to the woods. This was the last layer
of change that we did. And of course there are more
changes if you want to do, for example, copying
these buildings, creating more things with them. You have the knowledge and you have the kid to
start working with. So now what I'm going to do is actually taking
this building and creating something
in here with it so that it doesn't
go into emptiness. We have something to look at. And I've gone ahead and
created a folder structure. You see, this is the allocate. This is the museum kids. Of course, we should place this n. This is the residential kit. And now I'm going
to select these two and move them into
residential kit as well. So now let's go for
residential kit. Now we have these, okay, and let's go for museum as well, because we created these
blueprints just now. They're not in the folders. I created the folders prior to creating these sono problem. Now it's fixed. So Museum and I'm taking
this residential kids. Let me go grab the
contents inside it. And it's until here, hold down shift to select everything. And now I'm going to hold
down Alt and drag it back. It created a building
out of that. So let me see what we have here. Instead of that, let's hit Control and D to duplicate them. Let's drag them back. And there's some problem
that we're going to fix. Let's place this in here and take a bit of time to create some
bank buildings there. Now when people look at that, they're able to see some buildings there
and it's not empty. So it looks like this
needs to be fixed. Let's go to local and place it right
where it needs to be. So now when people look at that, we have some buildings,
they're pretty cool. So now I'm going to take the contents of
this one as well, Control and D. And I'm
bringing this one back. But since we only are
able to see this content, I'm going to drag this
just like this one. And I'm going to replace
some walls with it. So what I'm going to do is
taking this, bring it back. I'm going to create
something with this, just like this one. And now I'm gonna take this and while being
in the local mode, I'm going to drag
it out, rotate it. It looks like I need to
take that back just a bit. Okay, this is it. And now I'm going to replace
it with the tiling wall, which is this one. So let's go and apply that. Now abroad this n. And I'm going to take these
two and duplicate them. And now I'm going to take all and rotate them so that I placed them in the wall instead. Okay. Now let's go and see that. You see, now we're getting
a cool result there. And everywhere we look,
we have buildings. It looks like this
is a backyard. And basically whatever
story you can think of. Okay, I can finally declared
this lesson finished. And you see how
adding these details really take their environment
into the next level. And in the next
one, we will start actually lighting the scene. Okay. See you there.
98. Lighting and Post Process: Okay, everybody,
congratulations for finishing this environment will learn
a lot in this course. And now it's finally
time to light it. And the same can be really broken or improved
by the lighting. And there's a saying among
lighting artist that I say lighting can make
or break your scene. And that is how important
the lighting is. Good lighting can really push up a medium level to a AAA level. Kind of bad lighting can
really hit and destroy a AAA level to a PS1,
their work environment. So now we're going to start lighting and we're
going to use lumen. The lumen is actually the global illumination that was introduced inside
Unreal Engine five. And it's a new technique
and you can use it. Of course, if you
started this project by Unreal Engine five by default,
the luminous activated. But if you upgraded the project from you E4 and there are some things that
you need to know. And that includes going
into this engine. Of course, bring the
Project Settings, go to this engine. And here you have
the rendering tab. And you want to scroll
down until you see it. Global illumination
that should be set to lumen and reflection
method to luminous world. And by activating them, it will activate the generate mesh distance field as well. And if you're gonna
use ray tracing also, he want us support for
real hardware ray tracing, as well as use hardware ray
tracing when available. Okay, using this term, you are able to light
the scene with lumen. And the first thing, let's
bring in a post-process. I'm gonna go in here and
in the volume or in here, just search for post-process. This post-process, as
the name suggests, as after you do all of the things and light your scene and then
finished lighting, you can use the post-process to add some finishing touches. But now I'm going to bring
that and do something and that is checking the exposure
to be in a good value. So we go in here and
this post-process, dan, you wanna go scroll down until you see this enable
an infinite extent. And when you check this, no matter if you're outside of the post-process volume also,
it's going to take effect, but if the activated
you want to take the post-process volume and scale it enough to encompass
the whole environment. So this little checkbox helps you a lot of
headaches away. So you want to scroll until
you see this exposure. And in here, there
are two settings. I'm not going to do with these, just for mean brightness, set it to one and
format max brightness as well, sorry to one. And this disables the
eye adaptation effect. When you look at the
dark side hand and turn your head away towards
the sky or somewhere bright. Some adaptation effect happens. So now you see, let me
go into the dark room. And then if I go back, you see the scene
gradually bloom up. And when I go from light
place to a darker one, you see it gradually blows up. Then I do not want to cities. So we go in here and for mean brightness and max
brightness as set this one, all of them to one so that it disables and we do
not see that, of course, we have a consistent exposure throughout the whole
