Creating a metro train interior in Unreal Engine 5

1. Introduction Trailer: My name is Emil Sligas and I will be your instructor for this course. The thought behind this course was to create an interior environment in UnualEngine five while using the new Nanite and lumen systems. That's what we will be doing in this course. It might not be a basic house interior, but I will take you through how to create a New York style metro train interior from start to finish. The key topics of this course are as follows. We will go over now to create hipole models and we push the quality of them in Maya. Thanks to the new Nanid systems in unreal, we do not even have to bake these down from high pool to low poly. We will also go over on how to create easy but powerful procedural materials and also how to create unique textures. We will go over on how to input all of our models, set up Nanite and build our level. And next to this, we will also create some flexible shaders in Unreal Engine five that give us control over every texture map along with adding variation controls in, for example, the roughness and base color using a mask. And as a bonus, some of these shaders don't even need UVs. After this, we will take a break from Unreal and we will go over on how to create realistic branding and advertisements for our metro. This will include everything from advertisements to warning labels and even norm map details. Most of these will be created in Photoshop. Finally, we will cover on how to do the lighting and post effects, including how to use the new Lumen system, and I will go over how to properly polish our scene to final. In the end, you will be left with an amazing looking scene like the one you see here. This course is targeted towards beginners and intermediate artists. However, it might not be a good fit for absolute beginners. If you are an absolute beginner, I recommend that you first watch some introduction videos on the softwares that we use. This course will be almost 19 hours long, and all the source files will be provided. So I hope that you are excited for this course, and I hope to see you soon. 2. 01 Going Over Our Reference And Setting Up Maya: Okay, so let's get started with our reference and planning for this environment. Now, this environment is going to be, of course, a little bit different than, for example, an exterior environment. So I got a bunch of reference images here. I got these reference images just simply from Google. I just typed in New York, Metro Train, Metro, Cat, stuff like that. And then you can find these type of references. Just to note that these references, you will need to download something called PUR Rv. Because of Oops, I can show you. Because of copyright, I'm not actually allowed to give you all of these images, but I am allowed to give you a PureRv file which will have these images included. So go ahead and go to Google and type in PureRv. It's a very common program used by artists, and then you can go ahead and you can download it. But in any case, this is our reference. Now, one thing that we will always need to keep in mind for this specific project, something that I also still need to get used to is that we are going to use Nant inside of nul eng and five for this. This basically means that geometry wise, we are not very limited. We are going to push most of the geometry. This is our main reference over here. We are going to push most of the geometry that we see, and it's just going to be real geometry. It's not going to be any high polym low poly baking or anything like that. So that's something we want to keep in mind. I do maybe want to make a norm map here and there, and the reason for that is because it might actually be faster to do the norm map rather than going in and trying to get geometry in those places. But mostly it will all be just pure geometry, and we can take it from there. Now, another thing to remember that this is not to say that we can just go ahead and push in 1 million polis per object because then we would not have the power to actually UVN wrap and texture the object because just because nanite inside of unreal can handle 1 billion polygons, doesn't mean Maya and substance painter and everything can or substance signer. So this is our main reference. If we have a look, we have a few main elements. We are going to do this in a modular way to save time. So we have a floor piece. We have a door piece, we have a window piece. We have a seating piece, although I will most likely just do per two seats, as you can see, and then per two seats, we can also go ahead and later on, make a single seat, for example, like that. We have one of these poles, one of these side poles. On top, we do have this, but this can probably just be included partly inside of our door mesh. We have this advertisement sign, which also controls the lighting. We have a ceiling piece, which you can almost literally see the lines on how it is constructed together. So literally this train is modular even in real life. You can see it everywhere. The lines coming back everywhere, which is quite nice. And for us we have some small stuff like smoke detectors, and we have a back piece, which is actually not that small, you can see over here with like a door. Let's see. Yeah, there is maybe some stuff here, but let's just have a look. So I'm going to run through the reference, and I'm going to just point out the stuff that I see. So in this stuff, the most stuff that I see is general shapes and I can see exactly where I want to have my modular pieces end and begin. We go it over here. This one, this is actually T D render. I forgot who the artist was. Yeah, sorry, I'm not sure who the artist is, so c it to that artist. But basically, with this three D render, the thing that I will like is just the shininess and the cleanliness. I think we are going to incorporate that, and we are going to keep ours also a little bit cleaner in terms of just the general feel. Over here, the thing that I like is the door. I can see very clearly how the door frame over here works and that the door works over here. Next to this, we do have some little bits and pieces which could be cool to art later on. And also one thing to keep in mind with all of these pieces is we are going to create an atlas for everything like, please don't smoke, these maps, all of this advertisement, everything. I do want to spend quite a bit of time just doing some really cool looking advertisements, even if it means that, yeah, we need to dive into Photoshop and everything for that. Let's see over here. So this one I did mostly for the advertisement. Also, it's quite nice to just see how these rings and everything work. Of course, they are slightly different here, but I think I like this one actually more, so we can see how we're going to do that. This one, once again, the window, you can see the little screws over here sitting inside of the window, which is always really cool. I'm not sure if I'm going to do that in geometry, because doing this is most likely quicker to do using norm maps because else I would need to first of all, grab my window, extrude this in, and then grab a bolt and then set it on top. While with a norm map, I only need to just create a quick norm map, and I can just duplicate it around. So those techniques they are not lost. Let's see. Over here, we go over here. So yeah, this door, I find quite interesting. I think we're going to go something more in the direction of this for the ending just to make it feel less flat if we have an extension going out or something like that. So that's quite cool. Over here. This is pretty nice that we have some priority seating and you can see that it's like ripped off. So that's something we're going to do. And we can also here get a closer look at the vent and just in general, how those things look.'s see. Here's another one where we can just have a look at the color and everything. The doors are slightly different here because these doors, they have a little angle, while our original doors, they are just perfectly straight. So do keep that in mind. We're going to go for straight mostly because it is easier. And for tutorial, easier means often also that just saves a bit of time. Over here, yeah, it's just a general image. Over here, this is quite cool. If you can maybe do something like these bars. I don't know. Oh, here. So we also have the bars over here. And maybe it would be good that I actually add some of those subway straps to them. Can I see them? No, I don't have a reference, but I'm sure that, you know, it just like those yellow straps that you need to hold in order to not fall over. Over here, also a pretty good reference. This one kind of shows more of the lighting that the lighting is actually a little bit more neutral and not so over the top. So that's something that's quite nice to capture. Also, it does show us like a little trim over here from like a window. Over here, it's quite nice because we can see how the bottom of these pieces look. Although, of course, we are going to flip because we're not going to have an extension out. Let's see. So over here, yeah, it's mostly like just the door, interesting to see. I don't know. Maybe I don't think we personally will do something with a window. I don't think we really have the space for that because it would mean making an entire new piece. But just in general, as you can see, we have some pretty nice reference. So those are the things that I notice mostly. What we are now going to do is we are going to, first of all, create a blockout. Now, normally, when I create an environment blockout, I would already set it up completely in Reel engine five. However, for this specific case, because there are not too many pieces and because it's a very small environment, I'm actually going to just set up the blockout inside of Maya, make sure that everything fits together and snaps together, and then what we can do is we can go at and we can turn this to inl. Now, before we get started with our blockout, I just want to do some basic setup. So over here we are in Maya. I do expect that you already have a basic understanding of Maya so that you know your way around all the windows and how to move around and do some basic modeling. Just to show you my layout, I have my outliner, my tool settings, and my modeling toolkit on the left side, and I have my channel box, layer editor, attribute editor, and my UV toolkit, along with my UV editor on the right side. If you cannot find any of these windows, of course, you can always go to Windows. And here you can find, for example, in general, editorial tool settings, you can find your outliner and your modeling toolkits, et cetera. I do have a custom toolbar over here that just has some basic stuff, but I have this really annoying bug inside of Maya that for some reason, even though my files are set to be able to read and write, it