Creating a Hall Clock in Blender and Substance Painter

1. Introduction to Class: Hello everyone and welcome to this new course. In this course, we will go over the entire process of creating a whole clock using blender and substance painter. From start to finish, we will go over the complete pipeline of creating a high quality realistic prop. Starting with modeling the prop in blender, texturing in substance painter, and finally, lighting and rendering a portfolio piece back in blender. This course will help you improve your three D prop modeling and texturing skills massively as we go through each and every step together and learn many different techniques. After finishing the course, you would easily be able to create the renders shown in the trailer and create high quality props of your own. This course has 4 hours of content and we will go over each and every step in this course together, and nothing will be skipped. The course does not have any kind of time lap, so that you can follow every step easily. We will start by modeling the prop in blender and learn about various modeling techniques, and also learn a lot about different modifiers. After finishing the modeling, we will apply all the modifiers and we unwrap our model for export. We will import our model into substance painter. To start with the texturing process, we will start by baking the mesh maps for our model. We will learn to create high quality and realistic materials and the key features of substance painter like smart masks, generators, smart materials, et cetera. At last, we will take our models back to blender and render them. We will set up the material, lighting and the cameras and learn how to use HDRIs to light up our scenes. We will finish the course by taking a portfolio Radi render and a little bit of Photoshop editing. This course is for everyone who has a basic understanding of blender and substance painter and wants to upgrade their skills. So I hope to see you there in the course. Thank you. 2. Creating the Base Shape: Hello and welcome guys to this new tutorial pay. We will be creating a hall clock or also known as a grandfather clock in blender and substance painter. Here I have opened up a new blend file. You can just click on General Area with a new blend file. I will just press quickly a and then press delete to delete everything over here in our scene. Also, I will turn on my screen cast keys that you can just see all the shortcuts that I'm performing over here in the bottom left corner. As you can see, if I press all the shortcuts and also the mouse clicks are being repeated over here, that makes it a little bit easier to follow. All right, in this very first lecture, we will just directly start modeling of our oil clock. If you will go over in the course files over here in these folders, you will find the reference images folder. And we have these two reference images, the front and the side, which are basically created by myself only. We will bring them into Blender and start working. Press one for the front view. All these views are different orthographic views to help you better in working. You can see over here, currently we are in the user perspective mode, but if you press one on a number pad, it is the front view, three is for right view, seven is for top, and nine is for bottom. All right, for the front, I will press one first shift and go over to Image and add a reference image. Then just select the folder in which I have both my images and select the front image over here. Like this, you can select pres, then y, lock it on the y axis and move it a little bit behind, just like this. Now you can press three for the right side view. Now I will press Shift and add another reference image. And this time we will add the side reference image. Again, I will select press then X and move it a little bit backwards. All right, we have a simple set up over here. If you press one, then you'll see it from the front side. If you press three, then you will see it from the right side. This way we can work on our model with both of the angles and get everything correct, all the measurements and everything. All right, with this, we can just right away start working. What I will do now is I will just press Shift and add a simple cube. First, let's just scale it down. And first create this bottom piece over here. You can scale it down like this. First, we need to make sure that both our reference images are matching. Now, press three. Yeah, I think they are. You can press Y and scale it up like this. You can just move it around and scale it down to make sure it fits all the corners. Obviously, you don't have to go like exactly by the reference image. If you want to add some things on your own, you can definitely do that. But we will for sure roughly follow it around. Now, press one, just again. Press Nx and scale it up like this. Now press three and make sure everything is matching up perfectly. Yeah, that means our reference images and our model is aligned pretty much correctly. Yeah, let's go ahead. All right, next what we can do is, let's see, let's just create the basic shape first and then we'll work on creating these ridges and everything. Let's add this thing now. I'll just press again, add a cube. Place it over here again, scale it down according to my reference image over here. Press three for the right side view, and select it. And move it over here like this. Press G, then Y, and move it over here in the front. Now I will just show you a nice little trick that you can use the mirror modifier to copy it around. We don't have to duplicate it like this by pressing shift pre. Just select go to modifier, Add a mirror modifier. You will notice that nothing really happens because currently we want this object to be mirrored according to this object, because we want it like all four sides of this object. What we will do now is we will select the mirror object as this thing. Select this object, and in the mirror modifier, select this piece. Now you will see it is mirroring up perfectly on the x axis, on the y axis, and on the as well. We don't want it over here at the top. Remove the Z axis. Then you can see if you select it and move it around, all of them would be affected. Let's press one. And now we can shift and add the larger cube over here. That is at the top. Scale it up. Press three for the right side view. And sorry, this press then, uh, just a second press then Y, I think. And scale it down like this. T here, just like that. We are looking pretty good over here. Next thing that I want to do is obviously we have this curved shaped over here at the top. Okay, just a second. I'll have to scale it down a little bit more on the x axis like this, just so it fits these lines. Yeah, that's pretty good. As I was saying, we have this curved shape over here, but I won't be adding it right now because we have to add like a lot of edge loops like this. If you press control R, you can add edge loops very easily across your model. If we give this shape right now, I will just quickly show you how we can give this shape. You can just select press control and add edge loop in the center. Right click, and we will have something like this. And then you can just move both of these edges down. Move this a little bit up. Also make sure your x ray is enabled. That way you will be able to select all the vertices. But I'm just showing you right now, I'm not really doing it. Then you can just select this edge tens control like this. And if you scroll it to increase the number of edges, you can see you can smoothen it out. As you can see, it is not perfect, so you can just move it up a little bit more and it takes a little bit of like tries to get it perfect. We can just give it a shape like this and select it all and move it upwards. Now it is pretty good, but as I said, as soon as you like add this shape, it would be like really difficult to add these edge loops. As you can see now, they won't go around the entire object this way. They will, but around here they cannot, because we have a weird Ene in between. We will add this shape at the last, I think when we have created all our live ridges and all these windows that we have to create in our main object, this is what I was getting at. I will just undo everything and keep it just like that. All right, first we can start by creating this small piece All, let's go with the smallest. Let's create this one first. This one is really easy. You just need to add edge loops wherever you feel like there is like a shape change. If you want to put it that way, then you can just select that particular loop and scale it down. Like this press to scale down. Now you can place one over here. Again, scale it down. I think we cannot really see it properly, but we have something like this over here. Obviously. Again, as I said, we don't need to follow what I say, the reference images exactly. We can give them a little bit shapes on our own. We can just select this face at the bottom. Press to insert this, then press to extrude it downwards. Yeah, as I said, you can create any of the shapes on your own. Then you can select shade, smooth this. And the shading will go all weird to smooth from over here in the object data properties. And then it will have nice shading. One more thing that we can do is to improve the visibility of the edges that I like to do with my projects. Go over here and enable cavity and shadow. Just make everything look a little bit better and easier to look at this way, everything looks a little bit nicer. You can just enable these two things. Also, if you want, we can select this go into modifier and add a Bevel modifier as well. You can see the Bevel modifier will smoothen it out a little bit. If you want to add that, you can definitely go ahead with it. Enable harder normals. As soon as you see if you disable harder normals, the shading is a little bit weird. When you enable it, things look a little bit better. You can increase the segments, but I will keep it at one only. If you want to select the complete loop, you can hold Alt and select the loop. You can see if you scale it down, you can create these small edges. All right, I think I'm pretty happy with this small shape. Before we actually proceed, let's just quickly save our blend control. Plus in the blender files folder, I will just save this as. Let's save it as a block. Yeah, let's move ahead. I will select this. Now, one more thing that I want to mention before we actually start working is whenever you like change the scale of the objects like this or like anything, Whenever we change the scale, make sure to always press control and apply the scale just like this. I will just quickly do it for all three objects. Select press control, and apply the scale. I've explained this in a lot of my tutorials, but let me just quickly demonstrate by an example that why we have to do this. I will quickly add two cubes. You don't have to do this, I'm just showing this for demonstration purposes. I will press and X and scale them on the x axis by three. You can type in three on your number path. They will be scaled just like this, just so that they are both scaled exactly equal. Now, both of them are scaled on the x axis by three times. And I will apply the scale for this one, and I won't apply the scale for this one. This one has the scale applied and this one does not. Now when I select this one, the one that does not have the scale applied and try to bevel it to bevel any of the edges. You can select them like this by holding shift, then risk control will be to bevel it out like this. Let's select all of them then risk control and I will bevel it out like this. You will notice that the bevel looks really weird. It looks as if it is stretched out. I will select this one and you'll immediately notice the difference. Select it all the rest control and bevel it out. You can see that the pebble is like much more uniform over here because we applied the scale for this and we did not apply the scale for this over here. Yeah, that's why I wanted to mention, anytime you do any of these scaling operations, make sure to apply the scale because if you do not like, everything will look a little bit. We had the pebble extrude in set, all these commands, this things a little bit skewed, so I will move it over here. Now let's come over to this piece again. As I said, to create these ridges, you can just keep on pressing control R and add like a bunch of different loops. It does not really have to be accurate. You can just add the many where, then just hold Alt and select them. We can scale this one up. Make sure to always select them all. It is not being selected for some reason. You can just select it like this. Hold a, select this loop and scale it inwards. Now add burn edge loop over here. Again, scale it down to have this straight line. You can also snap it to have it like perfect can go over here and enable vertex snapping. Now when you scale it, then you can just press control. You can see it will snap it over here, but it's not really working right now. Press the, lock it on the x axis like this. Then hold control. And you can see it will snap them perfectly. If it is not working, make sure to go over here and enable scale so that it affects the scale as well. Then it will start to work. Now let's hold again, select this, we can add one more loop over here and scale it down, just like that. Add one over here. Scale it up. Yeah, this is pretty much it. As you can see, we have created like a nice looking shape. Hit right click, shade smooth, enable or to smooth. Yeah, that's pretty good. All right, let's create these things. Now, over here, the faces, there are multiple ways to create this. You can either like press control R and add like edge loops this way and just place them exactly. According to the edges in the reference image. Like this. The other way would be to just simply press three for the face, select, select this face, press one for the front view, enable x ray, and then just press to insert this. You can insert this face like this, then scale it according to the reference image. Very simple. Both these ways are totally up to you how you want to do them. One more thing that I want to do before I actually create this thing is that you will notice that if you press three and enable x ray, this thing is also present over here on the front as well and on the sides. Instead of creating like two times over here and over here, we can just simply, again, use a mirror modifier for this as well. How we are going to do that, The way we can use mirror modifier for this one is just select it. Press Tab, press control R, and add edge loop right in the center. Like this, hit right so that the edge loop is exactly in the center. Then press one, enable x ray. You can just select everything over here on the right side. Then press x and delete it, just so we have exactly half of the object left. Just like this. Then you can come in the modifiers and add a mirror. As soon as you do that, you can see simply, we have a mirror modifier working perfectly. Now, whatever you do over here on this face, it will automatically happen over here as well. That's quite handy in my opinion. Let's press one slash to come out of the isolation mode. I forgot to mention it, but whenever you press like slash unit number pad, you can isolate any of the objects. It is really handy as you can work alone with those objects without any obtrusions. That works a lot better, in my opinion, because sometimes you have a lot of different objects in your scene at those times works really well. What I will now do, I want to have them exactly like in the center. Make sure both of them are perfectly aligned. To do that, what you can do is we can use just a copy location. You select them both. Press control C, you will see the Copy Attributes menu. And if you don't see it, go to Edit Preferences in the add on section. Make sure to search for copy attributes and just enable it. It is quite a handy add on. Make sure to enable it. It is added like by default in printer. Now you can select this, then select this, then press control C and copy location. Now you can see both of them are exactly one place only like the origin is at the same place. Now I will just select it and move it upwards like this. I want to make sure that it is fitting the reference image perfectly. I think it is. If it is not, you can move around the reference image instead of moving them around, because now we have it perfectly in the center. Let's hit Save. I think this is pretty good for the first lecture. And we will continue detailing these pieces in the next lecture adding all these ridges and everything. Thank you watching. I will see you in the next one. 3. Adding Details: Hello and welcome guys. So now let's continue modeling our hall clock. Press one again for the front view. Let's enable x ray. Let's select this piece first. And what I will do now is I will just press control R. And let's add a bunch of edge loops. Press control R, and you can scroll to increase the number of them. Let's add two. Now hit right click to place them at the center. Then you can press the Z and scale them up like this. Now press three for the right side view. Let's add two edge loops over here as well. Again, it right ling and press Y and scale them up this way. All right, Sable, X ray. And let's select this face and select this face at the same time. Now when you press, you can insite it like this. But the thing is if you press one and able X ray, if I try to inst it this way, you will notice it is being insted from all of the corners. And we do not want to inst over here, We just want it on these three sides to turn that off. Just press once and then press, turn the boundary off. And now you can see it is being inserted perfectly how we like. Let's insert this still here. Yeah, yeah, yeah, that's fine. I have selected both of them. I thought I did select this one. Now you can hold Alt. Select this loop, hold shift and Alt. Then select this loop. I will press, if you press to extrude them, you can see it is not really working properly. Hit right click and just undo everything again. Make the selection this time, press Alt plus E, then select extrude faces along normal. This will help you like extrude them perfectly. Now it is pretty good. Let's extrude this still here, you'll see it is being mirrored as well. We do not really need it on the back side. Yeah, over here is fine. Next what I will do is, let's see, I remember this first. I just want you to reduce the height of this a little bit. I think till here is fine. Then you can press Tab, press control, add edge loop like this. And add another edge loop like this. Now just select this loop. First, hold Alt and just bring it out a little bit. Press G, then y, and bring it out like this. Similarly, do the same thing for this. Hold Alt and select the loop again, just bring this out till here. Then I will just again select both of them while holding shift and press control. Bevel them to smoothen this a little bit. To create something like this, I think this looks pretty good. Let's and continue working. Next step is to work on our main piece, that is this top part. Let's start right away. Let's see increase the size of this a little bit. Press Tab, and let's just roughly add a bunch of edge loops. First, we can add one over here. Can add one over here like this on over here as well. Before I actually start working on this, what I will do is I will similarly use the mirror modifier like we