scene as well. Then in this exposure
component also, we have something to control the amount of global
illumination in the scene. For example, in
these areas that are not directly lit by the sun, it's totally pitch black. And you can increase
this or decrease that to increase the amounts of lumen contribution
into the scene. So he's using this one along so good the
directional light, you can add a lot of
light in the scene. And of course for now, I'm keeping that at one so to
see what happens later on. So now everything in
here is in the dark site and we're not
really seeing a lot of those shapes
that we have here. You see, although we
have some pillars in here that are extruding out of the surface because this is not placed in the light
and all in shadow, we're not seeing
those fine forms. So now I'm gonna
go check this one. Then you have one option that is holding control and l, right? Control and L. And then drag the light to test the different lighting
situations in the scene and they totally reflect
the way you want it. And it's a matter of
testing to see what happens in the scene and what shape do you like
the scene to have? For example, now the scene is having more shapes to
it and you're able to see the forms and
gets them a lot better than having them
all in the shadows. Now, I'm going to
experiment with it a bit. Change this around,
change this widget around in all axes to
see what I come up with. And it's a matter of
personal preference. You can light your
scene in another way. So the only thing that I'm
going to do is going in here, you can either go hold
down control and l, use this widget to light the scene or turn
this one around. And this is going to
do the same thing. You just look at the point that this one
is pointing towards. And if I bring in control
and L and drag it, you see that is moving with it. And it means that these
two are bound together. Turn this, that is
going to turn as well. Next one, you can
go in here and try to use this rotation instead. So that is your choice. Now, I'm gonna go
and rotate this to find a light angle that I
like and get back to you. After some experimentation. I came up with this. And using this one,
you see we have a bit of separation
in these forums. And also in here
we have something, the lightness going
into this shadow, which creates a good effect. So now to determine
on the color, you can go and either
use temperature. You can either use
this temperature or by the light color. And for light color, you never want to go to
something like this. This is not actually
what happens on Earth. Of course, if you're
going to create something sci-fi or those kinds of things. So you can go with this method. But before going for
the light color, I really recommend you
to stay in-between these areas and not go
too much on these edges. So the next thing is
actually using temperature, and this gives you
a blend between the cool color and light color. And actually depends
on what actually type of scene here
are going to create. And of course, I've
decided that I really do not want to
touch this at all. Let's come in here
for light intensity. I'm going to bring it down. The scene is blooming too much. Then this one is a better value. And for now, I'm
not actually doing anything with the
directional light. And now let's go for
exponential height value. And I'm going to
bring this down. And you want to come in here and proceed to activate
the volumetric fog. And this takes the
fog and makes it volumetric and it blends
better with the environment. So let's deactivate this. And in here now, we can go in here and in the
fog intensity, you can really crank
this up to a value. And again, this is
personal preference and the fog is actually
clamped to 0.05. But if you want to go more, you can actually go to anything that you like depending on
the type of environment. So normally I stay
with something like this or a little bit better. And you can check to
see before and after, and you see how much depth
it adds in the scene. And then we have this
bug bite fall off. And it can really help you to determine the starting
point for the height fog. And you see this is the height fog has
been placed in here. And just remember what
happens when I bring this up. You see, when I bring this up, the fog gets denser
in these places. This is actually
the ground plane. And normally fog in the ground level has
the most density. And the moment that you go
up the density decreases. So one way to get more fog in the ground
level is actually taking this and offsetting a bit to the top so that you get
a lot of fog in here, although we have not added a lot of fog in
this fog density. So in order to make
this one a bit better, I decided to move this down so that we're not getting
a lot of fog in here. And using this height pull off, you can actually take this value and clamp it to a
number that you want. This is basically what it does. And of course you can have the second fog data and increase a bit of more
fog in the scene. Just something like this. Okay. And then in the
skylight as well, you want to make sure that
it's set to real-time capture. And of course, have the sky atmosphere in the scene as well. Because I believe
it's not going to work without this
guy atmosphere. And to bring in this atmosphere, if you do not have, it's simply go into this visual effects. And this is the sky atmosphere. And that is actually
what it makes us unable to do
something like this. You holding down Control and L, Let's go back to where we were. And in the skylight, there's an important setting
and that is Intensity Scale. And this intensity
scale is actually working in the places
that are indirectly lead. For example, these whole
building is now directly lit. But there are some
places that are not actually directly at it, just like in these shadows. And if we crank this up here, getting more in these areas, for a lot of times you do