can actually save my files. It's a bit annoying just means that for my too bar, every time that I restart Tres Max, I Tres Max. Every time we need to restart Maya, I need to go in here and I need art a few settings. But that's just me. You will not have that problem. Hopefully. In any case, I have for us, wow, sorry, I said that really loud. I have for us a scale reference, and the scale reference is basically a character that is as big as the one inside of Unreal engine. So if you go to vile and Import and just import this character, this is what we will get. Now, I can see that I most likely still have my old settings. Sorry about that. Just to go for a better one. If you go to Window settings and preferences and go to preferences, you want to go to settings and you want to make sure that we are working in centimeters. We can work in meters. However, meters, if you want to do very precise work, like with bevels and everything, which we need to do, it's a pain. So I like to go for centimeters. Now, the old settings that I'm talking about is that I still have my grid set to the settings. Your grid is supposed to be looking like this. So this is what you will get, and what you will notice that your grid is incredibly small. Now, don't really worry about that. So this is our scale reference, yes. However, you can see that it has quite an interesting scale over here. Now, you can go ahead and try and go to modify and freeze your transformations, just make sure that everything is fine. It didn't do anything now, but that doesn't really matter. And I'm going to set my translates to zero, zero, zero, just to have this in the center. Now, the main focus for this one is actually a scale. So for a scale, I want to scale it down in increments of ten. So if we have 2.54, I can go 0.254, and that makes it a lot smaller, as you can see over here. Now that I have this one, I can now go to my display and to my grid, and I want to set the length and the width a little bit more. So let's do 24 and press Apply. See, so that can make our grid points a little bit larger. We can also set our grid lines larger by setting them to ten, and based upon that, if we do 48, based upon this, we can balance it out because I always like to have a grid around my main model. So we got our scale reference over here. Now that this is done and we have everything set up, we can work in centimeters. We have this one, and we just know that when we go into Unreal engine, we simply need to set the scale to ten instead of one, which is no problem. That's just a basic metrics. It's very easy to do inside of Unreal. But now what we can do is we can go file and we can save our scene, and I am going to save it for you. So this will be the scene that you will be using all the time in saves and final on the score Metro. That's what I'm going to call it. Even though we are now going to create a blockout, I will just have my blockout in a specific layer in our layer editor down here. So let's go ahead and continue to create our blockout. 3. 02 Creating Our Blockout Part1: Okay, so let's go ahead and get started with our blockout. So if we have a look over here with our reference, we can see this person. Now, our reference over here, this is a male and I assume that he is 1 meter 80. So that's like the default standard that I always go for because I myself am also 180, so it's easiest way for me to guess. This guy over here actually looks really tall compared to, for example, this guy. So what I assume is that if that person is 1 meter 80, the doors will probably be 2 meters. The reason I say this is because when I'm in a Metro, I can remember that I never have to duck to actually go in the doors. They are very close. So maybe they are 1 meter 90 but sometimes just doing 2 meters is a little bit easier. Then we probably have, if we have this, this is probably 30 centimeters from the ground, which means that this is probably also 30 centimeters, and then we have the end. So that's the general idea that we're going to go for. Now to create our blockout, let's get started with probably the most important one or the easiest one for measuring, I should say, which is our door over here. Just for the people that don't know, a blockout is a very, very basic model that will just show you the general shape and general scale of whatever you're going to turn it into. So you really just need to see it as just cubes, basically. So shift, mouse button, right mouse button, sorry, and go ahead and create a cube. Now, because we are working in centimeters, our cube is actually quite small over here. So 1 centimeter, if we do 100, we know that this is 1 meter. Over here. No, wait, sorry, that is incorrect. That is my fault. It is not 1 meter, because if that is 1 meter, if I go for 180, you can see that that is double over here. Now, I do trust that this piece is 180 centimeters. What I do not trust is that this guy. So over here, I think something went wrong with our scaling. Now, this is not really a problem. Like, I'm not going to bother too much with it. Let's set the scaling to one. So if this is 180 centimeters here, so I think the scaling somehow messed up with my input. That is my fault, but it honestly does not matter because we can change this inside of reel. People are often very specific with their metrics. It kind of depends. If you're doing Tre D printing, yes, be specific. But if you're importing to game engine, you can simply just scale the model upon import and make sure that it is to correct scaling. So if this is one, it's still yeah, I guess that you could see if it is like an FBS game that the eyes are around 180. But what I'm going to do is I'm actually going to go ahead and I'm going to scale this down and I'm going to make this guy 180 centimeters like this. And then I'm just going to use my door as my main reference. So knowing my door, my door will most likely be here, if I like this, I quite like having it quite small, so let's do 190. Like that. Okay, then for my scaling, this is probably like 15 centimeters on the X axis, or sorry on Z axis. So if I do 15 Yeah, it feels about right. And then for my scale scale is actually quite important. This takes a bit of time. You want to make sure that this one is correct. So if this is one person and one of these grids is two seats, that means that we will probably have two, three, four, five, five seats for one entire door frame, I would guess. And the seats 1 second. Okay, so I took a literal tape measure, and I measured myself and the seat that I'm sitting on. And I assume that these seats because they need to be quite a bit smaller, I assume that they are around 40 centimeters, 40-50 centimeters. So what we can say is then five times 40 centimeters is 200, so it's probably 2 meters. Here we go. It's probably going to be 2 meters per door frame with extra piece. And that's a general idea for that. Once we have this done, and if the scale does not feel right, then we can, of course, move it. But here, you can see two, now, okay, so there is a little bit of space here. So 200 of 200 feels really nice. I'm going to go for 200. I feel like that would be the best one. So we got something like this. I don't know if 10 centimeters might be yeah, I think 10 centimeters might be nicer. It does not really matter too much because we're going to have a door in between here. But the general idea is that now that we have this piece over here, that's all looking good. What we can go ahead and do is first of all, let's go to our site view over here. Whoa, that's really zoomed out. And just like nicely placed on the grid like this. And now what we need to do is we need to divide this up. So as I said before, it was most likely going to be 80 centimeters per side. So what we are going to do is right click and go to Edge Mode, and in here, we can go ahead and first of all, we actually want to go and set a line at the top because let's see how far am I doing this? No, wait, if I set a line at the top, if I am moving it up until this point, I probably want to actually give it a tiny bit more scaling, so I'm actually going to extrude the line. So right now, we go to our side view over here, these grids are also sometimes a bit more annoying, but okay. What we can do is we can actually turn on grid snapping over here. This basically allows you to snap your model C to the grid. So we are now at 190, white. Double check. Oh, no, wait. Sorry, we are at Yeah, yeah, we are at 190. I assume that I need 10 centimeters on top of that. So if there is one centimeters, one, two, three, four, five, six, seven, eight, nine, ten. So that's what you can do. You can hold Shift and you can move your cursor up. And then with your grid snapping, you can set exactly 10 centimeters on top of that like this. And now I know that my door is going to be here. However, my door frame will most likely be two down, which means that I'm going to go up here, I'm going to select my split selected edge ring. Now, just to go through some of these that I will often be using that are in my toolbar, you can find them here. Combine and separate. You can find here. You will hear me calling them out whenever I use them. So combine and separate, I will use here. We have R over here. Most of these are actually just shortcuts. You actually, you know what all of these are, I'm using shortcuts for these. So we actually don't need to do anything for that. In your mesh tools, your connect is here, your target belt is here, your offset edge loop is here, your multi cut is here, and your inset edge loop is here. Keep those in mind because those are the ones that I will often be calling out. For example, now I'm going to call out an Insert Edge loop. You can also match your icons. Insert Edge loop basically allows me to add a very simple edge wherever I want, so I can click and I can drag to add an edge wherever I want. So this is quite handy. Now, I have a general measurement of my door. Now what I need to do is I want to go ahead and I want to select all of these center lines. And if you press space, you can go ahead and switch between views. So you can see that all of this is selected. Knowing that this is going to be roughly around 480, around 80 centimeters, 160. No, sorry, I'm saying that Wong we need to be at 280 because it is two seats. So 280 because 40, one, two, three, four, five, six, it is seven seats, not five seats. So we need to be at 280. That's no problem. We can just go in here, set this to 280. Okay, there we go. So now I need to create two lines that are exactly at 80. The way that I do that is I go up here to connect and you can find this in Mesh tools and Connect. And when you do that, in your tool settings, you will get this menu. In this menu, what you can do is you can basically set your segments to two, which will place two exact lines for you that are evenly spaced. Then what you can do is you can go