did with this piece. But this time, instead of dividing it two pieces, let's just divide it into four. Press control R, add group in the center, right click. It will be divided like this. Then press control and add group like this. Again, hit right click and you'll see it is being divided into four equal parts. Press seven, enable x ray and carefully press one for the Tic. Select and select this side completely x and deleted so that only half of it remains. Now again, press seven for top view and select this side as well and delete it. You can see we precisely have only one fourth of our piece remaining. Now we can add the mirror modifier and just mirror it on the x and y axis. Now it is being divided into four equal parts. We basically only have to work on this one fourth of this and the rest of it would be copied automatically. That is really handy for us. I'm just adding a couple of edge loops that we are going to work with later on. That's add one over here. For now. I think we can add a couple of them over here as well. Let's see if we can just hold select this, scale it up a little bit to bring it out. Now after we have added all the related edge loops, let's just quickly work on these pillars. They're pretty simple to create. Let's just add them first. Add a cylinder, scale it down. What I will do is I will again use the isolation mode. Just select this cylinder and select both of the reference images. Then press now, let's just scale it up accordingly. I think again, I will just quickly use the mirror modifier only after we have scaled it like perfectly. Press control, apply the scale press tab, press control R and add the edge loop right in the center. Y x rays enable you just delete the bottom part like this and just quickly add a mirror modifier on the z axis. I think disable both X and Y and just keep the Z pretty simple. Let's add a couple of edge loops now, like this, three. Let's select these two like face loops, I think this one is a little bit bigger, I feel like. Let's create something like this. Then we can hold three, press three and hold Alt and hold Shift Alt and select these two. And then just press Alt plus X troupe faces along normal shade smooth. This enable A to smooth while this is selected. I will scale them down because I want to reduce the size of both of them individually. Go over here and change the two individual origins. And you will see the difference earlier. It was being like scaled as a single piece only. But if we select individual origins from here, you can see it scales up much better. I don't know, it looks weird. I under all, let's just increase the size of them a little bit first and match the reference image. Let's see, Instead of extruding them out, let's just try scaling them. I will add another. So poker here. Yeah, I think that's much better. I'm just making some small changes to better fit, just the proportions. To scale it along like two axis at once. You can press the press shift and then you can see you can scale it along the x N, Y planes at once. All right. I think that's pretty good. Now, suppress latch to come out of this and select the pillar. And let's try placing it over here is fine, pre three. And move it out over here it is a little bit bigger in terms of the right side view suppress S. Then again, shift scale it down just like this. Very easy. Now let's try to create some like cutting space for it in our. Like main body, we already added all the edge loops. What we need to do is just select it. Let's just select the cylinder first, hide it. And select our main model or object. And select all these faces over here like this. Then what I will do is if you directly extrude them inwards, directly extrude them inwards, you'll see we have this weird face issue that appears over here. We don't really want this face to appear over here. Instead we will go over here in the tool bar menu. You can press to make this appear. Then hold over the extrude tool and select extrude manifold. When you select this tool, you push this in, you'll see it works much, much better and gives us the desired results. Let's press three in eval x ray this time. Don't use the yellow bile. We have already extruded it once. We just press then Y and move it till here. Just like this, you can see the cutout is created on all four corners. Now press old plus H to bring the pillar back. Just try to fit it in. I think this is pretty good. Let's just again select it at a mirror modifier once again. And this time select the mirror object as this. And just copy it on all four axes. This looks pretty good to me. I will press, then shift z and increase the size of this a little bit on the z axis, on the x and y at once. This looks pretty good to me. I'm happy with this. Let's say if you want, you can do more changes to it to the pillar. You can hold Alt, select all these faces. You can press insert them. Press once again to insert them individually. Then let's say I press Alt plus extrude faces along normal to give it some of this shape. Yeah, I will just try and keep it simple. We want? No, I think just this simple look is fine. We can add a bevel modifier to it. Enable harder normals and enable to smooth. Yeah, just make sure it is not really overlapping with anything. Okay, so it is just a little bit. Yeah, now it is perfect. I wish I'll do it. All these things, these are really according to your preference, only just trying to make it fit a little bit better. I think this is fine. Yeah, it is overlapping a little bit over here, so we can move it in the forward direction, but I think it does not matter that much. It looks fine in my opinion. Let's move forward x ray. Let's see, Select the main object. Now what we can create first we can press three for the right side view. Again, enable x ray. And just add a couple of moorish loops over here. Let's add one over here, one over here like this. So that we can create all these insights. Let's save, and yeah, I think this is pretty much it for this lecture. We'll continue detailing our main piece in the next video. Thank you for watching. I will see you in the next one. 4. Adding Some More Details: Hello and welcome guys. So let's continue modeling our object. I'll press one for the front view enable x ray. And let's see, let's start creating these edges over here. So we can just press three for face select. Let's select this face. I'll just make sure quickly to apply the scale of this object. And there you can just press to insert this like this. Then press to turn the powdery off, and we can insert this still here. Then hold all select this loop. Press three to bring this face out like this. That's Select it and also add a Bevel modifier to this. You will notice that the Bevel modifier is not really doing anything right now. You can open up this geometric section and disable clam overlap. Now everything will go like a little bit weird because everything is colliding with each other because we disabled overlap. You can just decrease the amount of this, just make sure that there are no like shading issues and none of the geometries colliding with each other. I think this is pretty good. We can, let's keep it 0.001 For now, enable harden normals and also enable auto smooth. I will go in the edit mode. Press three, select this phase again, I will just press to insert this a little bit and then press to extrude this backwards like this, we can press three, select this phase and just delete it so that we have something like this. This will be the place that where a clock will be there. We will just create the clock later on. For now, let's just keep it this way only. Yeah, let's move further. I will now select this face. Is it over here again? Press Insert this out like this. Let's create another insight for this thing over here like this. Then just hold a select press to extrude it out. Then I will just select this one. Also, press to extrude it a little bit. Yeah, that's pretty good. I'll just move this behind a little bit. That's fine for now. Actually, I think what we can do is we can just select this and press three, and press X. And delete the face over here so that we have it empty like this. The reason for that is one thing that I just now noticed, that we are mirroring it on the backside. Also, we do not really need these things over here, like things we are creating over here on the back side. We'll fix that. Later on, we'll just delete this all from over here and fill out the face normally. Let's just keep it this way, only for now. The reason I deleted this face from over here is because I intend to create like a glass panel over here that would be like through. That's why I deleted this face. Let's move on to the right side. Now press three for the right side. Press tab, enable x ray again, just select this face over here, press to insert this up. Now press to extrude it out like this. Let's select this face again. I and hold select this loop. And now press to, issued it out. Let's create this thing also over here. This time you can select both of these faces. Then press to insert them like this, this loop. Now hold, select this loop. Let's create this inset also first, I think I will just do it. And the better way to do this would be just come out of it first. Yeah, I will just select both of these phases. I will just press to make them into a single phase so you don't have all these edge in between. Just press to fill them out like this. Now we can create the Int properly like this. One for vertice Select. And just make sure to move apart these vertices because when the vertices are like too close to each other, sometimes it causes like issues. I think this is pretty good also then y and move it like this. Yeah, select this loop three for face, select select this loop. Now just extrude out again, select the inside loop, press ex. That's pretty good. I will now select this face, press X and delete the faces to have it like open. Just like this. Now let's create the top part over here. Let's see. First press three for phase select. And we have this thing also over here. So we can select this phase press. It is not really fitting perfectly, but that does not matter. We can just insert it out according to us. Before we create that, let's create this part over here. Let's see, hold all press X and dissolve this edge loop for now. Just so we have these things over here, I will move them down, select this loop, I mean, and press control to level it out, move it upwards. I think the reason control is not working is we first need to apply the mirror modifier. Let's just go ahead and apply the mirror modifier for now when I think the pebble should work. Yeah, now just move it upwards like this. Or we can increase the number of segments in the level. This obviously, as I said, it does not have to fit perfectly, but I think it's pretty accurate. I'm happy with this. I will select this press. All right, so now I will just quickly fix this issue at the back side of our model. What we want is basically we want to make this flat so that it has like a flat back side. It looks a little difficult, but it is not that difficult. I will just show you how we can do that. First what you need to do is whatever you like extruded out of your model, you need to select that. I will select this part. First, Hold a, select this, hold Shift Alt, and select this. And then just press X and make sure to delete the words from over here. Now you will have this isolated part inside over here. So you can just press L over it and it will select it completely the press X and delete all the words. Now it is really simple. We just need to fill out this face. Make sure to select this edge and press two times, and we'll fill it out to make it completely flat. Similarly, you can it over here as well. Just select the areas that you've extruded out. Press X and delete the vertices. Press L to select the inside part that is isolated, press X and delete the vertices. Now again, fill the not like this. You can see how easily we create like a flat back side. That is what we wanted. Select this right click and shade smooth. Make sure to enable or to smooth once again, now we have a smooth top side as well. Select both these edges. You can press two times to move them along the edge like this. I just wanted to make it a little bit smoother slash to come out of the isolation mode. I think we are doing pretty good now. Now as we don't have the mirror modifier, we need to select both of these faces over here at the same time. We can also use mirror modifier once again, but not much of the modeling part is left. I think it's fine. We can do it this way as well. I will just insert it once. Select this loop, Select this loop, shift a, press a plus, extrude faces along normal. We can insert it a little bit more. Now, I will just select the face in the middle. Both of them press in the press extrude, you cannot just directly press. It will be suppress all extrude faces along normal. That's pretty good. Let's create this part over here as well. What we need to do is we just need to select all these faces over here. You can also press to quickly make a selection like this. Then hit right click to come out of that mode. Press inside this, let's inwards, press once again, extrude outwards, Scale it a little bit in. That's pretty good. Now what we have to do for next lecture is let's just hit Safe first. First we have to create this design over here and these designs over here. In the next video, then we can focus on creating the clock part and a little bit of inside piece that will go in here so that we can create like something to show off through the glass panels in our clock. This is pretty much it for this video. Thank you for watching. I will see you in the next one. 5. Creating the Wood Designs : Hello and welcome guys. So let's continue our modeling in this lecture as well. What we will be doing now is I will start by creating this little design over here. What I will do is I will just select this reference image, press on my number pad to isolate it. There is a couple of different ways you can go around creating this thing. First, I will just quickly show you the very simple way to do this. You can just press Shift plus A and first it over here in mesh, single word, add a single word like this. If you don't see the option of adding a single word over here when you press Shift plus A, go to file in Edit references. In the add on section, you can search for extra objects and you can enable both of them. They're pretty handy when you enable them both. You'll find a lot of different options in your Shift plus a menu in the curve, as well as the mesh options. I will just delete this word. Let's just add it once again like this. Right now it is at the center of this object. That's why there are no issues in creating the mirror modifier. But if by chance your Dic is not added at the center of this, what you first need to do is let me show you, let's say if it is over here. If you press Tab into this, you can see you can move around the vertice. But if you come out of the edit mode now the origin is at a different place and the vertice is at a different place. Make sure you not just move it in the edit mode, come out of the edit mode, and then move it around so that the origin moves as well. And place it roughly at the center of this like this. Then what you can do is select Press Tab to go into the edit mode and press to select it. And when you press to extrude out like this, now you can go over here in the modifier section and add a mirror modifier like this. You will see all your actions would be replicated. Another thing, if you want to exactly make sure that it is in the center. There is one more thing that you can do. You can just select this image. Let's say this thing currently, wherever this thing is present. This is the cursor. Your new object will get spawned over here. You can move it around by holding shift and then using your right click, hold shift and right. And you can move it around wherever you see this thing is present. You can add a cube over there. What if it is like placed over here and you want it to add it like exactly at the center over here? You can just select this reference image, press Shift plus, then cursor, select it. Then it will get added over here. Now you can easily add a single word. You will be sure that it is like added in the center of your object, not just this thing. You can select any of the objects that you want. The select them and then press Shift plus cursor. Select it, then the object will get added at the center. All right, let's start by selecting the vertice. And select the image as well that press. Let's come over here. You will notice that the origin point and the vertice are at different locations because I moved it in the edit mode. So you can just go to Object set Origin and origin to geometry. As long as the origin is the center, it is. All right because if the origin is not correct, the mirror modifier won't work properly. That's why we have to make sure that the origin is at the right place. Because whenever you add a mirror modifier, it will work around this origin point only as you can see. If you enable the set access, you can see it gets mirrored around this origin point A. As I was talking about, the easy way to create this, do we call it this design? I'm just pressing again and again, extrude to trace this image out on the reference image. Trace this design out. You will notice that when you come at exactly at the center, these to like overlap each other. Make sure to enable clipping from over here. So that when you come at exactly at the center like this, they will just collide with each other and don't move past like each other. It will stop over here in the center. That works better for us. Now what you need to do is just go over here, let's say. And just move it around. Press G to move it around a little bit, till here. Then press to extrude it out, create the exact shape as it is in the reference image. Let's do that over here as well. This method won't be like perfect. It won't look that good in my opinion. But yeah, it is useful to use this method, just trace it out like this. And then we will use a simple modifier to make it work. Let's just join it like this. And then we can select this, and select this, and then join them. To create this shape, it is roughly accurate. Now the way we can create design out of this is go into modifier section and just simply add a skin modifier. You will see something like this on your screen. Just press Tab to go into the edit mode. Press select everything, then press Control, and you can scale it down like this. You can see you will roughly get this design, let's say if we look at it from this far, you won't see any issues with it. It's pretty good to go and I think we can use it, but if you look closely, there are some issues. We can enable smooth shading from over here so that you don't see any of those weird edges. Also enable to smooth. The main issues that I have with this one is right around the corners. You will see we get this weird shape which is caused by this modifier. Only there is a fix for this. It gets caused by this modifier, like you get these weird corners. You cannot really fix it. If you are okay with this, you can definitely work with this. It looks all right from far away. The benefit of using this method is that it is really quick. You can easily create something good within like minutes. You don't have to do too much with this. You can also adjust the size of individual