not want to go too far from one in positive or
negative directions, and you want to stay in-between. Similar ranges to stay PBR, true enters in direct
lighting intensity as well, which adds a bit of more
lighting in those areas. Then we have the
light color as well, which is responsible for creating the color in
this shadowed areas. For example, if I turn that
to something like this, you see the color in the
shadow places changes. So we do not want that. But it's good to know that there's something like
this that you can imagine. Now, let's go to post-process. And I feel like we have added a good
lighting in the scene, but post-process can
even take this further. So let's go and see the changes. The first thing is bloom and not actually doing
anything to bloom actually makes the lighter
areas Bloom really. If you take a look at the sun
and increase it, you see. This bloom happens and you're
seeing something like this, which is not
actually so natural. So I'm not going to actually touch the blue and
the exposure as well. We have talked about it and then we have chromatic aberration. And this one create a circle in the scene and offsets the
image based on that circle. And if I do that, you see the effect
that it's happening. But of course, for having
a natural environment, this is not actually
recommended. But if you're going
to create something like a horror game
or a game based on old errors where
there were a bit of actual chromatic
aberration in the cameras. You can simulate that in here. Then we have the dirt mask
and this mask and gets a black and white image
and gives it to the scene. So if I bring in the intensity, you see that we get this
third mask based on this. And if you change
it, for example, to something like
this, you get this. If you want to have
some customized things in the scene, he can use that. So I'm not actually
using that as well. So these ones as well are
not something that we use. So now let's go to temperature. And in this one,
using this term, you can bring it down
to make it cooler, or you can bring it
up to make it warmer. And now right away, I'm thinking that the scene has a yellowish tone that
I do not like really. And I'm going to decrease this value to get something like a morning light that is rather neutral and not having that
much yellow in the scene. So let's compare that
before and after. And now you see it takes a
lot of those yellows away, resulting in a more
natural lighting. And I'm actually liking the
effect and actually got some of that away as well
by decreasing this value. And now we can see
the before and after. And I'm actually
liking this one more. And you can go into directional light and add a
bit more intensity as well. For example,
bringing this one to eight will result in
having more light, but I do not like that. Let's place it in here. And the light you see has
an emphasis on the forms. And in here we have a lot of the forms distinguished
from each other. So again, let's go
to post-process. And then in here we
have the tint as well, which you can bring into 20
are seen to your liking. This one goes towards
the warmer color, and this one goes to
the cooler colors. Of course was something neutral. He really do not want
to touch this or a bit. The slight change
so that it doesn't break the realistic
NUS of the scene. So I'm not actually doing that. And one of the most
important ones is this global in the
color grading tab. In here we have global shadows, mid tones and highlights. This global is going to change
everything as one piece. For example, if
you go and change the saturation to
something like this, you see it changes the
whole scene together. And it's going to change
all of that together. And then closing this one, closing this global,
we have the shadows. And the shadows is responsible for darker
areas of the scene. And it totally ignores everything but the shadow
areas, for example, let's go in here and I'm going to add a bit of
contrast to the shadows. If I start to
increase the shadows, you see only the areas that
are darker get manipulated. So you see that this global is actually
for the whole scene. This shadow is for darker areas. This mid shadow. Let's again increase that. This is good for places
which are not totally door and not totally
bright, basically midtones. And this highlight is
for places that are exposed more towards the
sun, basically whiter areas. Let's go in here,
bringing the contrast. And you see in these
lighter areas where our pure white, we're
getting changes. So normally you want to
stick to the global for changes and some of these if you're going
to actually change. So let's go and revert these to the default and see
what we are going to change. I'm going to change the
saturation to add a bit of more blue light or blue
tints in the scene. Then if you actually want, you can increase this value
to get something more. Now I'm going to experiment
a bit to find a good value that works with my
taste. Okay, this is it. And now I'm going to bring
this one up until here. Now we have the
contrast as well. A lot of times I add some
contrast in the scene to have a differentiation between the black and whites
in the scene. And if I, if I increase that DC, we get darker in the
darker areas and brighter and brighter areas. I always put a value from 1.11.2 or 1.25 based on
actually what you need. So this one, let's go for 1. And it's okay. Then this gamma as well can make this even
darker or lighter. For example, you can add
more and based on a color. Again, I'm going to go find the value that I like and
then get back to you. When it's done. This is it. I added a bit of a slight
blue with a slight number. Then we have this gain as well, which is responsible for manipulating the
luminance as well. You can bring it down to
make the image darker, or may bring it up to really add a lot of
gain in the scene. So you can go select a value and based on that dark in the scene
or brighten the scene. And again, I'm going