ahead and you can just press Enter, and then you can basically scale this out. So if we need to be for 80 centimeters, okay, this is a bit of pain when I'm working with, like, a grid like this, we need to go ahead and match it up. Now, I could go in and move my grid, but I'm a bit worried that I mess this up. So grid lines every ten units. I hope that I'm not messing this up. Ten units? No, no, ten units. Ten units is one centimeters. So if I do 100 units, it should be 1 meter? One, two? No, no, that's not correct. I am already messing up. That is not very smart of me. However, I'm not messing up too much. The only thing that I'm messing up. So I'm not messing up my actual let's back to ten. This what I mean, I am not messing up these values. These values are static. They do mean centimeters. What I might be messing up is how much I'm placing in between. I can test this out, so I'm showing you a trick to fix this or how to make sure that everything is correct by creating another cube. And for this cube, we can go ahead and, for example, on the X axis over here, we can go ahead and we can set this, so this needs to be like 80. So if we know that this is going to be 80 centimeters, turn off your grid. We can, of course, do some measurements. So we can basically move this over here and we can say, Okay, so that is 80, and this is 80. So that's one measurement, and then the measurement that I was thinking. So I was thinking that over here, go ahead and hold J. And if you hold J during rotate, it will snap rotate. You can change this rotation also in your grid settings over here. Where are you? Huh? Did I miss click? I miss clicked. Sorry. Here we go. You can set it into your Where are you? You axis. I can't find for a moment. Don't worry about it. In any case, what we can do is now we can go ahead and we can measure. So let's say that I want to be if that is 1 centimeter, I messed up, see? I accidentally made these blocks 2 centimeters wide, so it's 2 centimeters most likely per block. So that is literally me messing up, and that's my fault that I set this one to ten. It is supposed to be five. It's just because I'm not thinking white. So because when I think five, I'm thinking like half a centimeter because it feels like ten would be 1 centimeter. But in any case, so we need to keep it to five if we do 1 centimeter. Which means that we need to keep it to 50 if we want to do 10 centimeters. So let's do 50, and there we go. So that problem is fixed. So now we know that this is like 50 centimeters, and then we also know that this one over here is so I wanted this one to be 10 centimeters, right. So if I do ten, you can see that I way undershot it over here. I wanted this No, wait. I wanted this to be ten. Yeah, see? I wanted this to be ten. Right now it is 20, and I want it below my door to be two. So over here, what we need to do now is we just need to do this. We need to go ahead and if we go in and to get started by just moving this grid line down, turning on my snapping, and you know what? I'm just going to snap it like this. I'm not too worried, so this is already enough because if we have a door, here, we can see that this is now ten, see? And for our door, our door is what? Like five? Sorry, five. Now, it's four. But I don't really like having uneven numbers, so I'm going to select this edge, and I'm going to go ahead and I'm going to simply move it down a little bit like this. It does not need to be perfect on the millimeter, but it is good to have it like this. Okay. That is a little bit ****** that we already have a problem this quickly, but no problem because we fixed it. And I think it's good for you to also know metrics are sometimes a pain to work with, to be honest. I never really like doing it, but sometimes you have to. In any case, we know that these are 80 and 80. So what I can do is I can go ahead and I can just move using and scaling those two lines that we have created. Now, I know that this block is 80, this block is 80, so I know that this is 80 and this is 80. It's perfect. Now, I can see that over here. I do actually want to have a little bit of space. So what I'm going to do is I'm probably going to go ahead and I'm now going to go in and maybe scale it in a little bit more like this. Blockouts need to be correct right away. So we do want to actually spend the time on this. But now that we have this piece, we can go up here, turn on grid. We can, for example, delete this to indicate that this is going to be the door. And then if you want to fill up these holes because when you delete it, you create holes, shift click and add a bridge. I don't know why it froze. Shift, right click and add a bridge. And the same over here, Shift, right, click, and art bridge. Perfect. So now we have our correct doorway. We have the person that just fits under it, and we have the side bars over here that's all looking good. Okay, that is great. So for a blockout, that's already fine. The only thing that you might want to do for the blockout is to very quickly add a cube. And then just go ahead and scale it in and just make this indicate that there are actual doors here because we will have our Metro closed because we don't have an actual metro environment behind it. Although I might be able to just quick. If I do real, I literally made one for the Oh, no, wait. I did that in unity. Never mind. I was thinking like, I made a Metro, but I did that in unity. I made a metro environment. So I'm not going to port it over. Maybe I can just download something just for like presentation. But in any case, door check, these pieces check. For now, I'm just going to press ControJ while having both of them selected. Not Contra J, that is combine sorry, CtraJsblender. That's a struggle of when you use three different modding programs within the same week. And now that we have a door done, we can go ahead and we can go down here into our layers, and this is your layer option. And you just want to simply press the plus button. Now, double click on your layer and call this blockout pieces. Safe. And then we can nicely move this one to the side and we can go ahead and we can right click and art the selected object. Now, with blockout pieces, because they are modular, what I do like to do is I like to go ahead and press Add a pivot. And then when I've edited my pivot, I like to go up here and snap to points. The reason I want to do this is because I want to snap my pivot to the very corner over here. There is a very specific reason for this because now if I go outside of Add a pivot and go to grid snapping, I can very easily snap this to my grid over here. You will not be able to Is that correct snapping? Yeah, it is correct snapping. It's just that this grid point over here is probably still won or not. 50? No, no, that's fine. It just looks a little bit strange. In any case, we are now properly snapping to the grid, and that's how you can later on very quickly, for example, hold Shift, just like that, you have perfectly matching up pieces. And that's the goal of modular workflows that they are all perfectly matching up. Okay, second piece is going to be over here our window. We know that this is 40 centimeters, so we can go ahead and just 160 centimeters for our window, and then we will include those little plates over there. Knowing that, we can go ahead and create a cube. We can make this 160 centimeters. This one, oh, sorry, the X ten again. I mistyped ten again. And for the Y axis, yeah, you know what at this point, we can just well measure. So 200, let me just turn on grid snapping 1 second. So add a pivot, snap like this little point, turn off added pivot and snap the grid. There we go. Okay, so 200 was not too far off. No, wait, 200 is perfect. Yeah. Yeah, yeah, yeah, no, no. Of course, that makes sense. That makes sense. The only thing is that I specifically did not just type it because I wanted to do the door. That's why it makes sense. Okay. I am having a brain freeze, no problem. For our window. So this is our window, but it is halfway. That feels a bit logic. But I can remember seeing you know, like these windows probably look cooler. Oh, yeah, here, see. They look a little bit different, all of them. There's another thing in here. So, there we go. See? Here, we can see. So this is almost like a little extra block that they sometimes place on top, apparently, just to measure that. In that case, we are going to use this window as a reference mostly, or we can just go ahead and we can find. Yeah, I probably shouldn't go from that one. I should use my original reference for the blockout. I'm lost. There I am. Okay. So for this window, if I go ahead and at this point, I need to decide how high our chairs are going to be. We can pretty much guess if we have a look at this. So if this is what was it two meter, 1 meter 90. If this is 1 meter 90, that means that over here, it is probably like 95, which means it's probably going to be like like 1 meter 90. Probably 1 meter? Let's give this a go. Let's just try it out. At this point, we need to guess mostly. So on the Y axis, let's say this just like to 20 and 20. And then on the Y axis, let's start with 100. Now, based upon this 100, I'm going to once again add a pivot and just snap it back to the grid. Yeah, you can actually do this really quickly if you don't have to say it, and then I'm going to go ahead and I'm going to move this, and I'm going to basically look at my reference and have a guess over here. So 100 is not enough. It's too much. I think 80 is a nice value. So we have 80, and then based upon that, we can fit whatever we have in here. Can also have a look like over here, like a door. So yeah, I feel like 80 would be logical. Sorry if I just take my time for this important. Because if we can still move it later on, but it's going to be a bit of pain. This is actually a really good reference. I'm going to use this one. Okay, so if this is going to be 80, we can go ahead and we can basically say, for this one, let's add a loop and let's add this loop exactly on the 80 line. If you want, you can do grid snapping, and then when you place your loop, you can place it and then snap it to the grid. If you really want to be precise. And then at the top, it looks like it comes down probably around 10 centimeters from the top, which means that I'm going to place my loop. Let's see if this is my top, I'm going to probably place it. I don't know. This feels maybe like I know what this could work. This could work. Let's do this. And now we know about our scaling for this one. So I'm just going to give a little trim around it. So I'm going to select these two. I'm going to go ahead and art connect and it's still set to the original settings. So let's art connect like this and then go ahead and just hold J. And with J, you can do some snapping sometimes. You can see it over here, like it snaps with 1 meter increments. So what