points. You can select this point, let's say risk control and decrease the size like this if your design demands it. That's what I'm saying. Also, it has like subtle overlapping going on here and there. It won't be that visible. But yeah, it has some flaws. The better way I would say the long and tedious way to do it would be to just trace it out completely. That way it would look like perfectly as you want it to look. Yeah, it would take a little while. I've just deleted that thing. If you want to use it, you can definitely go for it. I'm just going to delete it. I'm going to add a new single word. Let's move it over here. Similarly again, we can add a mirror modifier and start excluding. You will notice that the origin point is over here and the vertice is over here. This time it does not really matter. It does not have to be at the exact location because as long as the origin is at the center, the mirror would work perfectly and there is no issues. We don't want to this time, place the vertices in the center of this because we are going to trace it properly. Place them over the edges like this. Let's just create this thing as well like this. You can take it till here. Then press and make sure to enable clip and then just join them together over here. Let's start now. Now you need to just trace out the entire outline of this design. It won't take that long, but yeah, it is definitely relatively longer than the earlier method. Press the X to lock it on the text axis. We have something like this. Now what I want to do is to create all these inside parts. You cannot raise them directly. You need to just press a and press to fill out this face. To create the complete face over here, Enable x ray press tab to go into the edit mode. And now we will start using the knife tool press for the knife tool and place your point over here first and then just start tracing it out. It's pretty similar to extruding only just trace it out like this. You can hit right click in between, stop the tracing, you can move around your screen to place it around again, perfectly click once again and then you can again start tracing. Don't worry if you like place some of the points incorrectly, it does not matter because you can obviously edit them later on. These will be converted to vertices only. As soon as you press Enter, make sure to create your cutout properly first. Now we will just make one over here and then just join it like this. Then you can hit right as your cutout is now complete. Then just hit Enter to make it permanent. And you will see these are now made on the object itself and converted into vertices. And if you press three, now you can select this face press X and delete it. As you can see, you have created the design partially, very simple. Again press and let's create the small cut out over here. One other thing, if you want to look at all the small little details or settings of any of the tools, you will see them over here at the bottom. For something like knife tool, I don't use much, but if you press, you can lock it in straight lines for all the intricate details of the tools. You can look over here. But let's just continue now to create the cutout Again, join it, hit right click, and then press Enter. Let's remove this face as well. Next, let's create this one over here. You can hit right click and continue from over here. All right, this is done as well. It adjust it a little bit if you want to. I think it's pretty good. Now press three, select this space, press X and delete it. Now the only part left is to create this thing. Let's see, we can press over here, press then click over here, press lock it in. A straight line cards again, click over here, click over here, then press to turn off the straight line. Now let's just continue tracing this curve out. Similarly again, hold, press and bring it here, right click. Click over here, Pain click over here, right click, and press. All right. To make sure these two are exactly in a straight line, what I will do is I will select this, make sure snapping is enabled. Vertex snapping is selected. You don't have to enable it, you just need to press then Z and hold control and hover over this vertice. Now they are perfectly in a straight line. Select all these vertices over here and move it a little bit in like this, That's perfect. Select this face over here, press X and delete. Our design has been created. I think this result is a lot better than the last one. Now press to come out of the isolation mode, let's bring it out over here. To actually see it properly, we first need to plane over here. Let's see how we can do that. I will select this press shift, add a plane rotated by 90 degrees, press R, then X type in 90. This will be actually like a glass pane. Just scale it according to this window over here like this. And bring it out here. Select the design you just created. Also, bring it out. Press tab press to select everything and extrude it like this. Sorry, push it in. This much is pretty good. Right click, shade, smooth, enable or to smooth. Yeah, that's pretty much it. If you want to, like later on control the thickness of this thing, what you can do right now is just undo this instead of like extruding it manually. We can just add a modifier to this solidify modifier this way. The benefit of this is we can control it whenever we want. It is much simpler to add. It works much better. Again, I will shade smooth this and it will smooth. I will set the mode to complex. That's basically it. Let's see if there is something else we have to do. I'm pretty happy with how the design turned out. Let's just quickly select this glass pane. Duplicates, shift to duplicate. Press R, then Z, rotated by 90 degrees once again. And this time bring it out over here. Press three for the right side view. Make sure to just scale it accordingly, it's not visible. Let's just scale it like this. Let's bring this still here. Again, I will select it and add a mirror modifier to this. Obviously, we need to select the mirror object as this, so that it gets exactly mirrored over here. All the glass panes have been added. Select this one, press one, press Shift plus D, and place this one over here. We can move it back. Let's move this one here. Glass pane would be somewhere around here like this. I think this is pretty good. Let's sit safe now. I think this is pretty good for this lecture. In the next lecture also, we will keep on, continue these designs over here at the side of the model. These are pretty similar but a little bit different than the front one. Yeah, you can try creating them on your own. In the next video, we'll be creating them with that modeling would be pretty much do I think. Then the only thing left would be to just create something on the inside of the clock. A bit of the actual clock over here. We won't be like actually creating the clock, we will add that by the textures only. We just need to add a simple cylinder over here. We'll do all that later on. So let's just hit Save and we'll continue in the next lecture. Thank you for watching. 6. Creating Remaining Wood Designs: Hello and welcome guys. So let's continue with the modeling. In this lecture, we will be creating these designs on the side. Select your side reference image, press slash to go into the isolation mode. Let's press three for the right side view. Just press shift and add a single word. I think we are currently in edit mode. Press Tab to come out of it and just move it up over here. Press Tab once again, let's a to select it and just start extruding it like this. Now you can add a mirror modifier. This time as it is on the side, we will be going over the Y axis. Turn off the X axis like this. Let's select this word, place it up over here. Extrude it towards the top, Enable clipping And just join them. Where is it? Yeah, just join them like this, select it and start extruding it over here, then y and make the meet in the centers to lift everything. Press to fill out this face. Now enable x ray. And again we will be using the knife tool to create these cutouts. Suppress K. First let's create this small one. Alright, this is done for the face. Select. Select this face, press X and delete it. Let's press K, and start from over here. Over here, Pz, bring it down till here, Zd once again, turn it off. We didn't really need to press head over here. Turn it off and make them join like this, ten. And let's just quickly fix this up like this. Let's select this and this phase as well. Press and delete them both. Let's create this small space. Enter again to lead this phase. I think this process is pretty simple, but it's quite repetitive. That's why it takes long and it is a little bit boring. Let's just finish this up. Create the straight line to turn it off. Bring it over here again. Bring it up here. And let's just quickly fix this up. Select the need, hold control and snap it like this. Just to make sure they are in a straight line Over here is fine. Select it and delete the faces. All right guys, now the shape is finished. Let's just add a solid modifier to this. Come out of the isolation mode, let's bring it out over here. Make sure to control apply is somewhere around here Like this. Add another mirror modifier. This time this mirror modifier will be used to mirror it. Over here, select this object as the mirror object. As you can see, we have successfully mirrored it. Let's save. And the last design to create is over here on the side. This one. This one is like a small one. Let's just finish this up quickly. Quickly add another single Word tab to come out on the edit mode mobile, up over here. First let's just add a mirror modifier on the Y axis. Select this. Move it up over here. Make sure to enable clipping as well. And now just start extruding to trace it out. Press Select everything to fill out in the face. And again, press K and start cutting to create all these cutouts. Does X and delete the face. Join them. Hit right Clk, Enter and just quickly make sure to have the ministry line like this. Res three, select this Sass eggs and delete it. I'm noticing that this design is not really fitting up perfectly with the reference image. Honestly, it does not matter that much. I think it looks all right. As long as it is symmetrical, I think it does not matter. It is a little bit skewed off of the reference image over here. I think maybe we can fix it up by bringing these in. Yea, I think that's much better. Let's just create this last cutout. Now it enter once again and delete both of these phases. Yeah, our design is pretty much done. Yeah, I think it looks pretty good. Where is it? Over here again, bring it out. Make sure to add the solidify modifier and apply the scale shade smooth This enable auto smooth. Make sure to shade smooth this as well. And also just set the solidify mode to complex. Because I have seen it to work a little bit better than the simple mode. I will add another mirror modifier and select the mirror object. As this our designs are pretty much done. Let's save and look at our model. I think it looks pretty good. We can also add the bevel modifier to them if you want to. You can see it makes the edge a little bit smoother. If you want, you can go ahead with this. Let's just add it, enable harder normals. If you turn it on and off from over here, you can see the difference it creates. I think it makes it look a little bit better. I will go ahead and add the Ble modifier to all of them. Let's select this one as well and add the Beble modifier. Let's reduce the Bebble amount for this one a little bit and make sure to enable harden normals for all of them. Sometimes your Beble modifier might not work correctly and the reason for that is sometimes these vertices are too close to each other, that's why it does not work properly. What you can do in those cases, let's say you just turn off clamp overlap and then control the pebble manually. As you can see, you can do it that way as well. If you increase it a little bit, you'll see all of the problem areas wherever the issues are being created. As I said, vertices are too close to each other, then they can create all these weird shading issues. We're not going to change that, I will just reduce the pebble amount to a very low number so that they don't collide with each other. Let's just disable clamp overlap for all of them and make sure to set the amount to 0.001 just they all have uniform levels, this one already set to 0.001 Now I'm pretty happy with this. Let's just hit Save. I think this is pretty good for this lecture. In the next video, we'll just set up the clock and create something to look over in the inside of the glow through these glass panels. Thank you watching. I'll see in the next one. 7. Creating the Inside Piece: Hello and welcome guys. So let's continue the modeling in this video as well. If you will quickly look over in the reference images fold, you'll find this reference image that I've added. We will be creating something like this to add inside our clock. And these are like a couple of clock hands that we will be modeling. The rest of the clock, we will be just adding through the textures only like all the numbers and the stuff. Just the clock hands we will be modeling. All right, let's start first. What I want to do is if you'll press three and enable x ray, you'll see these small things are also added over here. Let's just quickly add them on our own. I will press Tab, and let's select these two faces over here, and over here as well. Press to insert them like this. Let's insert them once again and extrude them outwards. A little bit old old. Select this loop, shift a, select this loop, extrude them out again, like this, to create some shape. Now if you will, remember, we don't really have the mirror modifier. We might have to do it again over here. But there is like a nice shortcut that we can do without using the mirror body fire as well. I'm noticing that because this is really close, it colliding with each other. What we can do, well, first insert this once and then insert it once again. That they are not really close to each other. Hold, select this, then select this. I think it is still there. What you can do is just add one edge loop like this. And add one over here as well. Now we can select these two faces and insect them all. Now that's pretty good. We don't see any collisions or anything. Yeah. As I was saying, we need to copy them over here. Also, without using the mirror modifier, what you can do is just select this press tab to go into the edit mode, press select Everything. If you will go over here in the mesh section, you will find this symmetrized command. If you select, you will see that over here we have created these things, but they have been copied over here as well. This is like a manual mirror command, but you need to make sure that the axis is correct right now. As this object is placed the wrong, the x axis, we need to copy from the minus x to the plus, because we created things over here on the negative side of the x axis. We need to copy them over here. Make sure to select the direction as minus x plus x. Because if you select something else, like let's say if you selected plus x to minus x, you'll see both of them have disappeared because it is copying from this right side to left side. There was nothing on the right side, that's why there is nothing on the left side as well. But if you select from minus x to plus x, it will appear back. You can also select any of the axes and it will give you totally different results according to them. As you can see, if you select from plus y to minus Y, this thing has disappeared completely from over here. Both of the front and the back are completely flat. And setting it to minus Y, t plus y, you can see both of them have the same thing appearing. Just select minus x, two plus x and we are good to go. All right. Another thing that I noticed was a very small issue. If you look closely over here, you can press the dot on a number pad to focus like this. There is some weird geometry over here. I don't know how these three edges were created, maybe because of the mirror modifier. That's why we have a small shading. It is really simple to fix this. Press two for X select. What we basically want to do is we want to collapse them into a single like this. How you can do this, make sure to select vertex snapping from over here. Press then X to move it around, hold control, and it will exactly snap over here and make them meet all at a single point. Now you will notice that they are overlapping with each other. To fix this overlapping issue, just press A to select everything, press to merge the vertices and merge them by distance. This will collapse all the vertices that are on top of each other into a single one only. You can see now there are no double vertices. All right. The issue is also fixed. It would be over here, also at the back. Do the same thing, just collapse them like this. With the next hold control and snap left together, press a M and by distance you will see removed four vertices. It is also being written over here. Yeah, with this, press one for the front view, press shift, and let's add a new reference image. Let's add this one. Let's place it over here. Only a little bit back now you can press to go into the isolation mode. And let's start creating this. It is fairly easy to create this, I think just press Shift and first add a cylinder, scale this cylinder down. Enable x ray and just try to match it with the reference in it. Yeah, that's pretty good. Shade smooth, this enable auto smooth. Let's just duplicate this. Press X and place it over here. Now to create this cut out would be to press Tab Edit mode. And again we will be using the knife to press, just click outside, then click through this complete loop and clip over here, hit right click it. But you will notice there is one issue, that it is only appearing on this side of the half and not on the back side. Let's undo this. And to fix this issue again, just press to start with the knife to before you actually create the cut, make sure to enable cut through. You will see when you press this, cut through is being toled. Make sure it's turned on and now you can create the cut like this. And I think that should work. Yeah, you can see that created the complete cut. And delete the bottom vertices. Now hold a, select this loop to fill out the face. Again, we can use the mirror modifier and select the mirror object as this. All right, that's perfect. Maybe we need to save it down a little bit. Now again, duplicate this. Place this over here. Press Task, and make sure cut through is set to press. Now again, create the same cut out like this. Delete this portion. Select this loop to fill out the face. We basically have this shape. Now what I will do is make it a little bit more interesting. We can select all these top faces and the bottom ones hold. Shift to select them all, press to insert them, we first make sure to apply the scale. Then we can insert them like this. Press all extrude faces along normal. Add a Bible modifier. All of them I think to control all of them at once. You can hold Alt. Now if move the amount, you can see all three of them are being affected at once. When you hold Alt, you can adjust all of the settings at once, enable harder normals. Now if you see if I enable harder normals, only this is being enabled because this is the active selection. But if I hold all, all of them are being enabled. This is a nice little handy command. Next, let's add another cylinder. Place