to experiment a bit. This is the result. Now that I'm looking at this, the shadow parts are too dark. Now you already know that for manipulating the shadows only we can go in this shadow tubs
that we checked previously. And to make them a bit brighter, to have some more
light in these areas, we can go to the
gain, for example. And bringing the
gain just a bit. And you see it adds more
lighting in this shadowed areas. Okay. It's okay up until now. And I'm looking at
different angles to see which one is good. And I created some bookmarks to check the different
lighting situations. To create a bookmark, you can go, for example, hold down Control and two, and it creates a
bookmark for you. Whenever you go back, just hold to it, brings it back to you in the same place that
you hit the bookmark. So now let's go
and believed that I'm not actually going to
change anything in these areas. So let's close this out
and then this makes misc, we have color grading
look-up table, and Unreal Engine has some
default lookup tables. You can search for LUT to
bring these lookup tables and these will alter the colors
to some colors else. For example, you can see that this actually changes the
color to something else. And it's just like shifting the colors around to give
them different values. And there are different
colors that you can use. For example, this is
daytime, this is morning. And this adds more
balloon the scene and good for night scenes. But I'm going to
use that daytime, which actually what
I'm going for, rather neutral lighting
without having a lot of yellows that we
are seeing in the scene. And then we have this film, which are actually
tell you not to change them unless you
have a strong reason to. Their good for adding contrast. Blacks and whites in the scene. And then the Global
Illumination method is already set to lumen. Lumen global illumination. He can turn on these
studies and for Lumen, scene lighting quality,
you can drag them up. And this lumen final gather quality is a
good one as well, although it's kept to two. But you can go for, for ten, 20, or basically
whatever value that you want. And it's going to improve a bit of lighting
quality in the scene. Then we have the
reflections as well. And this one also you
can set to lumen. And for quality, you
can match it up to ten, for example, it's going to
make the reflections better. And for ray lighting mode, you can set it to hit
lighting reflection. It's better for quality but decreases a bit of performance. So I feel like this is enough
for lighting the scene. Of course, you can go further. I just wanted to have a
separation in-between the values to separate the
forums from each other, and to add a bit of lighting. And if you see some
places are dark, you can use fill lights to add a bit of more
lighting in the scene. And fill lights are actually Bakelite study
replace for example, we can bring in a
point light and drag it in here in this
area to load it a bit more. But make sure that you go and change the intensity to
something really lower. Add only a bit of the
lighting, for example, let's go and check
this before and after you see it adds a bit of more balanced
lighting there. And this is a technique to darken or lighten some of
the areas of your scene. And actually, I'm happy
with this lighting. He can go invest more. He can go and change the lighting direction to
totally get a new mood. You're basically free to do
a lot of experimentations, to see what you come up with. And you see how this change of lighting actually changes
the whole mood of the scene. But I'm happy with this one. And now I'm going to stop this. And in the next one Who will add some cameras and
things like that. So that if you're going to
take some screenshots here, are able to see you there.
99. Camera Placement: Okay, everybody, we finally
finished the scene. And of course you can
go and invest more time in it to add more lighting, different lighting
situations and basically those kinds of things. And for a good lighting, you
can bring in some references and try to light your scene
based on those references. And if you have consistent
reference package, you can actually
light the scene a lot better than lighting
that from the mind. And references are a good one to guide you through
the journey. Now, who created the scene? Created materials,
light the scene, post-process and those
kinds of things. Now to add the final one, we're going to go and bring in some cameras so that
you are able to take some screenshots
for post posting on a portfolio and those kinds of things for bringing
in the camera. You can either go in here
and in the cinematics, you can bring in
cinematic camera, actor or another way he's
actually going in here. And it, based on the
view that you're in, it's going to create a
camera in that view. But if you bring in
a camera from here, you must bring it and
then try to bring it up to a rotation to find
the angle that you want. Or you see the thumbnail
of the camera in here. But another way that
is faster a bit, he can go find the
angle that you like. And in here, just create a camera in here,
cinematic camera actor. And it places the camera right
where you were looking at. And then to make the camera
or even more better, you can go in this viewport and bring this viewport up
and take the camera, right-click and
pilot the camera. And this is the result
that you're getting. But I do not like
the lens in here. So we can go into this camera than try to
change some settings. One is current aperture, Bring it out so that you see
better quality in there. And one more is
going into this film setting and try to change soda, we get those horizontal bars. So I'm gonna go in here in the Details panel,
bring this one up, and I'm going to lock that
soda no matter what we do, this setting is always there. So I'm going to bring this up and bring this
one up as well. So now let's go change the
camera settings a bit. Now you see we have these