I can do is I can hold J, set this to 0.1, and that should mean that it just does like in 10 centimeters or something like that. And I'm just doing some even snapping. Probably this one. This probably looks correct. Now, at this point, we have over here our window. I'm going to delete it. I'm going to shift click and add some bridge points over here. So just select your edges. At those bridge points. And knowing that, I also know that now our doors and everything are not going to be wide enough because that's the kind of stuff that you can notice when you start adding more props. But what I'm going to also do is I'm going to go in and angle this one up. So I'm first of all, going to change the width, and I'm going to set the width to probably 15. Let's except for this one, let's shift click, and let's go ahead and detach, not detach, extract phases. And what this basically does is it will just separate this one. So I want to I lost I lost all of my transformers. That's a bit of pain. In that case, set this one to like 15. Is that a right scaling? Maybe even 20? No, let's do 15. I'm not sure. I'm not sure. I kind of want to do like uneven numbers like 18 or 17. But I'm not sure if that would make sense. Yeah, let's just do 17. I think 17 feels better. And I'm just moving this up to indicate that this is the window. And then for this piece, because we lost all of our unfortunate points, we can go ahead and we can just do some easy movement, and I'm just moving it like this. I'm not too worried on the outside because we will most likely literally remove the backside because we only have an inside. So we now have a window over here, so that's fine. That's already enough for our blockout to have something like this. And then what we can do is in our next chapter, we can start at just doing our chairs, very, basically, and then the top bit, and then we, of course, need to decide on the actual width of our metro. So let's go ahead and continue with that in our next chapter. 4. 03 Creating Our Blockout Part2: Okay, so let's go ahead and continue with our blockout. So we now got our window done. Now what I'm going to focus on is over here our chairs, and we are going to do them with two pieces at the same time. But for the blockout, it's going to be very easy. So first of all, we kind of need to guess the height of our chairs. For this, what I like to do is I like to edit my pivot, turn on point snapping and simply snap my pivot to the top. Because this way, whenever I scale to like 60, it scales it from the bottom because it always scales from the point of your pivot, at least when you are in your world mode over here. So based upon that, we need to have some space over here for grid, and it was 80, so I assume 50 because that means it's hanging 30 centimeters from the ground, which should be about fine. I can literally have a measurement again here. See, my chair, which of course is an office chair is 40 centimeters from the ground. So it makes sense that this is a little bit lower because they need to conserve space. And 30 centimeters feels logical to me. See? It just feels like it's a bit more logical. Now, next to this, we can go ahead and we can move this over here, and we want our X axis to be 80. It feels very low. Oh, wait, it's four of them, but we are only going to make two, of course. So 80. Yeah, yeah, that makes absolute sense. So 80 will be two of them. And now I'm just going to like a general shape of my chair over here by selecting this face. Let's see. I'm basically just creating this shape over here. So I'm selecting my face. I'm going to decide the thickness of things. I don't know if we can do that on the grid probably not because this is probably too thick, so I can try and sell it to a grid. But I think I'm just going to go a little bit more old school and just go off grid. So let's do something like this. Let's move this forward. So let's see, we are moving this forward just like in our reference. Up until this point, and then we are moving it out and we need to decide how far out, but I will go ahead and do that a little bit later. Now what I want to do is I want to move this down a little bit. And let's just click on this face and press Control B. Because if you do Control B, basically means bevel, and we can just very quickly add some segments like this, just to indicate that this really is over here, see, that this is our chair or seating or whatever. Now, for the extension out, Tata have look it's over here. So if you look at thigh, so they're probably midway from this point of your leg. And if you do not want to measure yourself, you can literally go ahead and you can grab this guy. You can hold J and rotate him 90 degrees. And then roughly where his *** is supposed to be on the chair, you can say, like, Okay, so if this is here, I might want to go ahead and, like, push it out a bit further. So that when your knees are rotating, which, of course, I cannot do because this is not a rigged character. But where your knees are rotating, it can be fairly comfortable. But yeah, you can see over here that it's even overshooting. So you can see that they will conserve as much space as possible with this kind of stuff. So this looks about white. Great. We have a vent below it, and the vent, I'm just going to go at and again, use a basic cube. For this cube, I do not need to have any very specific measurements. I think the x is going to be cavity. Yeah, yeah, see? So like 70. And for the rest, at this point, I'm not in the mood to do any very specific measurements, so I'm just going to select my faces, and I'm just going to move this. So there's a little trim down here, which is going to be on our actual door. And then it looks like it has, like, a little bit over here, and then maybe like quick edge over here, and then it moves this out. And then at the top, it looks like it does the same where it grabs this and just moves it down. Et's move this. And I will, of course, do this nice and precise later on right now. Here, this is not even close to even, but that does not matter. It's just that this is going to be like our yes, this is going to be like our venting. The vents are actually really close together when I look at that. I do not know if I have any other reference for this. I don't think so. In that case, whenever I don't have a proper reference, I'm just going to guess, and I'm just going to guess that these events are actually closer together. But then over here, they just made it a little bit shorter or something like that. So instead, what I'm going to do is from 70, I'm going to go to probably like 80 Well, let's do it like 76, for example. And also, just make sure that you placed it in center. So 76 should be fine. Let's try like nice places into the center. There we go. That should do the trick. Okay, so that's our seating ready to go. Now what we are going to work on is we are going to just figure out well, actually, yeah, let's first of all, figure out the width, and then we can do, like the top piece later on. So for our wit that is actually a tricky one. I'm going to have a look online and see if I happen to find some metrics, and else we can guess, over here. We can guess like 40, 80, so 16240? Yeah, maybe. Yeah, so that feels like 2 meters 40. Let's try and create a simple plane over here. And I said it's to 240 by 240 by 240. Here we go. Let's get rid of our subdivision segments. And let's have a look. Doesn't make sense. Kind of makes sense. So it's just going to be like a nice little square. And then the square, yeah, we just place the square. It might be a little bit uneven, but we are just going to place the square. And if I go ahead and, like, temporarily just like place it like this, and the only reason I'm doing this is because I want to move this guy like over here, like he's waiting for the door. I want to go ahead, grab all of this, hold Shift and clone. And then I just want to go ahead and I want to press, let's grab these pieces over here and press combine and you can find your combine in the mesh and the combine. And let's grab these pieces and do combine and the rotate them 180, exactly. They should still fit into place because when we combine, or not, in that case, reset your PIV point. I expected when we combine it that they are in the center. Oh, wait, they are in the center, but because of the chair, I will need to move it back. That's no problem. See? So because the chair, it moves the center point, so we need to move it back, but the rotation will be exact. Now what I'm going to do is I'm going to move this one over here to basically have a guess and see if we would have another space because this still feels like there's too much space in here. But actually, who knows? If I go ahead and I will just temporarily do this, where I just go ahead and clone it, and then I'm just doing a um, do a shift D because oh, I messed it up. So basically, right after you move it, right after the old shift and clone press Shift D because what it does, it will basically repeat the function. So with that, what we can do is we can, for example, very quickly move this around, and this is great for just doing some measuring. I just double click, shift right mouse button and extract these faces in order to separate them. Go in tool settings, and reset your pivot and now you can also go in here, clone and do a quick Shift D like this. And then we can also do some measuring and just make sure that everything fits. So here, it looks like we might want to move some small stuff around later on, but for now, this should be fine. So we got these pieces over here, and then I'm just going to go ahead and shift. Sorry, you do not have anything selected, shift click and create a cylinder. And I'm just going to create a cylinder as like a general measurement tool almost. So we have this and then go ahead and hold Shift and duplicate your planes, rotate them 180. Okay, so we need to go ahead and we need to, of course, make this a bit larger. But what I'm more focused on is I want to see if we truly have this much space here. Or if we maybe want to move this on top of a plane like this, like this to just make it feel a little bit closer. I think I want to do this. It makes it feel a little bit close, a little bit more claustrophobic, and I quite like that. It gives an interesting feeling. So let's do something like this. And now that we have this, now what we can do is for now, let's just remove this pole and everything. We can get started with the top piece over here. So let's delete all of this stuff. I don't need it right now. Say for these pieces, I'm going to do some proper measurements for those later on. Same over here. So we have our floor piece now ready to go, which I don't think it does not really have anything special on it. It's just a floor piece. Yeah, literally does not have anything special on it. Maybe it's cool if we just add some lines to make it less straight. So we can do something like that later on. So for now, select all of this stuff and just throw it into your blockout pieces. And for the top bit, I assume that the top bit is going to be roughly around 30 centimeters. Now, what I want to show you is I think it would be cool if I show you, like, a little spline tool technique that we can also use for the modeling. And let's see. Do we have a better reference for this stuff? Now, I guess that was the best reference that we got because over here, it looks like it goes inward. So I feel like I think it goes in, out, and then it creates that splint. So just to show you, if we go ahead and go to our site view over here, something like this. And then if we go ahead and go to our grid points, so let's do display and grid and set our grid lines to be five. So that is one centimeters. What do or do we want to go for like 10 centimeters? 