this over here. Scale it up like this. Now, instead of using the mirror modifier, the better option would be to just simply use the array modifier. Because these are like same things being repeated over and over again, we can simply use the array modifier. With this, what this will do is basically you give this X offset, we can also give it Y or Z if that is the requirement. But right now, we need to set the offset only because it is a straight line on the X axis. Now when you increase the count, you will see it will be repeated according to that particular offset. What you have set, I will add it once again. We have 12345, set the count to five. And now just increase the offset according to the reference emission. Really simple, something like 3.5 let's say. I think 3.45 fits the best. Yeah, right click, shade, smooth, enable, or to smooth. Another thing that we have noticed is that this particular thing, I mean this cylinder over here needs to be extended till here. What you can do is there are two things that you can do. Either you can just simply create another cylinder and scale it down from the bottom because no one would really know. Or another thing that you can do is we cannot extend this cylinder, particularly because this is like a part of the array modifier. All of them would be extended together. If you want to extend any one of them or edit any one of them, you have to first apply the array modifier. And now you can edit them individually. But I think just simply adding a new cylinder over here at the bottom is a much better option, really notice as well. All right, so now let's create this portion over here, the cylinder. Add a cylinder rotated on the x axis by 90 degrees. Scale it up accordingly and scale it down on the Y axis. Shade smooth, enable to smooth. Let's see, Press three, select this face. Let's insert this a little bit like this. Bring it out. Apply the scale first and then just press control to be level it out if you want to have like an even more smoother look. Because you can see, we can notice the circle in the center we can do is basically just decrease the scale even more. Now control, let's decrease it a little more. Now you can see it is pretty smooth. We also scale it down on the y axis. Add will modify to this enable harder normals and the small scale this thing down a little bit as well. Maybe I will give it a bit more thickness. Yeah, I think this is pretty good. Let's save look at it. Yeah, I'm pretty happy with this. Maybe I just made a mistake of coming out of the isolation mode first. Let's just select all these things and hide them. Now, just select this and bring it out over here in the front. Now you can press All Plus to bring everything back. And let's see, To control this a bit better, I will just select it all over here. Make sure to press Shift less cursor to selected. To bring the cursor over here, press Shift and add empty object. Add empty object. I will this parent all these objects to this empty object so that we can move it around easily. What you have to do is just select it all. Then select this empty object so that this is the active selection. Right click and parent and select object. Now when you select the empty object, you can move it around at once, all of them. That gives us a little bit more control. Now, I will select this and all these items express so that I can place them in here easily. Scale it down. Let's remove the glass panes for now. Yeah, I think this is pretty good. Let's select it. Increase the scale of this a little bit. This is totally up to your preference. How big you want to create this? I just want to make sure that it is roughly in the center, I think it is. Can turn off all the overlays from over here to look at it. I'm pretty happy with how this looks. One thing that I'm noticing is that we can see these things over here. Maybe we can select them and decrease the size of them a little bit so that they are not really visible. Okay, we cannot decrease it much. Let's see. Select this press. All right. The next thing that I will do is it cannot really like fly around in the air this way. Let's just, let's select this piece, shift S, select it and simply add a plane scale, this plane now. And move it up over here just so they have some kind of covering. Make sure the plane is not really poking through any of the geometry. Make it small enough so that it only covers like this. I think a really nice way to do this would be to select this press control and add a edge loop. Like this is a really nice things and separate the selection this way we will have a loop that is exactly of this size. You can scale it down a little bit, press press A to select everything, and press this will give you the exact shape that you want. You can set the origin to geometry or display. Scale it down a little bit and it's perfect. Now we don't have any small spaces. All right, perfect. I'm pretty happy with how this looks. Resolved. Glass edge, bring back the glass panes. Right now they're opaque, but when we do the texturing, it would be like translucent so that we can see through this thing that we have created inside. Now, the last part of the modeling is quickly hit safe. I will turn off this glass pane as well. Let's bring everything back first, I will select this plane pressure plus D to duplicate it. And move it a little bit behind like this. Just create like a base for the clock somewhere around here. Select this plane, pressure pluss color to selected. Now add another cylinder. We can do the same thing that we did just now. Rotate it by 90 degrees and basically this will be our clock that will appear over here, shade smooth. This enable to smooth. Again, I want to give it a shape like this, a little bit like smooth in the center. Selsab. Make sure to apply the scale. First three for face select inside this face around here, I think Ps to move it up. I think this mug is pretty good. Control and level it out. Increase the scale of this a little bit. Yeah, this is pretty good. Not really sure. Let's just try something out. I'm just looking, uh, like, how round I want to create this. This looks too much to me because I think love faces are a little bit flatter. Just move it back a little bit. I think this is pretty good, obviously just selected press S, then Y and make it flat like this prestoliply scale at the bevel modifier decrease the bevel amount just so it is like only appearing at the edges, only ad normals and a smooth is enabled to move it back. That's nice. We are pretty much done with the modeling lecture is pretty long, but I think I want to finish the modeling in this only. Let's just quickly add another image and that would be the clock hands. You can choose any one of these, you can even anyone on the Internet as well, you can find on your own. But let's just go with this one, the G. I will be going with this, the way we will create them is shifting. Let's add a plane, a single plane. You can place the origin right over here at the center. Really handy. We can easily add the mirror modifiers M and merge it at the center. We don't really need that many words, we just need one. Now, add the mirror modifier on the Y axis. Disable X again. Just quickly place it out, make sure the name is shipping and joining them over here like this. I don't really want the needle to be that long. Let's just go till here, I think. And then just join it like this recipe to select everything to fill it out. Shift and add a single word this time. Move it over here again, place the origin right over here. One. To select the word set over here, simply add another mirror modifier on the y axis. Let's just begin from here. It's a little bit easier. We don't really have to be too precise with this because, okay, just a second. Is the mirror modifier even working? I don't think the mirror modifier is working with this one. Let's just turn it off, bring it back again. For this, we need to select the Z. For some reason, I think we rotated the plane, that's why and we didn't apply the rotation. So just select the z axis and now it is working. Score here and just make them join, enable shipping to fill it out. Select them both and lift them over here. It is really easy to place them first. Select this, First we can shift and add a cylinder right over here at the center, rotated by 90 degrees, make it really small. Something like this. First, let's reduce the scale for both of them. Now it is really simple to copy them over here. If you remember, we turned on the Copy attributes menu. If you did not, I will again suggest you to do that. Enable the copy attributes menu from over here. Select both of these needles and then select the small thing you just created. Control and copy location. You will see because we have placed the origin at the right location for both of the needles to select them both and bring them out. As I was saying, because the origin point is over here, it can exactly like fit over here without any issues. Would be really simple to rotate them as well. You can press R Y and rotate them around like this. The now give them a little bit of thickness. Add a solidify modifier to both of them. Obviously apply the scale for both of them. Let's set the thickness to 0.001 I think that is pretty good for them. It's them both and enable to smooth for both of them. All right, let's look at it. Yeah, I think it's pretty good. I'm happy with how this turned out. I will maybe select this breast, n Y, to flatten it out a bit more. Lie the scale and move them all backwards like this. Select all of these clock pieces. And select this plane and move it where you want to place them. I think having them this deep would be pretty good. We will also have a glass pane in front of them. Obviously, these things can be edited at any point of time. All right guys, so basically this was it for the modeling section, poll edge, to bring everything back. And the modeling is now done. In the next lecture, what we will be doing is we will apply all the modifiers for this and, and wrap our model to take it into substance painter to start with the texturing process. Thank you guys watching. I will see you in the next one. 8. UV Unwrapping and Texturing: Hello and welcome guys. So now we're done with the modeling. In this lecture we will be applying all the modifiers and an wrapping this to start exporting it to substance painter so that we can actually start the texturing process. So the first thing that I will do is I will just make it a bit more organized. Just quickly select all these reference images. Now you can press M to move them to a new collection. This collection to reference images. Now we can just easily turn them all off at once. Next, select all the pieces of our main model, and again, press M. And let's move this to a new collection as well. Hall Flow, we can delete this collection. All right, so now we basically have two collections before we actually apply all the modifiers. But I want to tell you guys right now we have all these modifiers appear over here. You can select like any of the objects and you can see them over here. Basically what this means is, let's say right now you want to change things like the bevel amount or maybe the axis of the mirror. You can do all these things, but after you apply all the modifiers, you won't be able to make any changes. Basically, all the changes to your model would be permanent. And you won't be able to make changes to the thickness of the solidified modifiers and things like that. Make sure you're happy with this and then only apply the modifiers. But what I usually do is I will create a copy of this, like a duplicate of this, and not apply the modifiers for that particular copy. So that if things go wrong in the future, I can always come back to that duplicate and use that. Let's just press A to select everything. Press Shift plus D and press X. Just move it over here, basically. Now both of them are in the same collection. Only press to move this to a separate collection, let's to hall clock and apply this will have all the modifiers applied in this. Basically, you can see now we have two different Hal clocks. This one can be with all the modifiers intact so that we don't change anything. If you want to make any change later on we can always come back to this. For this one we will apply all the modifiers and just start working. All right, before I apply the modifiers right now, noticed one thing that we have a weird shape over here. If you press seven for the top view, you can look at it. We scaled it incorrectly, I think. Don't worry, it's easy to fix this. Just select this face and select all these pass over here. Then what I basically want to do is right now you will notice these are like weirdly shaped in a straight line to make them in a straight line, you can see this is the Y axis. We basically have to scale them zero at the Y axis, press S, then Y, and then just type in zero, like this, and they will all be flat. Similarly, I will do the same thing for this loop as well. Select press then and then type in zero. Yeah, perfect. Let's do the same thing for the backside as well. I don't know really how this happened. Yeah, these things happen sometimes We can easily fix this issue. Press then y and zero. All right. Yeah, now it's perfect. We can apply the modifiers for this one. There are multiple different ways to apply the modifiers. You can just select this, go over here, and then apply them one by one. But this is like a long and tedious process. Just select them all, press eight, select them all, press three, and search for the commands converted to mesh over here. Just hit Enter, and automatically all of the modifiers would be applied. You can see they won't be appearing over here. Now, everything is fine. We cannot, obviously, you would still be able to make changes like moving the word Cs and things like that. But yeah, it's better to have all the modifiers. It's a rule of thumb when I apply all the modifiers, I usually won't make any change to the model after that. If I have to make a change, I will just go back to this thing, make the change over there, and then again create a duplicate of this. And then apply the modifiers for that also, let's just quickly fix this thing over here as well. Press to make quick selections like this. And then hit right click to come out of it. Press and zero. All right, let's turn this collection off. Enable this back again and quickly. Just select everything. Press control and apply the scale. Make sure to always apply the scale before you actually start UV and wrapping, because it can mess up the UVs if the scale is not applied. Also, I will just delete this empty object result plus H. Let's select any of the model first I will add a material to it so that we have a proper texture set when we export this two substance painter. Select any of the object and just add a new material. Rename this material hall block. Now we just want to copy this material to all of the objects. It's very simple. Select this object first, which has the material added. Press A to select everything. Then press control L, and then select Link Materials. Now you will notice that 22 is written by the side of this material. That means it's being used by 22 different objects. All of the objects have the same material. All right, Into the UV editing tab, Press A to select everything. Press Tab and press again A to select everything. In the edit mode, we can enable display stretch from over here. Press U and just hit Smart Project. I think that would be a easy way to quickly UV unwrap them. You can play around with the angle limit a little bit. Let's set this maybe something like 80. You can give it a island margin of 0.001 so that they are all spaced out a little bit. With that we can export this substance painter and see how everything works. Obviously there might be some issues. We might have to go back and forth a little bit, but that's not an issue, we can always do that. One thing that I would do is it might be a little hard to actually texture this thing like this clock in substance painter because we have this object in front of it. What I will do is for now let's just H to hide this and select all of these objects from over here. Or maybe we can just select this thing only we don't really need to move everything, or do we have to? Let's see. All right, now what I will do is just select all of these objects over here. Press then X and press one. That later on when I come back to my model in Blender, when it's time for rendering, I can just press G, X and minus one. Bring it exactly back at its position x, then one. I will also select these three pieces and move them a little bit further ahead. Spx 101, once again, press x 0.5 Yeah, that's pretty good. We're just doing it so that it is a little bit easier to texture this clock because we have to like add numbers and stuff on this. That's why I placed it over here. Now we can press allusH to bring everything back. For now, let's just export this substance, painter. If any issue arises, we will see to it. All right, one last thing, sorry I forgot. Make sure to enable face orientation from over here and quickly look at your model. You will notice that these two planes are showing red color. That means their normals are flipped. What you basically need to do is any of the object, if your object is red color, you can select it. Press Tab to select everything. Press Shift ten, and then select Inside. Basically, that will flip the normals. Now we go to go. If you will hide all these glasses, you will see it shows as red from the inside of what is this, the main model, but we don't have to actually worry about that. As this is like a plane, it does not really have any thickness. That's why we are seeing the red color on the insides of it. But that won't be an issue for us because when we will export it to substance painter, I will show that to you. All right, with this we are done. We can now press A to select everything over to Five, Export and select Vx. Now in your exports folder, we can name it as Hall Clock on Enable selected objects so that only the selected objects get exported. This is just to make sure nothing extra gets exported. And select mesh from over here because we only want to export the mesh type. Then hit export. Also, just quickly open up substance painted as well. Okay guys, substance painter has opened up. Go to file. Hit New. To open up a new project dialogue box, you can click on this Select option and then select the export you just made. Select Hall. Rest of the settings can be changed later on, so I will keep them at default only for now. Just hit okay and wait for it to import right away. You can just quickly look around your model and see if there are any, like visible issues. At first, you can hold shift and right click to move the lighting around in your scene. One thing that you might notice is all these jagged edges go over to display, I think, and make sure to enable temporal TLS. This will solve the jagged edges problem. The next step to is whenever we import anything into substance painter, the first step is to bake the mesh maps. Because to use all the features of substance painter like smart materials generators, smart masks, you always have to bake the mesh maps first. Problems might arise when you bake the mesh maps. Like you will be able to locate the issues with your model when you actually bake the mesh maps. That is like a nice test to do for your model. If the bake comes out nice, that means we have done pretty