horizontal bars as well. But for the second one, let's go and increase this one. Something like this. I really like this
cinematic bars. They add a cinematic
feel to the shot. And you can experiment a bit to find a lens
that you like. For example, bringing
this one down a bit, and then decreasing
this one as well. To add that feeling, Let's drag this one back and
remove this one as well, so that we're not seeing a
lot of those empty areas. So this is a personal choice. And now you see that
we have an angle in here than the lighting shadow. Everything is working alright? And of course, the
camera also has some post-process settings that are only bound to that camera, not the whole thing. And you can find that by scrolling here and
to the post-process. And these are the settings
that you can use to change it. For example, for color grading. If I change it, it's only going to change
based on that camera. And if I go out of the
camera, it's gone. So when you go to this camera, it enables that is per camera, you can start to use. If you're going to
bring in more cameras, you can go to the
angle that you like, for example here, and try
to bring camera in here. But if you are happy with the
lens settings of this one, you can take hold down Alt and drag this one out
to create a new camera. Then you can go in here, pilot, and find the
angle that you like. Paste it there and go back. So you have another camera to take a screenshot
so you can go pilot the camera and it's better to
go using this full window, using this one actually. So let's go and try to
bring that camera pilot. And now you have this. And now we can take a
screenshot from here. So for taking a screenshot, you go in here and high
resolution screenshot. And then you can bring
in the resolution up. Of course, this
one's more resources and then hit capture. And if you put it to
something like two, it's going to take
a lot to render. And if you go to three or four, it's going to break, maybe depending
on the complexity than the strength
of your machine. So you hit capture, it's going to save
you out there. And then this is the result
that you're getting. And there's one more
setting that you can use to boost up the quality
for some screenshots. And that is the
screen percentage and the default is a 100. So now we are below the average
the screen as percentage. If you go to a 100. Now, this is the default
screen percentage, but if you are going to go
higher for some screenshots, you can go to 2ND and it
sharpens the image a bit more. Now let me go and take
another screenshot this time with a screen
percentage set to 200. And this is double the
size and it's going to even be heavier for performance. So make sure that you use it wisely or otherwise
Unreal Engine will break. So this is with 75 per cent, which is actually
below the average. And this is with 200 per cent. And it just like adding a sharp and effect
inside substance, it's going to sharpen everything up to get a crisper image. So now that you know about camera placement
and things like that, I'm going to pause the scene
and get back to you with more camera content while
hours of the camera, or created some cameras to take the shots from
different angles. And again, target the screenshot based on those
settings that we had. And this is the result
that we are getting. Of course, I went
ahead and added this horizontal black bar
to make it more cinematic. Although it's included
in the camera in unreal. But when you export it, you must manually place
it are created at ten ADP image and then pasted them in and added this
black bar on top of them. So this is the result. This is the first image, and then the rest of
the images that I took using that this is a
overview of the scene. And actually we created
what else we got through to create this
modular buildings. Set. This one with the
focus on the alley. This one going from the residential all the
way to a museum. And this one for the top. This one again, having a
concentration on the alley. Of course we could
go and improve this tiling texture by
adding some vertex blending. So that's your choice to do
basically what you want. So I took screenshots and you have the cameras
available to you. And of course I'm sharing
this screen with you. And the only thing
that you're not getting is this
curtain files because these were downloaded
for free and I'm not actually allowed to
share them with you. So this was it. This chapter is
finished as well. And I'll see you
in the next video.
100. Thank You: Okay, everybody, congratulations for finishing this course. And this is the final video. And we're going to recap on what we learned in this course. We went over the modular
theory and then after that we blocked out the scene to make sure that
everything is alright. Any see that those
blackouts now turned into AAA prompts that can be
used for creating a game. And they work in conjunction
together very well. As throughout the course, we face some problems, solve those problems together, and basically learned
a lot of more things. This was a great
journey for myself, enjoyed a lot creating this environment and hope
you did that as well. Learned a thing or
two from this course, we'll learn how to create
modularity for geometry, for materials and how to reuse as much possible as the
data that we have already. For example, instead of going and creating a new
brake material, we went and alter this red brick into
something new in Substance. Designer, we created
material functions so that we can
duplicate them around, use them in project when we create different new materials, instead of going and
creating them from scratch. We created vertex
planned for this, created a lot of nice
details and so on. And now you're equipped
with the knowledge to continue your journey
making modular environments. Now I hope that you have
enjoyed that as well. We had a great time learning
this and god bless goodbye.
Nexttut, A Specialist in CG Tutorials