550, 50 is too large. Let's do ten. So just keep in mind that it is every two cent means, and I will just move my window over here. So for a spline modeling, it is quite nice. So we can use a Bezier spline. You can find it in Create. And in here, you will have curve tools and you will have a Basier curve tool. And the cool thing about this is that we can just draw out the shape that you want. So I can go ahead and click on this. I can then turn on my grid snapping and I can say something like, Okay, over here, we want to have it go let's see, we want to have it go out, and it will just snap to our grid. Then we want to have it go down. Then we want to give it like a straight piece. And now I can go, Okay, so I need to be this straight piece is two, four, five, six, so we are 6 centimeters and then also six at the top, which means that we are at 12 centimeters, and that means that we need another 18 centimeters to reach to reach 30 roughly like that. So 18 centimeters, one, two, three, four, five, or, sorry, two, four, six, eight, ten, 12, 14, 16, 18. This means that we need to go over here and then we need to decide roughly how far out we want to go. Let's go not too far out. And then when you click and when you drag, you get basically this effect. Like this. And if I just quickly press W and press control vertex here and now I can I can still move this and I can basically decide how strong I want my curve like this to be. And that's why this kind of stuff is sometimes handy to use. I actually IT yes Max, I use it all the time, but in here, I sometimes need to mess around with it a bit more because yeah, in three yes Max, these spline tools are really, really powerful. Inside of Maya, they are good. Like, they're okay. They are usable. In any case, what we can now do is we can go up here and we can set the snap to curves. When you set snap to curves and you go back to your Bazier curve, which by the way, I have over here, what it will do is it will snap to this curve and it will basically continue it. If you once you clicked, go back to grid. We can now go ahead and set these three points up here that we have. And now what you can see what will happen is it will try to make it smooth because that's how the Basier works, but we can remove that later on. At this point, this piece is pretty much over because this is where the ceiling is going to be, but just in case, give it a little extra space. So to make this straight, what you can do is you can right click and you can go ahead and you can go to your Control vertex. So over here, you basically have these points. Right now, what is happening is if I move this one, it will basically move the other one also. However, if I just go ahead and shift click and press break anchor tangents, what it will do is it will basically allow me to move these pieces individually, like they see so they will no longer try to match themselves up. So this is often called a Bezier corner where it will just go ahead and now we can move this, and I can set this to be simply straight down. And when I do this, this is what we will have left with. So we now have this basic shape. And this shape is probably actually already good enough to also later on turn into a actual hypole. So having this shape now, what I can do now is I just want to go ahead and turn this into an actual mesh. Often for this, we first need to go ahead and press reset, and now we can also see like over here, if we have guessed white would like the scaling. So sometimes I will first create a mesh, and then I might mess around with the scaling a little bit more, and to create a mesh, I'm using a tool that is quite new. It has been here since May 2021, I believe, and it is if you go to create and create a sweet mesh. A sweet mesh basically allows you to turn a spline into like a shape. Over here, by default, it creates like a cylinder because it thinks you want to create cables. However, if you turn into line, it should give you a line like this. Now, for this line, we don't need to do too much. What I'm going to do is, by the way, you can also over here, press optimize and that we'll get rid of some of those segments on straight pieces. But what I'm going to do is I'm literally just going to select this now and remove my history. You can remove your history by going up here to edit, delete by type and then history, this one over here. So this history, when you remove your history, it will basically no longer reference the spine that you can edit this mesh like this without it actually being linked to the spine. That's nice thing about this. So now I can just edit this. I can get started by needing to flip my faces because right now you can see here that the faces are in the wrong way. So you can shift click and you can go ahead and in here. Oh, wait. No, sorry, mesh display, and in here, you can go reverse, select your mesh. And that will basically just flip all of your faces around like this. Now, there's a few things that I want to do. First of all, it looks like that I need to just quickly go in here, turn on grid snapping and holding shift. And just adding a very quick snapping like this that it actually probably works. And just in case, let's also snap once to the side, just in case we ever need to move it down. Now, having this, I can go at scale this. And then when I scale it, I have a better sense of if this is going to be large enough. If I go ahead and temporarily just scale this up quite a bit, I can then go ahead and I can compare it with my reference to see if this is large enough. And then what I can see is that it does not feel large enough. Let's turn off our grid faces. Here, it feels too small. I feel like it needs to be more. If I go ahead and just do like a general scaling over here. Okay, that might be a little bit too much. I feel like maybe something like this would look better. You see, yeah. So scale like this. So if we go 50 or sorry, 0.1 0.15 in our scaling over here, I feel like that looks a little bit better. And for this scaling, it doesn't actually have a proper scale, so we cannot just set this to 80 because the transforms have been messed up because it's from spline. Splines, they do not really like the way that the transforms work. So in that case, we are just going to go ahead and we are going to guess and we are going to pretty much do this by going in here. It's going to sit view over here. And I'm just going to go to my vertex mode, select all of these vertss, go to grid snapping. I'm going to snap this over here, and it is often 80, right? So if we do, like, Yeah, because we do increments. It doesn't really matter. I just need to make sure that I have enough space for my advertising, and you can see that the advertising is actually longer than this piece. And that's the thing. I feel like it's almost like it's like one piece and a door, which is a bit of an interesting metric to use, but I guess that we can use that. So it is going to be one piece and a door. So I guess here, yeah, we can always change it later on if needed. And now what I can do is I can also go quickly to my side view. And in here, just turn off my grid snapping. I want to start by just moving this in like a fairly decent position like this. And then for the top bit, I just want to go ahead and I just want to move this on the god like that. And by the way, we can get rid of this little line by pressing Control Backspace. Delete will get rid of, in this case, it got rid of the line, but it will not get rid of your vertices over here. However, Control Backspace, it will get rid of both your line and your vertices. So always just use Control Backspace. Okay, that one took a little bit longer than expected. But okay, that one is also done. It means that now for the top, we can go ahead and we can use this plane, who J rotate it. So if this is going to be the top plane over here, then the only thing that I need to do is I need to go in and add a double loop, so a connect loop over here. Oh, that's actually pretty perfect. Maybe I'm going to scale it out a little bit more. So go ahead and press Enter. Sorry, try it again. Enter. Scale this out a little bit more. And I don't know exactly what they are. But they do. Oh, having lights in between here that could help us quite well with the lighting. Oh, so that's why they do this stuff. I will have a think about that. This could actually help quite well with our lighting to give us some more interesting lighting. So we might use something like that, but I'm not sure yet. We can always add it later on. In any case, for those pieces, what you can do is you probably know about bevels. So bevels, you can split the corner into two to give it basically soft the corner. However, the bevels, if you do Contra B and do them on a flat surface, they will simply split your line into two, which means that you can set the fraction and you can send to like 0.15, for example, or that's a bit too much, 0.12. And if you then go ahead and press W, you have now split your line into two, ready to do a quick extrude, for example, which I do to indicate that there is something here at the back. And then I just remove the rest. So here you can see, simple extrude, and now we also have a ceiling. Now, in our next chapter, what we will do is we will go ahead and we will just create these little poles. And I think once that's done, we will just like create overweight. We need to create the backside, and then we will just set up like a blockout level inside of Maya just to make sure that everything fits, and based upon that, we can tmax our fixes. So as you can see, not too many pieces. Let's go ahead and save sin and let's continue with that. 5. 