much everything correctly. Also, if you don't see any of the windows over here, you can go over to, I think, window menu from over here. And you can disable all the views. You can also move them around to however you might like. I'll just keep it over here only. All right, In your Texture Set Settings menu, click on this Bake Mesh Maps button. You might have a different dialogue box for the bake mesh maps. It might be smaller if you are running an older version of substance painter, but that does not matter. Like commands remain pretty much the same. The only things that we will be changing is setting the output size to four k to get a nice bake. You can maybe get away with two K as well if you have a slower machine because it will take a little while to set four K, enable both of these options. Apply diffusion and use low poly mesh as high poly. Because we only have a single mesh, we don't really have a high poly mesh. Another thing that I do is set the ND L sing to 16 x. Maybe that is pretty good. And also we will disable the ID maps because we are not using the ID map workflow. That's basically it, you don't have to do anymore. All the default settings are pretty good. Now just hit Bake selected Textures and wait for it to finish. I will resume the video when it's done. All right guys, the bake is finished. Now I will just return to painting more. Now also notice that the model looks a little bit better as we have added shadows with ambient occlusion and everything. You can just, again, look through the model, I don't see any issues like right away. That's a nice start. That means we are good to go and we can start with the texturing process. What I will do now is before actually starting control to save your substance painter file in the substance painter folder. I will again save it as a. That's pretty much it. In the next video, we will start with the texting process. Thank you as watching. I will see you the next one. 9. Creating the Wood Material: Hello and welcome guys. Now in this lecture, let's start with the texturing of our hall clock right away. We will just go into the layer stab. Make sure to delete any of the layers that are already present. There might be some you can just select them and click Delete, like you can just, if anything is added over here already, you can select it and hit Delete. What we will do is first we will be creating like a wood material, because that will be our main material in our model. We have to create like a nice looking wood material. All right, what I will do is I will create a folder so that we can categorize our materials and we will rename this to wood. We can start creating all the layers in over here. Basically what we will do over here, we will keep on adding different layers into the wood folder to create a nice looking material with all these layering effects. We will add the base layer. Then over it we will add some damage, just like some edge variations, color variations, and things like that. First we need to add like a base color or like a base layer to work on. So you can click over here in your shelf. That is the materials and search for wood. This is preinstalled with your substance painter only. This wood plane material that will be provided to you with substance painter, we will be using this as our base. Just drag and drop it onto the wood folder right away. You will notice that it looks really, really bad and it does not look good at all. But don't worry. We will customize it and make it look according to our needs. The very first thing that we need to do is obviously we don't want this wood material to appear over here on this clock or on the glass or things like that. How can we like separate it out? There are multiple different ways to do it. If you are already well versed with substance painter, you obviously know about masking, We can add a black mask. As soon as we add a black mask, everything disappears. Because a black means everything is invisible. In terms of masking, black means invisible and white means visible. If you start painting with the white color on this, you will notice that this layer is starting to appear because we are currently painting with a white color. We just select the brush and start painting with white color. Because we're painting on the mask, currently we're painting with white color and this layer is starting to appear. Let's say if we paint with the black color, you'll see that it will start to disappear. Basically, this is the use of mask. Mask is basically a black and white image that you can see over here that decides what portions of the layer should be visible and where they should be visible. Wherever there is white color, they would be visible. You can press X to switch between the colors X like it is white color. Now, wherever there is white color, they will be visible. Wherever there is black color, they will be invisible. Obviously, we are not going to paint each and every single part like this. To add the wood material, there is like a nice fast way. I will show you 23 different ways. You can first just add a black mask and then select this tool. Obviously, the very first way is to just paint like this. Next is to use this tool over here, that is the polygon fill tool. Basically, with the polygon fill tool, you can select entire faces at once. Even that is like not fast enough, it has like multiple different modes. This is like half a face, like it will fill according to the triangles in the face. This mode, it will fill complete faces. Obviously, it is already triangulated. That's why it is filling in triangulated mode only because the model is triangulated. But these pass you can see it is filling completely. The third mode is filling complete meshes at once. Like this. As you can see, you can see it will select multiple complete meshes at once. This is the one that we can all the meshes that we want to add the wood material to. The last one over here is the UV chunk fill. I rarely use this one because it's weird to understand. If you will press F one, this will appear over here. Basically, this is the UV islands. You can press F two to switch to crew UV. Basically, the UV chunk fill will fill according to the UV islands that you have created. Yeah, I don't really have a use case for this but we have this mode as well. But now I will show you even better way to separate these out. For this, we will just completely remove the mask. Let's say we have this layer or any of a folder. You can do this with layers as well and folders. I will just select the complete folder. I don't have to do it for each and every layer. You can click over here. This is like a relatively new feature. Basically, this is geometry mask. And it will separate the, what do we call the objects according to how you created them in Blender. It works similar to the mesh mode of this black mask. This mesh mode, it works similar to that, but it is even faster than that. We don't even have to add a mask. We can just click over here. Right click and exclude all. Now the wood material is not present over any of them. You can see zero is written. Now select them one by one. Select all the objects that you want to add the wood material to this over here. These two things. And yeah, that's basically it. The rest of it would be like glass or other things. Obviously, we have these things over here on the inside as well. I don't know if you can see them. These things, we will texture them later on, but make sure, do not forget them. All right, that out of the way we can finally start to texture or create a wood material. I will select the wood plane layer and let's fix it up a little bit. The very first thing that I want to do is I want to change the UV projection to triplana. Because triplana works a bit better. It is like according to all these phases, we cannot really see any seams right now. But with the UV projection mode, there is a chance you will see, yeah, like this, you can see the seams which are very prominent and look very weird. As you can see, there will be some seams present in your model and they don't really look good. The first thing to do is to change it to Triplana. As soon as you do it, you can see the seams have totally disappeared. The model actually looks like a little bit coherent. Yeah, I do. Back to you to show you the difference set, describe Yu. The next thing to do is I don't really like the color of this. Also I will press two. Come back to three D view. Yeah. As I was saying, I don't really like the color of this. Let's make it a little bit bigger. The property section, if you'll come over here, you can adjust the wood color, the darkness, and things like that. I will be going for a pretty dark color, around 0.75 I think it is. Pretty good, something like this. Over here, you will notice that there are tons of wood related settings that you can do to create your very own material. You will not go over all of them, but yeah, you can just play around with them and you will automatically understand them. You can also select picets from over Here is like a nice little addition, but I will be creating my own only. So we have this, we change the color. Let's see. The next thing is, as you can see, it is currently, what do we call them? The Ensor, whatever this is, it is running along this way. I will change the rotation to 90 degrees, that it is like this. I think this feels a bit better, in my opinion than this. Obviously, we can change it whenever we want. And it is completely based on your preference as well, how you want to do things. Let's try putting it at a 90 degree rotation. Next thing, let's see we can adjust these ans color basically, these are the wood beans that are appearing over here. This is the color variation we like. A little bit of coloration. We can put this at one and beans density can also be at one. Can also increase the in's color fade because right now as you can see they are really prominent. Let's increase them so that it fades away a little bit. Right now you will notice that the texture is looking like low resolution. You can change the texture settings from over here, because it is currently set to just one K. If you increase it two k, you will notice that the quality has shot up by a lot and it looks much better. If you increase it to four K, it will look like really crisp. But your substance painter might get a bit. All right. This way we can actually see all the details and everything. When you make changes, you will notice that substance painted takes a little while to make the changes. But yeah, it looks much better. You can see with the Fd set to zero, the ans look like really prominent in our put. I don't want that. I will set the fate to one as well. Maybe we can decrease the density to 0.9 and variation to 0.9 as well. Next thing to do is you can see these spots over here. Very huge spots. I don't think they're looking that good in our put. Basically, this is the knots setting. This is the setting that controls these knots. So I'll just set this to zero so that they totally disappear. All right, Much better. Next you can see this tiling option from over here. We can adjust the tiling as well. Let's set this to a little bit larger number. Something like five, maybe. Now I think the looks pretty good. Let's try setting back the rotation to zero. I don't know, This looks pretty good, but. Over here. The pillars look really weird to me. I think the pillars look much better this way. Yeah, I think I'm going to go ahead with this only let's set the tiling to something like four. Yeah, something like this. You can just play around with the rest of the sliders as well to see what they give you. And yeah, with this we have like a nice base to work on with our wood. It still does not look that good because it looks really flat. But yeah, it is definitely something nice to work with. The next thing to do is we'll be adding some dust. What do we say? The model just add another fill layer over here. This time you can select the past color. We have all these different channels with our filler like the color and the metallic said this to one, it will be metallic roughness. If you said this zero, it will be really reflective and set roughness to it won't reflect any light. That's why I will set the settings back to default only for now. And also decrease a texture set size to two K so that everything is a little bit more responsive as well. You will notice that our wood material has disappeared because now we have like a fill layer on top of it. Substance painter works on basically a layering system like Photoshop because the fill layer is on top of the wood layer, that's why it is appearing. But don't worry, we'll just mask it out to make it appear, right? All right, the base color, obviously we will go for something dark because we are creating a dust layer, something like this. Maybe we can increase the roughness to 0.45 so that it is a little bit rougher compared to the wood. Now we can add. First let's rename this roof dust. Let's add a black mask. This time we will be using a fill layer along with a black mask. To control the black mask, basically click over here and add a filler. Now in your fill the texture section, you can search for various different gun maps. You can see we have all these different grunge maps. And when you drag and drop any of the grunge map onto the fill layer, it automatically masks the layer out as dust. You can see now this texture is basically controlling the dust layer. You can change things like the color and everything at any point you like. Basically, this is like the power of masking. You can control the balance, contrast anything you want. You can try out different El layers. You want to see whichever one fits you best. But the one that I have decided on, I've decided on how I want the texture to look like. I will be going with directional noise one because this will give us a nice feel of the wood and the way the dust runs along it. You can see it looks like the wood ans only I will be going with this obviously first said this Triplana because we can see the seams over here in the dust as well, said Triplana. Much better. Much, much better. Then we can adjust the things like tile. Again, this is totally up to you how you want to set this. I think something like this is pretty good. Now the next thing to do is we can adjust to things like the balance and the contrast. Basically, if you increase the balance, the amount of effect would increase. Setting it to one is completely black. That is, this layer and setting it to zero will be the layer below it. That means this layer has totally disappeared. We can set the balance to something like 0.6 contrast. Basically, as you can see right now, the effect is smudgy. If you increase the contrast, it will become sharper like this. Obviously with dust, we do want it to look a little bit smudgy. We can set this to 0.2 like this. All right, so now you might be wondering that this dust is a little bit too much for our wood. Obviously, we can control it from over here through the opacity. Because obviously we are not going to make our wood look like this because this is too much decrease the opacity. Let's try 80. Let's increase it even more. 60, I think 60 feels a lot better. Maybe I will go 15. Obviously, we can increase it later on. Yeah. Create another dust layer, copy this one, and paste it. And drag this one out outside of the wood material or the wood folder. The reason I'm doing this is the reason I placed it outside the folder, is because I want this dust layer to affect every single object in our model. That's why I placed it outside the folder. Now select this mask and remove it from over here. For this one, we'll be using a smart mask, like a smart material. We also have a smart mask for dust. I will go with dust occlusion, very simply. This one works pretty good right away. I don't think you will notice the changes with this mask. But you can see it will add like dust in all these corners and crevices of your model where dust should be appearing. You can select the generator and you can increase the dirt level and you will see it effects as you keep on increasing it, your model will look like overall dirty. To basing, we don't want to make it look that dirty. Maybe setting it like default values is fine for now. Let's return back to our wood. All right, we have added the base layer, we have added the dust layer onto it. And then now we can add variation layer. To have a bit variation with the color, we need this color variation. All right, now we need to choose a color. Basically we will be going for something like a woodish color. Only the one we have over here, like this color, but a little bit lighter than that. I've already decided on a color. Obviously you can play around with it and you can choose whichever color you want. If you want to use mine, you can just directly copy paste this. The time using going to just copy it from over here and paste it onto my substance painter over here. The hex code, you can just copy it if you want to use the exact values. I will be going with something like this. Now again, let's add a black mask. This time what we are going to use, we are going to use another fill. This time I will be going with directional noise only. But let's select the directional noise to that we have a bit of variation. Again, tribe projection. You can see with that added, the color gets a lot lighter. That looks better. I think again, let's increase the tiling to two. Yeah, and then we can maybe increase the contrast a little bit, because right now I think the effect is too much. If you increase the contrast, you can see, now you can clearly notice that like color variation changes, we obviously don't want to make it that apparent. That's why we need to keep the contrast at a low number. 0.3 is fine. You can see in this way can make a difference between the different colors of the woo. Also, maybe we can set the rotation like this. Let's try changing the dust as well to 90 degree rotation and see how that works out. I think it looked better earlier. I think the color variation works better with the 90 degree rotation, but the dust was fine, The earlier effect only like these settings only. Obviously, as I'm saying again and again, these are like totally up to your preferences, how you want to make these changes. I think now I'm pretty happy with this. Let's add another layer. This will be like our main layer that will add all the value to our wood material. In my opinion, this will be the edge sharpen layer. Basically, we will be adding like a goldish yellowish color to it to give a nice look on the edges onto our wood. Again, I will be just copy pasting a color. You can choose that if you want to from over here, something like this color. Also, one thing that I forgot is we can maybe tone down the color variation as well, so that it is not that much in our faces. I think we can increase it a little bit to maybe something like 75. Let's come back to the sharpen layer. Let's see we have this color again. We can add a black mask to this. And this time I'm simply going to use a Smart material. We have a lot of different edges related smart material which will give you a nice result. Let's try this Edge rust, Something like this only, but definitely not this one. Then we have this edges blur. Obviously, you can select the mask editor from here and play around with the balance to control the effect, change all these settings. This one also is not that good. The one that I will be using is edges scratched. This one right away. This looks a bit too much, but let's adjust the settings and fix it up a little bit. I will decrease the beer level, 2.6 then I will make a tripler true because you can, again, see the seam, You can still see it. Don't worry, we still have a fix for this. We can fix it just in a while. This way it looks a little bit better. Let's keep on making some changes. We can increase the contrast maybe to 0.1 Another thing that I will be doing is I will be decreasing the curvature weight to overall tone down the effect a little bit more. This, as you can see, adds a lot of value to our good material. I think it makes it look a lot better. The last thing to do is obviously to turn down the opacity a little bit. We don't want this that much. Something like, let's try 50, I think that's a little bit too less. Let's try 70. Yeah, that feels pretty good to me. As I was saying, to fix this a little bit, see that we have going on over here. What you can do is you can also make changes to these existing masks by just adding a paint layer. Now we can treat it like a simple mask elegancy. Currently, because I'm painting with white, this layer is appearing. But if I paint with black, we can easily remove the seam. But this way it will look like really weird if I directly remove the seam this way. A better way to do this is just select a brush. Maybe we can select this dots brush because it is similar to the effect that is going on over here. Select a black color and just remove it bit by bit. I don't think it is working but not work that well. It will take a while. Let's choose different brush. Let's write dirt three. I hope you know these shortcuts. These are pretty basic. You can hold control, use your right click, Hold them both. And move left and right to increase the size and move up and down to increase or decrease the hardness. I turn down the size and just remove this. You can press X in between to add a little bit of effect so that it does not look weird. Just try to tone down this Sam a little bit. As you can see, that feels a lot more natural. Maybe we'll remove it from over here, also a little bit so that it feels a similar in a sense. Now, I'm pretty happy with how the material is turning out. You can see when you turn off the edge sharpen, the material looks pretty bad to me, and that's why I think it looks a lot better. All right, let's see what we can add next. We can add a couple more things, like maybe we can add a bit more scratches. Again, add a fill layer. I will just quickly copy paste the color again. It will be like a similar yellowish color only, but this time a bit darker. Add a black mask game is scratches and add a filler in substance sin. We have a lot of scratches. Textures already present. Use Grunt Scratches. Rough. This is like a really nice material. You can see scratches are appearing on your model, but they are like to large. Let's start fixing them up. One Y one. First, set this triplin, then we can come down over here and you can increase the scratch tiling. And you'll see it will decrease the size of them. Just set this six. Next thing to do is, let's see we also have this scratch masking. Basically, if you set this to one, it will randomly remove some scratches from here and there. We can set this to one because we obviously don't want like scratches to be that much, we can maybe increase the balance a little bit. Because we are obviously going to tone down the acid to something like again 50. That they're really light. We can come back to this edges sharpen material, maybe we can decrease the grunge amount a little bit as you can see. If it decrease the grunge amount, these things that are present over here will reduce. If you completely set it to zero. It does look a little bit beard. Maybe we can set it to 0.17 Maybe 0.15 Yeah, that's fine. The scratches I think, yeah, they are pretty good. You can adjust things now according to you, only how you want to adjust all these things, like the width and things like that, but the default seems pretty good to me. We also have the spots, small spots. Let's see, we can add one or two more layers and then we will be pretty much done with the wood material. Let's save while we're at it. Again, add another layer. This will be a little bit of damage layer, a little bit more color variation, basically much. I will just again copy paste the color. Let's increase the roughness value of this 2.5 just so we have a bit of variation in the roughness as well. Because the last layer we will be adding is a roughness variation layer. And I will show you it adds like a lot of value to the material. All right guys, now again, time to add a black mask. This time I will be again, using a smart mask. You can now go through them, Try whichever one you like. You can see this dirt smart mask, You can add this dirt damage type effect. You can just turn them on and off and try out different ones, whichever one you like. There are honestly lots to choose from. As you can see, I'm just dragging and dropping them. All of them do give you a little bit of different look, but this one is too much. This one also looks pretty good. You might have to work around with some of the masks. Like you need to add like a paint layer and then try editing it on your own. If you want to remove some of the areas or if you want to add like a bit more definitely you can do those things. Let's remove these two layers. The one that I will be using is which one? I think this one does dirty. I tried out a couple of different ones and I was feeling the most. This one select this, you can see you can increase or decrease of mask. You can also like visualize the mask from going from going over here. You can see you can play around with these settings. As I said, wherever there is white, the material would appear over there. Wherever there is black, as you can see over these areas, the material would not appear. That is the basic concept of masks. Let's increase this to 0.6 Don't want to do too much. I think I'm pretty happy with how this one looks. Obviously, this is making everything look like a little too dirty. Let's stone it down back to 30 as well. As you can see, maybe increases to 40. All right, now I'm pretty happy with my wood. The last layer to add is the roughness variation. Let's rename this basically roughness variation. How this will work is you can disable all these channels. As you can see, these are like different channels that can be enabled and disabled from over here. We will only keep the roughness channel enabled because you only need that. I will also show you a quick shortcut. You can hold Alt and click on that channel that you want to keep, and rest of them would be disabled on your own. You can hold Alt and click on Rough. You will see now the whole roughness is being controlled by this layer. As you can see, now the wood is like really shiny, shiny. And now it is not really reflecting any light. The decision is totally up to you. You can also look a little bit shiny if you want a totally up to you. But with the help of this layer, we are going to make it have a bit of variation with the roughness. Obviously, we will add another black mask and a fill layer. And this time you can look through any of the looking grunge maps and search for grunge and just drag and rob them and you will right away. Notice the, again, it's not a huge difference but it is really subtle one. If you can see over here, if you move the light, you can see the roughness variations if you turn off this layer. We didn't really have that much. We did have some because we gave all the different layers different roughness values. Like this one has 0.45 then we have 0.3 0.3 this one has 0.5 You can switch them up a little bit if you want to. Maybe we can set this to 0.4 This one can be less 0.25 As you can see, it will add a lot of value to your material. Again, select the mask, currently we drag and the crunch cop, as I said, you can just try out various ones of them. Whichever one you think fits the best. Make sure to change it to Tribe Dana, because I think that looks pretty good. You can also play around with things like tiling to make the effect seem more prominent. So let's see which one do I want to use? Let's try this one. You can really see it on the front door. Yeah, we can see it a little bit. 0.25 is fine for now. Obviously, I don't want it to cover like too much of the space. I will keep the balance too low number, only like this. I think that's pretty good. I'm happy with this. Let's just say with this, we are pretty much done with what is this, the wood material. In the next video, we will be setting up the other different materials of the model. We will be creating the clock, we will add the iron material on the insides, and also we will be setting up the glass material already. This is a pretty long lecture. Thank you guys Watching I will see in the next one. 10. Creating Some More Materials: Hello and welcome guys. Let's continue texturing our hall clock. Now what I will do is let's first set up the glass material. Just the basic class material so that we can actually see through the model and see how it looks. First, add a folder, let's rename this to glass. Now I will simply add a fill layer to this. You can change the color to anything. For now, let's set this to red, just so we know it is this layer. Click over here, right click and exclude all. And just make sure to select all the objects that you want to add the glass to is selected now. All right, the way we can create things like that are transparent or translucent is we need to add the opacity channel over here. In our properties you can see there are five channels currently. The color, that is the base color, metallic, roughness, normal and height. We don't really have a opacity channel because for that we need to do a little bit of things in substance painter. First you can go over here, over here in the shader settings and you will see over here it is currently set to ASM metal rough. You can just click over here. However, over this one we need to select this one. Pbr metal rough with alpha blending as you can see in the thumbnail as well. You will see this transparency mode over here. Basically, this has the opacity channel, that is the alpha blending. Just click over here and now it is selected. Now we have changed the shader so we can go over to Texture Set settings and actually add a new channel over here. The new channel would be of Opacity. As soon as you do that, you will see opacity has started to appear over here. Let's rename this layer to base and set the color back like this. All right, now to create the glass material, we need to enable the opacity channel like this. When you turn this down, as you slowly turn it down to zero, now it is completely transparent. And as you set it like a value 0-1 it will be translucent. Basically, this is the way we'll create our grass material. Let's set the opacity to something like 0.4. Right now it looks really weird, but the way we can fix this is to make it look more like a glasses select the past color and make it darker. We don't have to make it completely black, because I think that way it looks like really hollow. We can set this to something like maybe 0.2 I think this value over here, 0.2 The last thing to do is just set the roughness to something like zero. Because as you know in real world glass is really reflective this way. We have made it look like a real world glass only because technically it is not really glass. We are making it look like glass and trying to simulate it, but it won't show like exact properties of the glass. But this is the best we can do in substance painter. Maybe let's make it a little bit more darker. 0.18 Yeah, I think this is pretty good. Now we can actually see through the glass and we can see our things that we created inside. All right, for now, let's keep the glass material this way. Only next we can create another folder, and this will be our iron folder. One thing I'm feeling like it is difficult to texture things over here that are inside because we will be also creating some things over here over on this panel that is like inside this. Because obviously we don't want it to be this grayish color or even the color of the wood. I want to give it like a gold color material. Over here, we can quickly just go back to blender. I will show you. It will be like a nice little learning thing as well, how we can update our model at a later onstage. I will just select all the glass panels. I will again press the X and type in minus one to move them over here on the site. Let's type in X minus two so that they are a little bit further away. This way we can easily work with these with this thing as well, this plan that we created, because I want to add a gold material to this. All right, now that we have done this, again, just select it all. A to select everything it's save, go to file, select FBX. And now make sure to change the name of this so that we don't have the same name. We can make this as updated selected objects mesh and hit export. Now we don't need to do anything. Come back to substance painter, It is really easy to update the project. Just go over to Edit project configuration and again select the file over here. Okay, where did I actually export it? I'll just quickly go back, export it once again, Select FBX. Actually, I exported this in the blender files folder. Let's come back in the exports folder. Hit Export once again. I will delete that file later on. So yeah, now hit Select and select the hall clock updated. You don't need to do anything rest. Everything is fine. Okay. Just wait for it and you'll see now the glass is appearing over here. You will notice that it has the remains of like these models from over here. To fix that, again, it's very simple, just go back to texture set settings, hit bake mesh maps, and just re bake them once again. Now once you rebake them, everything would be fixed. Let's just quickly rebake them. All right guys, the mesh maps have been rebaked, returned to painting more, and you'll see everything has returned back to normal. Even these things look better with the dust because earlier they were totally enclosed off because of the glass. That's why they were appearing very dark. But now they are appearing fine because the glass has moved this way. I think that worked out for the best this way. We can also easily work with them without any problems. All right, let's start working on the iron material again. Add a filler to create the iron material. The color is fine. At default, only this color is fine. Just set the metallic value to one. And you can see already it looks like a metal. We can maybe make it a little bit less rough, make it shiny. Let's just set this 20.2 click over here, right click. Exclude all, and select this and these things. Yeah, pretty good. Let's rename this to base. Also, add the material for this thing over here as well. For this, I will be directly using a smart material. Click over here and search for gold damaged. This one again, drag and drop it. Now again, we can just click over here on the Geometry mask. Right click, Exclude All, and just select Display, so that the material only appears over here. You can see the color fits really nicely with the model. Obviously, I want to tone down on the dust as well, because right now it is too much. As you can see, if you disable the dirt layer, it totally disappears. I do want to keep it a little bit though. Just tone down the opacity to maybe 50. Yeah, that's nice. Maybe a little bit more. 35. I will remove this thing, that is the grainy texture. You can just turn the layers on and off to see which one is affecting these two layers. We can just turn them off this way. I think it looks really good. All right. Rest, everything is fine. All right. I will move back to the iron material. Once again I will show you one thing that we can just select, the base layer and from over here, add a filter to this. We can use the filter to enhance the look of this material even more. If you click over here, there will be like various different matt finished filters. All these filters will give your metal a different type of finish. You can hover over them and see what they look like. Like this is the brushed linear look. As you can see, it will appear something like this. You can do changes to it on your own, like adjusting the length, the intensity of it, make it more or less. You can remove the filter and try something else. Like this filter is something else. It is the mat finished, galvanized. Then we have all these different filters. You get my point. The one that I will be using is this one Matt finish rough. This gives it a nice rough look as you can see. It gives it a roughness variation. Let's adjust it a little bit. I will increase the scale grunge to 16 so that it's really small, like the gun weight is really huge. 16 is pretty good, obviously, I don't want it to be this much. I will just decrease the brushing intensity to 0.2 As you can see, it has add like a subtle effect of these roughness variations over here. Also, I will just select this dust layer and move it to the top. You'll notice that as soon as you move this to the top, it will start to affect all the layers that are below it. It will affect this gold damaged layer. Then the iron layer, maybe I won't keep it above the iron layer because I don't want it to look this way. Because it is really taking away from all the shiny look that it had. Move the dust below the glass, below the iron layer so that it does not affect the iron as well as the gold damaged. Yeah, you need to make sure about this order of the layers of the folder For the iron, what we can do is basically we can create a separate dust layer for this that can only stay in this folder. So. Affects the iron material only. I'll just select this dust layer, copy it, and paste it over here in the iron folder. The main reason this dust layer looks like really weird with the iron materials because this base layer has a metallic value of one and this dust layer has a metallic value of zero. If you set the metallic value to one as well, you'll see it looks much, much better compared to the earlier one. And we can also reduce the value of the roughness to maybe something like 0.3 that it better matches with the overall like the roughness of iron material. This way it gives it a nice dark field without looking really weird. This looks much better, in my opinion. We'll add another layer in the iron material. Just select the base layer and paste it. This will be our edges layer. I will just brighten up the edges so make them completely white like this. Let's just use a separate smart mask. Again, we will be going with the edges smart mask on something like this. As you can see, this will make it pop up a little bit more. I will reduce the wear level a little bit because I don't want this effect to be too much. And also, I will reduce the opacity to maybe something like 50. Let's select the color back again and make it a little bit darker. We'll select the dust, maybe increase the roughness late. I'm just trying to tweak around the settings. All right. I think this is pretty good. We can obviously create all the things, render them out in blender and see how they look like. And then we can make a couple of changes according to that. This way I think the iron material looks pretty good to me. Let's just hit safe. One more thing that I will show you how we can improve the colors a little bit of substance