04 Creating Our Blockout Part3: Okay, so this should hopefully be our final chapter about blockout. So I'm going to go ahead and I'm going to so we've done this stuff, this stuff. I'm going to create all the poles to get started with. Now, this one, I want to create a base like this, but I don't really like the tops that we have. I like this top over here. So yeah, let's actually, let's replicate it from this one over here. Think it'll look a little bit more interesting. So this one can just be a simple cylinder. It's a very small cylinder, but let's just scale it up a bit more. There we go. Oh, how am I going to figure out exactly the thickness I want? I guess I'm just gonna guess. Let's turn off my wife ring because else it becomes a bit difficult to guess. So if I go for thickness like this, I don't know two, thickness of two. That feels pretty good. Two centimeter diameter? Let's do 1.8. 1.8 centimeter diameter. Yeah, that should do the trick. Okay. So this one, we don't need to give it any details yet. We can do that later on. So for now, just move it like this. There we go. It doesn't even need to be exactly in the center yet. It just needs to be a pole. Now, next this, I was going to go ahead and I wanted to make two more, we have a side one over here, and we have a top one that basically goes in between them. So these ones are a little bit interesting. We also have, however, these ones over here, which might also be interesting, and it's more of like a larger flow, but it just doesn't have a side one. So okay, I guess I will do this one, then in that case, merging it together here is only going to be a bit interesting because it means that this pop will become a little bit more bespoke, so it will be a little bit more unique because we need to have it always in, like, a specific location. In any case, for this stuff, do I have to by any coincidence, a better image? Of exactly how this goes, Okay, goes down and then goes down here, then goes up. We are going to use splints for this, so we can go ahead and if we let's get rid of this guys get start with, let's go to, like, our side view. Here we go. Okay, so this is our side view. I'm going to go to my display and my grid. It's really annoying that it sometimes just does not register that I'm actually selecting the settings. Let's do two centimeter incumbens. Yeah, 2 centimeters should do the trick. 1 second. I accidentally closed my reference on my other screen. Okay, let's do this. Basier curve. The curve is going to be. One of them is going to be here, but I'm going to start with the lower one, which is just on the level of my off this piece over here. Let's do grid snapping. Actually, Bezier curve. Sorry, let's delete the curve that I accidentally place. I'm just going to move it here, and then I will move it back later on. So it looks like it goes here. Then here we want to give it maybe like a tree by tree nice rotation like this. And then this one it's a tricky You know what I'm going to do is I'm going to this one will only move up, right? Yeah, this one will only move up. So what I'm going to do is I'm going to place it here. And then I'm just going to press W, and then I'm just going to move this all the way to the top because else, it's a bit tricky for me to see exactly where I need it to end. So here we go. So we are moving this probably somewhere along here to the top. S, little bit higher looks like. There we go. So one more. Okay, so we got that one that goes like this, and then we want to have another one, and that one goes just above our seating. It goes a little bit straight. Then it has a slight curve. I don't know if this is enough. No. Let's go ahead and press backspace. Backspace reset your positioning. Let's go and do this, and then it will go sideways. I will fix this later on. It goes like this. Okay, so this is very bad, but that's what we're going to fix now. So this one, I need to move one back. And this one I just need to simply rotate a little bit that it is a bit more straight. And over here, I'm just going to turn this into a Basier corner. If you shift right mouse button, then Bezier Corner. I will allow you to turn this back into a Basier corner, which you can then go ahead. Oh, turn off snapping and move it to basically give it a bit more of like a movement. Same over here, I can go in here. I can shift click Basier corner. And then I can move this around. To make sure that everything just nicely fit. There we go. That should do the trick for now. So we got this shape over here. That is totally fine. That should work. And the shape is basically going to be how long? One, two, three, four, five, six, seven, eight, eight long. So pretty much pretty much window and two quarters of a door. So if we go ahead and go over here, we have a window. And what I'm going to do is I'm going to slack my door and just move it over here. And we'll see how long we are actually going to make this. This is just a blockout. But basically, for these pieces, what we can do is we can go ahead and we can set this to create sweep mesh over here. Looks like that we want to set our scale profile a little bit thicker to match up with this poem. So yeah, there you can see that we can very quickly just create this base shape. And then what I wanted to do is I wanted to reset my pivot, and this one is going to be at the Oh, make sure that after you've selected it, do two things. One of them that I almost forgot is go into your sweet mesh creator over here when you have them selected, turn on optimize, and the second one is to remove your history so that we can properly move it down. So one of them is going to be here, and the other one is going to be over here at this end. Yes. So we have those two pieces. And then the lines of these lines over here, I'm actually going to create a folder or a layer. I'm going to carve backup back up. Okay, and assign the selected splines. Also this old one over here. This way, we can save because we can most likely use those later on for our other pieces. So now, this one is just going to be a cylinder with some extra splines around here. Because that one is going to be merged down, what we are going to do is we're just going to go ahead and simply grab this cylinder over here because it's just a blockout. I'm going to hold J and rotate this. Then I will most likely notice that it is still too thick, which it is. But that's no problem. As I said before, it's just a blockout, so I'm going to scale this down a little bit. So it sort of fits here. And it's mostly going to be about finding like a nice height. So I think, if I go for like a side view, I think a height like this, which is roughly the same height as the door. Yeah, that should be enough for people to hold their hands. On it, and then they can hold themselves. So you basically move this down, and then you can see that there are three or no, sorry, there are two poles in between, for which I can just go to my Etche mode, select these etches and just go ahead and to connect. That is two. And this means that it is perfectly divided. Once I've done those two, I can go ahead and I can press Contra B and give the very small fraction of 0.0, not even five, 0.03 maybe. Even lower, actually, 0.015. Let's do something like that. Then just a matter of selecting, for example, this side and holding shift and selecting this side because since it's a blockout, it does not even need to be round. I just need to have something here to indicate where the pipes are going to be, as you can see over there. So that one is going to be a little bit more unique as you can see, but it will fit. So that will take care of those pieces over here. Now, next this, let's see. So we've done this. We've done the ceiling, those pieces. We are going to do the backpiece and we just need to go ahead and we need to, the backpiece, we have the floor piece done. So for the backpiece, I was going to change it. I was going to use something that's like this. And this is done more in the UK, I think, while this one is more in the US, although these ones look a bit like the UK. But I quite like that look. So they will be next to a door, which means I'm going to temporarily move my floor over here. I will also move this one over here. By the way, what you can do is you can go ahead and you can copy over your actual what was it? Zaxs, I believe, and paste it in so that you get the exact same positions. So just Control C on the ZX and control and then Contra V on the other Z axis. In any case, this one, we're going to go for a que because, as I said before, I want to give this like a little change. First things first that I'm going to do. I'm going to grab this cube, and this one I'm going to make pretty much as large as the door like this. The reason for that is because I want to have one short, but one that sticks out longer and that actually hits the door. I know that over here there's like a slight offset in the doors, but I do not see this offset anywhere else in the actual metros. So I do not want to give it that offset because it would mean a lot of rework to get everything to work properly in the end. So instead, I'm, first of all, fitting this one and this one just basically will replace Oh, here we go. So this one will replace the actual seating. I'm having a bit of trouble speaking today. I will try to speak a bit slower. But yeah, blockouts are often the easiest thing to do, just a bit boring. And this one I'm going to, I'm going to stick out. And I think I will stick it out if I go over here. Yeah, I think I need to go ahead and make that a little bit further like this. Now what I want to do is I want to go ahead and duplicate this. For this one, I want to go ahead and move this one back. And now it is a matter of me deciding how big I want to have the door in between, and I do want to have this door a little bit bigger. And the easiest way that I think to measure this is to go ahead and grab another cube, look at it from this side, and simply scale the cube up a little bit until I get the thickness of the door and then move these pieces carefully back. Because this way I don't need to do any type of weird scaling. I can just go ahead and do this. I can even reuse this cube. To move it back all the way up until this point. So this will be the door later on. And this door is going to be not until the very top would not make sense. I think I want to have the same scale as over here. I can just quickly move my door over here and then set the scaling. So it will have the same scaling as over here. The width can actually be a little bit less. And then for these pieces, what we can do is for these two, move them back. And then for this one over here, just add a very quick spline, and what we will do is we will figure it out in our final where we will have this nicely extruded over. So that gives us a look like this. And then, of course, don't forget that you get this piece over here and it will all nicely fit together. Okay, I think those are all the pieces that we really need. There might be some very small extra pieces like those extra tiny props over here that we will add. But for now, they should be doing the trick. So what I'm going to do