paint. Because I think the default color space a little bit flat, it's fine. But if you want to improve it just so your project looks a little bit better in substance painter, you can go over here and scroll down and activate post effects. Enable tone mapping and select log from over here. It will make it look a little bit darker when you scroll down. Again, enable activate color profile. Now it will be even more darker. Just select the profile from over here. Acs for you can see automatically. Now colors look a lot better if you don't have this ACU for log file. It does not matter. The earlier colors look fine and you can definitely work with them. But yeah, this is definitely a little bit better to look at. I will decrease the metallic value a little bit to 0.9 maybe increase the roughness to 0.25 I'm just trying to tweak it around a little bit because I was feeling like it was looking a little bit too shiny. I think this is pretty good for now. I will keep it this way only, and we can edit it later on if you feel like it does not look too good. All right, let's save basically I think this is pretty good for this lecture. We'll continue texturing the clock model in next one. Basically the only things I think that are left for us to do is to set up the textures for the actual clock, these two parts, and to make the glass material look a little bit better. Right now, it looks like a glass, but obviously we have to add a little bit of damage and other things as we did with the wood in the iron material. Yeah, Thank you. Watching. I will see the next one. 11. Creating the Clock Material: Hello and welcome guys again in this lecture as well, let's continue texturing our model. In this video, I will be focusing on the clock part again. Let's create a new folder, rename District Clock. Let's start by adding a new fill layer under here. Rename this to Base layer. I will right click over the geometry mask, exclude everything, and just select this piece for the color of this. Basically I will be giving it like a light yellowish beach color. You can copy the X code if you want to. This color, I will add another variation layer. Add a fill layer. Let's rename this two variation color variation. I mean, for this basically I will be going with like a dark yellow type of color. Again, just copy the X code, paste it over here and select it. Let's add a black mask to mask it out. And add a filler now in the texture section, search for a texture map called clouds. And I will be basically using the clouds to drag and drop it over here right away we cannot really see any changes. Let's enable the mask from over here. As you can see, it is like really faint. First, let's increase the tiling, Something like this. Then what we can do is we can adjust the balance and the contrast so that it is a little bit sharper. Now if we come back to the material, just press to come back to the material, You can see over here it is appearing like this, the color variation. Let's select it once again. And I will decrease the balance because obviously I don't want the effect to be too much. As you can see, if you set this to zero, it is completely the base color. And as you keep increasing it, the variation starts to come in. Set this to 0.25 I think. And the variation, the contrast can be a little bit more like 0.35 as you can see. Round it off. I will set the tiling to 15. All right, now let's add a dust layer to it as well. Again, create a new fill layer. Rename this two dust, give it a dark color. Again, I will be adding a black mask. Let's use a smart mask. I will be going with this one. Only dust, just drag and drop it over here. Select the generator and increase the lid. Let's see. We can maybe increase the grunge amount and reduce this. Basically increasing the grunge will increase the dirt. Yeah, I think something like this is pretty good and now we can just tone down the opacity thing like this. Now, right now it looks like weird, but when we will add the numbers, I think it would look pretty good to add the numbers. Basically, if you will go in the resources folder, open up the textures in the alpha section, I've added these two clock alphas that we can use to simply add the numbers. I've added two of them. You can definitely find more on Google and create some of your own if you want to. I will be using this one. The second one, let's just drag and drop both of them into the shelf. You will see this pop up appear. Make sure to select them both as alphas. Now we need to select where we want to import our resources. If you select current session, basically they would only be imported to this particular session on. If you close substance painter, they won't appear back. If you select the project then they would only be imported to this particular project. Only if you create any new project, you won't find these Alphas in your shelf. And the last one is the library. Basically, they would get imported permanently into your shelf so that you can use them for any of the projects you like. Let's just select for this particular project. Only import, and you can see they've appeared over here. All right, to add them onto here like a sticker. Basically what we can do is Let's create a new paint layer this time, or we can create a new filler. Let's just create a new filler and add a black mask. Again, let's set the color to obviously black for now. This can be named as numbers. All right. The way we can add this thing over here is if you notice, you can paint with the brush onto your like model very easily because the mask has been added and you're currently painting with white. Let me just change it to something else, like a red color so that it is not confusing. Yeah, when we paint with white, you can see this red color is appearing because the red is the actual layer of the color. And we're painting with white on our mask. That's why this red color is appearing. If we paint with black, then this red color would start to disappear. Now basically what we can do is we can double click on this alpha and you'll see it has been equipped in your brush and you can easily paint with this first, set it to white, and now you can easily paint with this onto your model. Perfect. Let's just undo it and I will show you the perfect way we can add this sticker exactly on this thing. First, I will remove this mask so that there are no old strokes present. And add a new clear black mask. Make sure to set orthographic view from over here. Because you will notice in the perspective view, things can get a little bit skewed as it is a three D view, when you like stamp it around, it can get a little bit from the edges and it is not perfect. But when you select the orthographic view, now let's say you hold all ten shift, then use your left click to exactly snap it like this. In the front, you can see it is perfectly straight at 90 degree angles and you can easily stamp your alpha onto the model. Now I will set the color back to black like this. And select the brush once again, make sure this brush is selected and you've selected the mask. Double click on the alpha. You can hold control and use your right click to move it left and right. And that will increase the scale or decrease the scale of the brush. Make sure to make it fit perfectly. What I do, basically, is I will look at this dotted line that is at the complete outside of the circle and make it match with my circle and then just stamp it like this. All right. I think that's pretty good basically, if we increase it to four K, it is bloody right now, but when I increase this to four, it would look pretty sharp and I think it would look really good as you can see. Now, with that added, you can see that a dust color variation has started to look really good If you just kept it with the base color, you can see it looks really flat. But with the added color variation and the dust, it looks really nice. What I will do is I will move it at the bottom, just above the base. Okay? It is looking weird because it is getting clouded by our like a color variation. And dust like that is also a nice effect if you want to have it like the clock is sold, that the numbers have worn off. But yeah, I will just keep it at top only because I don't want that. All right, now we can remove the alpha from over here so that we have our old brush back. Or we can go to the brushes section and select the basic hard brush from over here. And that will give us back the normal brush that we had earlier. I will decrease the dust value to 25. Okay, maybe to 30 and decrease the color variation to something like 70. Yeah, also right now, they all have like same roughness values, that's why it's looking really flat. Let's switch up the roughness values to give them a different look for the dust layer. We can maybe increase it to 0.4 You can see as soon as we did that, it is looking a little bit different. Variation layer can be increased to maybe 0.6 For the last one, I will decrease it to maybe 0.15 This way you will notice that we have a roughness variation going on. That's pretty good. Let's see, I will decrease it 2.5 maybe. Yeah, that's good for these. Like the clock hands, we can also add the same mask. That we used for the numbers. The way we can do that is very simple. We don't have to like paint them or anything like that. We can just select this tool over here, the polygon field that we used early, select the mesh and then just click over here. Okay. Yeah, I was wondering why this was not working earlier as well. That is because we have completely enclosed this in a folder and the folder has the geometric mask set up for this thing. Only you can just select these pieces as well. Then it will start to appear. You can click this again and just fill them out properly, just like this. Now if you zoom in onto your clock hands, you might notice a small issue. You might or might not have this. But let me just show you how we can fix this. We can see this little bit of color bleeding out onto your like clock hands. The way we can fix this is we need to go back to Blender once again and we need to adjust the UV islands for this clock or the clock hands specifically, just go to the UV editing tab and select the clock hands. Press tab and press Select everything. Press and smart project, okay. Basically what we want to do is we want to increase the scale of them. Earlier they were like really small, but now this is really huge. But we can keep the scale of them to around this much, I think. Then you can just select everything. Press eight to select everything, the stab, You will notice that these are like getting overlaps. Just press to select everything once again. Then go over here in the UV options and select pack islands. As soon as you do that, these will be packed perfectly. We can give it a margin of 0.001 All right, now the size of them is a little bit larger than earlier. I think it should work perfectly and not bleed out. Now just select everything we need to export the file. Once again, select everything. Over to file export FBX. Now in the exports folder, selected objects and select Mesh. We can rename this as Final, Hit Export, come back to Substance Painter, and go over to Edit Project Configuration. And just select Final from over here. Okay, everything will go really weird because the Us have been changed. It will look weird as everything would be overlapping each other like this. Don't worry, we just need to bake the mesh maps once again and everything would be fixed. I will also decrease the size to one K, maybe before now, so that it is a little bit faster. Bake the mesh maps and just don't do anything. Hit bake selected textures and wait for it to finish. All right guys, the bake is finished now, it returned to painting mode. Yeah, you will notice everything is back to normal. Just quickly look for any issues with your model. We can still see a little bit of bleeding out over here, but let's see if we increase the size of the texture, I'm pretty sure it would get fixed. Yeah, as you can see, when we increase this to four K, I think it would look perfect. As you can see, we don't have any color breeding over here now. Just quickly look if there are any other issues with your model, but I don't think there are the textures. Everything looks pretty good to me. Let's just say, I think this is pretty good for this lecture. The next lecture, in my opinion, would be the last one for the text, in that we will be just setting up the glass material a little bit. And then we will export all the textures to blender to set up the rendering and everything. Thank you guys. Watching. I will see you the next one. 12. Glass Material and Exporting Textures: Hello and welcome guys. So in this lecture, let's finish up with our texturing. We will be mainly focusing on our glass, but before that I want to fix up a couple of things. The one thing is this edge sharpen layer, this golden part I think is a little bit too much. So let's just tone down on it a little bit. I'll come down over here. Selected. We can maybe select the generator first, and then we can push back the beer level to maybe 0.45 Let's see the difference between the two. This is 0.6 and this is 0.45 Let's go 0.5 I think also the thing I'm noticing over here is that the yellow part is completely covering this wood over here. You can decrease the edge smoothness if you completely set it to zero. You can see now it is completely pushed back to the edges. But I think this is also too much. Let's decrease the edge smoothing by 1.3, maybe. Let's one. Yeah. The last thing that I will do is I will just reduce the opacity to 40. That way I think it still adds a lot of value to our texture as you can see. But it is not as much in our faces, obviously. Again, this is like a preference based thing. Earlier I feel like it was looking a bit too much. Maybe we can increase it to 50. I'm just trying to find the right sweet spot for this. Let's see, it's just the grunge amount. Yeah, I think grunge amount we can increase a little bit. That does not matter. We basically increase all this. That is in between 0.2 is fine. I will also reduce the opacity of these scratches to 40 because I think they are looking a little bit too bright over here. Yeah, that's better. All right. Yeah, that's pretty good in my opinion. I think much better. Next thing that I will do is I will add a small little design over here on this gold plated thing. If you will look in your resource files once again, I've also added these two ornamental designs that we can add Dragon drop them again into the shelf. Select them both as alphas and import them to a project. I will just add them to the corners over here. Let's select this one. Basically, we can create a new layer in the gold damage folder. Let's create a new fill layer, add a black mask to this. Let's go into the, once again sorry, orthographic view. Select this and you can just stamp it on here like this. As you can see, I think this much size is pretty good. I don't want it to overlap with the clock when we move it in. Let's just keep it like this. If you look through in the property section, you can set the angle to 90, then you can stamp it up on all of the four sides. 180 and then I think 270. All right. Something like this. Obviously, we don't want this white color, so we can turn off the color channel. I will also turn off the metallic. Now I will increase the height to 0.1 let's say make it appear like this. And then we can also turn off the roughness as well, so that it blends with the like material. Only this I think looks pretty good. Maybe we can set it to 0.05 let's say. I will also show you something. We can select the mask and add a filter. You can see it looks like really harsh right now. Let's add a blur filter. You can do a lot of these type of things with the filter. If you add a blur filter, you'll see now it has gone blurry. Just decrease the blood intensity. 0.8 is pretty good. Just said this two height. Line because we're using the high channel. I'll once again select it and decrease the height two, maybe 0.03. Let's decrease the plur as well. 20.06 Yeah, I think that looks pretty good. All right. Now let's move on to the glass, close this up and open up the glass folder. Let's add a new folder. Basically, first what I want to do is I want to mask out the edges. I will do that manually. Two edges, add a black mask, and add a paint layer as well. It's good to work with a paint layer, remove this filter, and select brushes. And I will just select this dirt one brush. I usually use this one a lot. All of these dirt brushes are pretty good in my opinion. You can use any of the brushes you want to. There are a lot to choose from. But yeah, I will just go with this. Basically what I will do is if you start to paint, you will see this white color will start to appear. It is the mask color as it is the color of the layer. Change it, you can see it is appearing up over here. Let's just set it to white only so that we can see it properly. We will remove the color later on. Basically what I want to do is I just want to mask out the edges, adjust the size and the hardness of the brush. I'm telling the shortcut once again, You can hold control and right click. Just hold them both. And when you move the mouse up and down, it will control the hardness. And when you move it left and right, it will control the size. All right, just start painting with the brush on the edges just like this and mask them out completely. We will also set it to two K, I think it is lagging up a little bit, wait for it to load, and then we can work, I think, a little bit faster. Yeah, let's just do something like this then What you can do is you can maybe select some other brush. Let's say I select this to press X and remove some of the areas like lightly to have a variation, you can press X once again and again add some of the areas, then again remove them. Keep on pressing X to switch between both black and white. And just keep adding and removing so that we have a bit of variation. I don't want to come in toward that it covers the center, so make sure it stays along the edges only. Yeah, I think something like this is pretty good. So this brush once again and yeah, basically something like this. And then we can move on to the other classes and do the same thing, reduce the size for this one. Do something like this and then remove it from the center. Then just select some other brush, add some variation along the corners. All right, so yeah, this is pretty good. We won't be able to work perfectly with the side mirrors because they are not really placed correctly. So we can just keep them at an angle and then try to paint the edges like this. Make sure whatever we do on this glass stays on. This only and does not get to the other glasses can reduce the hardness to make more variations like paint hardness and then reduce it a little bit to remove from certain areas like this. As you can see, I've now reduced the hardness to very low, that's why not much is being removed. All right, let's work on this side now. Let's increase the hardness and paint the corners again, I'll just x once again, reduce the hardness a little bit and remove these areas. Select some other brush, all right guys, to make it actually look good. But we basically need to do is select the edges layer first. Just completely turn off the color channel, there is no color information. Now what we want to do is we can also remove the metallic roughness we do want to keep because roughness and opacity would be the main things that