is I'm going to go ahead and re grab these pieces, add them to my blockout pieces. And now what I want to do is I want to go ahead and I want to press Shift D, which will basically duplicate your pieces into place. And then I want to add another layer, right click and art these layers, and just call this blockout underscore setup and press Okay. So we have a backup of our blockout pieces. But now, what we're going to do is we are going to actually set up our environment. Now, this does not have to be very difficult. First of all, I will breeze over this quite quickly because it's all reusing the same techniques. Add a pivot, throw on our snapping and snap this to the very corner over here. Now once we've done that, if this is the end, we can go ahead and we can hold Shift and we can turn on snapping to your grid, sorry, and then hold shift. Why does it not allow me to snap to my grid? Is it because my grid is? Oh, it's because I'm probably off grid and my grid is also too small. That might be it. Yeah, I think that is it. So let me just quickly go back on the grid simply by moving this. There we go. So we are now on the grid, so everything just kind of like needs to fit on this grid. And then if I hold shift, I could snap again. And I want to be one, two, three. Let's do four doors. So if we go ahead and do something like this, so let's do one more. Where is my door, actually? Let's go back into my blockout pieces. For some reason, the door did not duplicate. Let's try it again, shifty. Okay. We now have door assign it to our blockout setup. Hello, look at our outliner and see exactly why this is happening. It looks like that for some reason, it has grouped these meshes together. I do not want to have it grouped together. So what I can do is I can select all of this stuff, and I can go to edit and ungroup. Oh, sorry, let's just select the top, dit. Ungroup, there we go. So we need to select the top. These are just transforms, so I don't know what those are doing. For these pieces, let's also just do an it ungroup. I sometimes accidentally press this, but this can actually cause some problems. Here, see now, it should work. So we have our original, okay? And we have our blockout setup, there we go. Now that does work. That can happen. So window door. I'm just going to press combine on this door. I'm going to go ahead and go up here to isolate, and that will basically isolate your selections that we can now very easily do an added pivot, and then we can snap the pivot to points, and then we can snap this thing. Well, it should already be on the grid. So what we can do now is we can go ahead and hold Shift and clone this out like this. We have this piece, so one, two, you actually know what, let's only do three doors because SA becomes a very large piece. Three. Let's go ahead on hold shift. Do this one also. Now over here, we have this piece, which we can also go ahead and combine and then reset your pivot to make sure that it is in the center. For this combination, I am going to actually grab these back pieces and just turn off my grid snapping and move them back like this, just to make sure that that all fits. And then this one I'm going to duplicate. I'm going to hold J, and I'm going to rotate this exactly 180 degrees and then move it a little bit so that it probably fits back. A And I think I will just move it up until this point like this, although we do have the flexibility to move this back if we want, but that will probably cause problems over here. Okay, so we got this piece over here ready to go. Now what I want to do is I'm just going to go ahead and move this one over here, and then I'm going to once again isolate just move the pivot point to this point over here, here at the very tip. Turn on grid snapping, wiggle it around to make sure that you are on the grid. I am now, and then I'm going to hold Shift, and I'm going to just go ahead and I'm going to duplicate this over and over and over again. So that should not really be a problem. These are also ones that we can very handily change. And we will also then one of the pieces will just not have any advertisements, and it will just be able to, like, snap like this, and then later on, we can add some extra pieces to make it really nicely fit together. Now that we've done that, over here, we have our splines. And for splines, we actually don't need we don't need these two because we are going to duplicate this again over and over. No, wait, sorry, we do need these two because we have a door in between. So let's go ahead and hold Clone. I think what we need to do is we just need to go ahead and combine this, reset my pivot like this, turn off snapping this time. Okay, so this one is going to be on this side. Let's see. Door door door. You know, roughly door. Okay, so that one is going to be on those sides. So we have two of those pieces, and then we have just the doors in between. And then later on what we can do is we can go ahead and we can just like clip one in here like this, and then we'll just make something to basically keep it probably fit. Now over here, these two pieces, I'm just going to go ahead and I'm going to A claps those, and I'm going to have them sitting nicely on here. So if we have this one, I'm going to just hold shift and move them, and then I do a shifty four times. So it basically all needs to fit in between this point. And if it doesn't, then we know that we need to move some stuff. So over here, see, we do not really have a lot of space. Now, the easiest thing that we can do for this is instead of changing all of these pieces over here, we can also just, like, make the width of our seating a tiny bit less by just simply scaling it to like 0.95, for example. So it's a tiny bit less and that will just give us some general space everywhere where now if I hold Shift, Shift D, Shift D. Okay, that actually adds a lot. So let's do 0.98 because over the course of four, it adds a lot. Try it again. Shift D, shift D. There we go. And now we can select these and we can nicely place them into the center. Over here, this one will most likely be cut in half, so we'll just have a single one on that side. And for the rest, it will just be a simple matter of copy pasting these pieces around because just like you can see here, they just re use the same models even in real life over and over and over again, and maybe we will have some special things around the windows, just the art on top of that. But in general, that looks pretty good. So if I now go ahead and, if I also go in here, snap the points at a pivot, snap it to the top, snap the grid, and then first of all, do the first movement and then hold shift and just duplicate this a bunch of times, and I will just leave one of the sites open so that we can look through it. And then what we have is we have a center point over here, and the center point is two per view, which means that it's most likely going to be probably like one over here, one over here. And then same over here. See? And then if we have a look at it like this, for example, we now have our metro station ready to go. And then, of course, we would have the other side over here. But in general, that is looking pretty good. So that all seems to fit just fine, at least to a point where we can easily change it into our final mesh if needed. So I'm going to save my scene. So now we have our blockout setup. Let's go ahead and just add all of that to this. And then we just know that over here, all we need to do is for the seating, I'm going to scale this down a tiny bit. So what was it? I'm going to do like 78. And this 17654, 74 over here to also make it a bit smaller. And that should just do the trick. And else, we can always just scale it a little bit more later on. Perfect. I'm going to save my scene. What we will get started with in the next chapter is we will get started by turning these models into the final models. That will be a very important chapter because this time, we actually want to go ahead and go all out with the modding since we are using Nant, so we can really push like the polygons. So we are just going to go ahead and we're going to start with the door and we're going to make it nice and hi poly and just look very interesting. So let's go ahead and continue with that in our next chapter. 6. 05 Creating Our Final Door Part1: Okay, so we are now going to get started by turning our models into final models. Now, a few key points to keep in mind with this, and that is how we are actually going to set them up inside of Unreal Engine. As I said before, I want to get a bit of, like, a clean look. By the way, I really like this detail, so I'm going to add that because it looks really cool. But in any case, I want to get a bit of a clean look. Because of that, I need to have a tink. Am I going to make a unique texture for every single model? Or am I going to do some special shaded work inside of Unreal engine to save me a lot of time and basically use tilable textures along with that. Now, when I look at this, because I want to go for quite a clean look, I think it is actually easier for me to do some shader work because I don't think there will be much of a difference in terms of quality between me creating unique textures in sub spainter which by the way, will take two or three times as long or me creating some tilable materials where even the metal probably barely even has to be a tilable material. And doing this shadow inside of real engine. So knowing that, the main goal for us is to just make it look like real life. Just make the actual mesh, look as close to real life as possible. That is just a general idea we need to keep in mind. We don't really need to create any shortcuts anymore because, of course, we are using Nanite and forsia. So it's just going to be like adding some extra mesh. So if we see this kind of stuff, like, it's really cool and I quite like just going for something clean, not this clean, so we're going to go a little bit less clean, adding some extra general dirt and everything. Of course, we are going to make our textures feel a little bit more defined. But for the rest, it is quite a good idea to go something in this direction. We are going to get started. With our door. So for our door, I do have a few references over here that we can use just to in general have it. Our door, we only pretty much need to make one side because the other side is just a duplicate. So let's go ahead and just jump right in. So over here we have all of our blockout pieces, and basically all I need to do is I need to grab. Let's just grab like a doorframe. I'm going to go ahead and press ChevD to duplicate it, and I'm going to create a new layer to which I add this duplicate. This duplicate will be called door. And this way, we can have full focus on just this piece over here that we have. Now, with our door, I am going to go ahead very quickly edit my pivot and set