would make it look good. Right now, the opacity is set to one for this, and as you can see for the base, it's set to 0.4 around the edges because dust is collected over there. We do want to keep the opacity at maybe something like 0.75 That it's still visible, but not completely opaque is what I mean. Roughness, I will decrease. Let's see, we have set it to completely zero over here in the middle part. For the edges, we can maybe set it to 0.6 We definitely would have to do a couple of iterations for this to see how it looks in Blender. Right over here, I think it looks All right. Yeah, let's just keep it at this only for now. All right, Now what I will do is I will just duplicate this edges layer and remove this paint layer. This time we want to fill up the center part that we left out. Just add a fill layer for this. Rename this to maybe something like damage. I will be using a fill layer. There are a couple of different ones that you can use. One that I found out to work pretty well is this one, the grunge smudge heavy grunge wipe smudge heavy. Just drag and drop it over here and you will see its effects. As you can see it nicely plaints in with our edges as well and fills out in the center with all this dirt. We can set this tri plan And like a just third tiling, something like this, it gives a nice look. You can obviously reduce the balance. To decrease the effect at just the contrast and things like that. One Another that worked really well was the leaks. One select leaks and this one grunge, a small, this one just drag and drop it over here. And you can see this one also looks pretty good. Let's try setting it at three. Yeah, I think something like this looks pretty good. As you can see, again, obviously I will decrease the balance a little bit. So you can choose whichever one you want to go for. I think the earlier one works a little bit better, in my opinion. So I will just use this one only for me. Let's try something like this now. Let's just hit safe. And let's keep it just like this only. And we can just export it to blender and see how it actually looks. And then we can proceed from there further. If it looks a little bit weird, we will tone down the effect. And if it looks all right, then we can just go ahead with it. With this, we are pretty much done, in my opinion. Let's set it back to perspective and fill open up blender. Also one thing that I want to show you guys if you want to adjust this damage layer specifically, you can also add a paint layer to this if you want to remove it from certain areas like this as you can see, or if you want to add it in certain areas, you can just press X and start to paint on your own where you can definitely do those type of things if you want to. You can see if you turn it on and off, you'll see the effect. Let's just keep it like this. I don't want to spend too much time now. Go back to Blender and see what we can do now. First, I will come over here and change the render engine from B to cycles and set this to GP. Because we will be using cycles to render everything, we can enable noise as well. All right, let's first export our textures from substance painter so that we can use them in blender. To export the textures, you just need to get control shift in E. Basically, that's the shortcut. And you can also go over here to file export textures. All right, now we need to select the output directory. I will save it over here in the textures folder only. Let's just save it out here, Select folder. Now we have the output template. Basically, there are like templates present for all the different kinds of software. Like we have under engine four. We also have like Corona, Cry Engine Cycles. Everything I will be choosing Blender Principal, SDF. I will select the file, types PNG and we can just set it to 16 bits. Size can be four K. With this, we're pretty much done. We don't need to do too much Hit export and wait for the export to finish. All right guys, so the export is done. Now let's come back to blender and go into the shading tab so that we can actually create the material. There is like a nice and easy way to create this material. Like if you will see in the Textures folder, you will see all these different textures that we need to connect up over here to create. Like a set up is like a shortcut for this process. But first you just need to make sure you have enabled add on in the preferences, add on, search for node Wrangler and make sure to enable it. This is like a nice add on that we can use while we are working with nodes. Now just select your material, any of the object, then make sure you are in hall clock material. Select the principle BCF and press control shift ten. This will open up this principle texture set up. Now you just need to go in the Textures folder, select everything and just hit principle texture set up, and wait for it to finish. As soon as it is done, you can see the texture is appearing over here. You will not be able to see through the glass because we are currently in this real time rendering type thing, which works like EV, and we won't be able to see the glass effects. But if you move over to the layout tab and actually view the cycles render engine, I think it work as you can see, we can see through it. Let's just select all of them. Press G minus two, I think x two. They're placed exactly over here, and you can clearly see that. We can see through them. The glass is working pretty good. We will be adding lights and stuff to see how it actually looks. Let's select all of this. Let's first set this, then Px, then minus one. I think it is exactly fitting over here. I want to see if I was overlapping with these things. I think I'm good with this. And select this Px. Then minus two, I think we did the -1.5 All right, perfect. Now we have basically completed our texturing and we have also set up the textures over here in blind, you can maybe add a simple light like something like now if you press R two times, you can rotate it around to see it work. The model is coming along pretty good. We might have to adjust the glass a little bit. But yeah, that's fine for now. I think this is pretty good for this lecture. The next lecture would be the last one where we will set up the lights and the camera and take a couple of screen and then edit out the portfolio renders. That would be the end of our course. Thank you as watching. I will see in the next one. 13. Lighting and Rendering: Hello and welcome guys, and welcome to the last lecture of this course. In this lecture, we will be basically setting up the lights and camera to capture a couple of portfolio screenshots for our model. In the last lecture, we basically added all the textures and everything to our material. Now let's add some lights. First, I will just remove this sunlight. For now, we can go over here in the shading tab and I will be using a HDRI to light up the seal. Just wait for it to at a little bit. All right. Now we can just from object right now, whenever we select any material, we are currently in the object mode. That's where we can select the materials and we can see them up here over here. We change this to world, then we can change the world settings from over here, Shift and add environment texture, basically, that is what we use for HDRIs over here in the resource files. I've added a simple HDRI that you can use. Obviously if you have some of your own or you want to download any from the Internet, feel free to do so, but I will be using this one. Just hit open and select this file from over here. And now just plug it in. When you have done that, if you view the rendered view from over here, you can see the HDRI has started to appear and we will be getting some natural light in our. All right. Now what I want first I want to set up a camera. Let's do that. Let's come back to the layout only to set up a camera simple. Let's just press Shift and add a camera. Now what you basically want to do is you want to set up your view just like you want the camera to appear. Let's say I want the view to be something like this. Now just place your view like this, Select the camera, then press control Alt and zero on your number pad. You can see the camera has set up itself almost according to that view. Now you will go, oh, sight rule, press N to make it appear. Select View from over here and enable camera to view. When you do that, you can move your camera around very simply as you move around in Blender. That works pretty good for us. We can place it like this. Now make sure to turn it off because it will get weird when you move around like this. It will get all messed up. Now, you can press zero on the number back to view through the camera, and if you just move it around, you can normally view your scene. If you press zero, then we are back in camera. If you view the rented view, now we can see it. Something like this. Now what I want to do is I want to remove all this like GRI image that we have at the background. I don't really want that do that in the render settings only scroll down and you will find this film option and make sure to enable transparent. As soon as you do that you'll see all of it has disappeared. Also, we can enable render region from over here. Basically, it will just show the render region and nothing else. We don't really have anything else that does not matter for us. All right. Now, back to Shady tab in the render view in the render view moves zero for the camera view and now just select your DRI that you just added and risk control plus D. This will add a mapping node to this. Basically, with the help of this, you can rotate it around. As you can see, you're rotating it around. I think if you enable back the transparent thing, If disable this, I think we will be able to see it move around. Yeah, as you can see, basically that is what this node does. You need to just rotate it around and find like a nice sweet spot for light. Basically what I will be trying to do is I will try to give it some lighting on the back to add a rim light type of effect. As you can see something like this, you can increase it. Yeah, I think 300 feet is pretty good. As you can see, the backside of it is getting lighter. What I will do now is I will add a simple area light on the front, light up the front of the R model. Now press seven for top view and just light and add a light. Let's go back to the layout. Press R then. X rotated by 90 degrees like this. Press seven for top view and just move it around. And press to rotate it in the top view mode. On to make sure that it faces your model like this. Now when you press zero or camera view enable the tender view mode. Right now it is very faint, but if you select the area light and increase the power 100, as you can see, it will start to lighter. We can see this. A light is shining back in our class. If you don't like that, you can maybe increase the size of it, then it would disappear. But now the lighting looks really flat. Let's go with something like 1.5, increase the power to 200. Maybe it's too bright, so we can move it a little bit far back. Rotate it like this per size two. And now it is a little bit more dispersed. I think that's a little bit too far away. I think this way looks pretty good to me. What we can do is we can just press F 12 to render out our image and see how it looks. Then we can move ahead from that point. Just go to Render and select Render Image, or you can just press F 12. I will wait for it to finish and then resume back. All right guys, the render is finished now. You can just maximize it and zoom in on it. The glass looks pretty good to me. And a light as well is looking all right. We can see all these imperfections that we added in it are pretty apparent. Maybe we can tone them down a little bit in substance painter. But again, that's totally up to your preference. Maybe I will do it a little bit. Even this I think looks pretty good to me. Yeah, let's just quickly open up substance painter once again. Then we can just tone down the opacity or maybe roughness of these imperfections that we added on the glass. All right, another thing that I want to show you is that when you press zero on your number pad to view the camera view, you can also adjust the resolution from over here. Let's say if you want to render it out in 14 40 P, you can increase the resolution. Or if you want to render it out in, what do we say, like a square type of format. Because this is like a long object and a lot of this area is empty, we can maybe render it out, let's say 2000, 5,000 Let's try 1,500 Then we can just enable camera to view. And again, zoom it in, maybe something like this so that it will have a different look to it. You can press 12 once again and render it out like this as well. Basically, I want to mention that you can change the resolution and things like that to render it accordingly. I think our modeling textures came out pretty good. They look really nice as well. In this light, a substance painter has opened up. Quickly. Open up our five. All right guys. As you can see this render is done as well. It looks pretty good. Now substance painter also has opened up. Basically what I will do is just select the glass, let's select the damage. Basically, decrease the opacity to maybe like something 0.5 for this as well, the edges. Let's reduce the roughness as well to maybe 0.4 Let's try 0.45 for this. Now we can just quickly hit control shift ten and export it out once again, the same directory. All right guys, the export is done now. And if you go back in blenders, close this. We need to just switch back to the layout and again go back in the rendered view. And I think the textures should update themselves. As you can see, they look a little less apparent. Now I will show you a nice that way you can compare the renders. Press 11 on your keyboard this time. This is the old render that we just did, Slot 1-2 like this, and now press 12. Basically, this is getting rendered in the slot two so that we can compare the renders of both Slot 1.2 wait for it to finish, and let's see how this looks. All right guys, once again, the rendering is done. Now if you press J on your keyboard, you'll see you can easily compare the two renders and see how they fare out. As you can see over here, the imperfections are a bit too much and they look in our faces. If you press this is the new render, obviously it has toned down a lot. If you want, you can increase it or decrease it, whatever you feel like. But I think this much is pretty good. I will be going ahead with this next. What I want to do is zero. Once again, I feel like the light over here in our light clock, main clock area is a little bit less. I will just move it upwards like this or we can just duplicate this. Light lows over here. Let's that just reduce the power of it may be like 50 size as well to one. So I'm just trying out different things. I think this looks pretty good in my opinion. Let's reduce the power to 35. Yeah, I think this is pretty good. Now what you can do is you can experiment around with this however you like. You can change things like the color as well them like a totally different look. Rendering is not totally up to. You can also create a studio type of scene. Basically shift a, add a plane. This thing also I do quite a lot when I have a single prop to render out, create a plane, rotate it like this and move it back over here. Scale it up. Just apply the scale. Press tab and select this edge press to extrude it out. Press Y and create some of this thing. And just place it at the feet of your model, just like that. Scale it up. Now just so you don't have this corner over here. You can select this corner control and level it out completely this way it will look completely smooth at the back, giving like a studio light set up. Go back to your rendered view now select the next, Scale it up like this, add a material. Now you can play around with the color to give you a model. Again, a different look. Maybe going with a shade of brown would look really nice. I'm just trying to show you different things that you can do to render it out. Now, I will also suggest you guys to add different cameras, add multiple cameras, and take shots from different angles as Let's just delete this for now. What I will do is basically select this complete thing. First, let's shift, press shift S and cause bring the cursor over here, pressift and add empty object, plain axis. Basically, I want to parent all of these things to the empty object. This way it will get easier for you guys to place it around, move it around, duplicate it, things like that. Yeah, I will just disable all of these lights and everything. Just go over here to select everything. Or just make a selection this way and make sure that this is your active selection. At the end, select the empty axis. Active selection is basically the one with this yellow color outline. Now, right click parent object this way whenever you select just this empty axis, you can move it around easily. Scale it however you like rotate it, you cannot duplicate it. Just select them all and then duplicate it. Basically, this will have the patent as well. It is like a nice little thing so that you can easily move and rotate it around. All right, press Alt plus H, H and bring everything back. If you will, press F 11 now you can view the render that you just made. Let's go to the slot three and create a new one. Press F 12, and I will just quickly wait for it to finish. All right guys, the render is done once again. Now again, just cycle through them by pressing J. Yeah, as I was saying, you can edit everything according to you, add more lights, and do all sorts of things. Let's just save this render image now, because this lecture is already quite long now. I will save it in my files only you can save it wherever you want. Let's save it as JPG. I will save it as one. I will just save it over here outside. Now, basically it will appear over here with your files. Now, let's just quickly open up this file in Photoshop. I will show you a couple of things and then we will finish with the course. All right guys. Now in Photoshop you can adjust it accordingly, like doing things like adjusting the brightness, contrast all those things, adding like a color taint. Basically what I usually do is first I will just select autotone from over here. Because I honestly don't know Photoshop that well. But I've noticed that doing this auto toon, we'll fix up your colors of the render a little bit. One more thing that I always do is I will just go over to filter sharpen and sharpen more. I share this thing in all of my tutorials, but you can clearly see the difference with this. Let's just, uh, undo it once again. As soon as I use sharp and more, you'll see how all these edges are much more sharp and as if the resolution has increased and the details are popping out a lot more. It is like a nice thing that you can do to your renders. With that enabled, everything looks a little bit fuzzy. Sharpenre can work like wonders with your render, making it look even better. So as you can see, it looks really nice basically. That was pretty much it. Not much. But yeah, it definitely adds to your render. You can do all sorts of things. Whatever you want to from over here to color will also sometimes fix up the colors of your, but maybe this yellowish tint is all right. So you can just save on this and save it as the JPG file. All right guys, so basically this is it for this course. I hope you liked it, So thank you guys for watching. I will see the next one.