it to the corner, and this is just that I can properly set this on the grid like that, and even at 000. So for our door, let's have an actual look at this, how we're going to do it. I want to create a frame like this because it will create a nice divider between the two pieces. Yeah, you can even see the frame over here, and then we have a metal piece sitting over here. Now, I want to see how often that metal piece comes back because it feels like that is the only train in which I avoid here I see also like a metal piece. Okay. So yeah, so we have a lot of metallic. I am curious if rate racing will look better than lumen, but we'll see because rate racing is sort of deprecated in null engine five. But okay, so we're going to go for, like, a metal piece. So let's get started just by focusing on the door. So for that piece that we can see over here, this piece looks quite easy. We are basically going to go ahead and we are going to grab a cube, scale it up a little bit and just move it over here. So yeah, as I said before, remember, we are going to go ahead and we are just going to add geometry. Now, we are going to use a technique in which well, it's not really technique, but basically, inside of Maya, if you press three, you can automatically smooth your mesh 1-3. So we are going to use that technique, and we're going to use it in a way that we actually can unwrap just our low poly is model. And then once we start exporting, we can set this to three, convert it to our high polymsh and then we can export it to get all of the glory of the resolution. Anyway, in this case, what I'm going to do is I have this piece. I'm going to pretty much move it down, and I want to go ahead and I want to first of all, decide on this side, how far, I want to stick this out, and I'm just going to follow my reference over here. So if I have a look and make sure to just have a look from a distance, also, I feel like something like this. And yeah, so just having like a thin strip sitting on top, that looks pretty good. I'm not going to make it too thin because if I make it too thin in TD, it will be difficult to even see it. After that, we have a strip, and then we have basically a piece that goes inside. So we do need to keep that in mind that we have a strip, and then we have a corner. The way that we can do that is we could go ahead and make this very precise tool just for this one piece by adding another cube, pressing F to zoom in and just simply scaling this cube up to this side to this size over here. And then I move it over to this size, and that way I can make sure that this side is exactly the same. And for the rest for outside, I'm just eyeballing it a little bit. So we're going to do this. And then we have our main mesh later on, which I will most likely, I think we can use it. I don't think I need to remake, but in our main mesh, we will go ahead and we will extrude this inwards. So having this piece, what I'm going to do now is Eggs over here, so it looks like that it extrudes out, and then it basically has a little rubber bit on the end and that's where the door is behind. So what I'm going to do is I'm going to go ahead and I'm going to add a edge loop over here, a split edge loop. I'm going to add it roughly just behind the corner like this. Then we have this piece over here. And what I'm going to do is I'm going to add another quick edge loop, probably, let's say, like over here. And I'm going to extrude, holding Shift, extrude this out. So this is the general shape that we have because then what we can do over here is we can go ahead and we can give it like a little rubber thing. Now, if I have a look at this, I'm not sure if I even need this if you can still see this part over here, because if I'm going to go ahead and I'm going to add like a rubber bit here, yeah, I can just as well get rid of this. Let's go ahead and get rid of this piece over here by pressing the lead. And I'm going to go ahead and just going to extrude this out a little bit more to give it like that little rubber piece that we have over here. Okay, at this point, let's go ahead and isolate. Delete this backface, and let's select these two edges which we can then go ahead and we can bridge them together. So this is like the general shape of this piece. Now what we're going to do is we want to go ahead and we want to turn this into like a hi poly mesh. Now we can decide to do this in two ways, or we can actually make it like a round edge, or we can use the technique that I just told you. It kind of depends on our model. So for this model, I think it is actually easier if we just go for a round edge because this model, it does not technically need a top and it does not technically need a bottom. So if I just go ahead and get rid of that, what I can do is I can go ahead and I can select, for example, let's start with these two pieces over here, and I can press Contra B and just add some more segments. So this way, adding some more segments like four, for example. And if I have a close look, let's go fraction of 0.15, I think, to make it a bit larger, that will look a bit nicer. Now, then for this piece, what I'm going to do is I'm going to go ahead and do another contra B and just do it like this. 0.5. Over here, however, one thing that I do notice is that I want to actually push it back. The way that I can very easily do this very quickly is by adding a loop and moving the loop all the way to the side over here until it is just in front and then just move it pretty much on top. It's a bit of a cheety way of doing it, but this way, you can just move this back, and often you will not really notice the difference. If you actually manage to notice the difference, you can always go ahead and select this face, go to scaling and scale it flat. That way it is perfectly flat. Now over here, what I can do is I can go ahead and I can add let's see, another few loops on this side, segment three. And then here at the end, I can go ahead and add a slightly larger loop to make that look a bit more round like this. Double check that you do not have a duplicate vertice here. No, you do not. And now we basically have the shape. At which point, we ourselves can just go ahead and we can move the shape out, and the shape needs to go up until if we go to block out pieces, Yeah, I need to go up until the very top because that's where the advertisement. Oh, wait. Now, if I make it up until the very top, it will not look very nice because it needs to go up until the door. In that case, I'm going to go up until the door. If we go and have a look at our blockout pieces. Let's quickly double check. Yeah, see, so our advertisements are a bit lower. We don't really need to change anything for that because we can do is we can just go ahead and we can move our advertisements a bit lower like this. And let's make it a little bit higher. Just go ahead and go to our door. So over here we have our door. If we just have a quick look at where are you? There you are. Okay, so here we have our door. So if we just go ahead and create a small extrusion plane that we can move up that should do the trick. So keep that in mind that we will do something like that. So we have out of frame. So yeah, it might seem like a lot of work for an out of frame. But if I go outside of my edge mode and I, for example, select this, I can always go ahead and just press Shade Smooth, which you can find in mesh display and soften edge. Here we go now it's shade it smooth and now you can see that geometry really comes out and we just have a nice high resolution geometry. For one, we can even now press three, and that way we go in even more geometry. But in this specific case, we do not really need that. Yeah, because it does not really add any value to our scene. Okay, so we got this one. I'm going to go ahead and I'm going to reset, and then I'm going to mirror it. The way I can do this is I tend to, first of all, remove my history, and then I go to mesh, and then I go to mirror, and I just press the mirror button because it will show some settings. Now, because I do not want to merge this together, I want to just mirror this to the other side. I'm going to turn off my cat geometry, and for my axis, I'm going to set this to the X axis with a direction in the plus. Because doing this, I can literally just move this over here. Now I can just press W and I need to select it because I need to move a little bit closer to properly move a little bit closer to properly move this in here. And just double check that it is roughly the same, which it is now. And there we go. Now we have two pieces. If you want, you can go at it and you can immediately, extract the faces of this piece, if you like to keep everything separate like I do. Okay, so that is this piece. Now what I want to do is I want to make sure that the transition going to the window, how that dead looks. So over here, it looks like just a thin metal plate. Do I happen to have some slightly better reference of this? Because these pieces, it's a bit tricky to sometimes find reference because who is making pictures of the walls and everything. Okay, over here. So this is pretty cool. So this is like the frame that is hanging around it. And then over here, we have, just a simple metal piece. This metal piece, it just kind of like ends here. So it ends like a very simple shape, which, yeah, could be useful. We can actually reuse this probably. If we grab this piece over here and we go ahead and we delete This phase and this phase. Once we do that, we can double click on the back and we can just delete all of it. And now we can just go ahead and we can move this in here. Move this very close, something like this, and I think we want to move this actually back. So you know what? Let's also get rid of these faces. So this is just going to be a very thin little strip that is basically sitting on top, and that's just going to be our transition strip. This strip, we can move all the way to the top. Don't forget to sometimes just press F to zoom in. So all the way to the top, and then we select the sides. And I want to make sure that I do not make it too thick or too thin. This is no help. It feels sort of the same, but I feel like I don't have I don't know, thinner. Yeah, let's make it a tiny bit thinner. I feel like that difference, it actually adds something quite interesting to it. So we're making it a tiny bit thinner, and now we can go ahead and we can also move this over to the other side. I know that you only need to make half of it, but technically, you can literally just only do half, split it in half, and then symmetry it. But there's not a lot of difference between this way and the previous way. Now what I want to do is so this can just stay pretty much like a whale. Over here, we still have the doors which we need to work on. And for the doors, you can see they just have a gutter and then on the side, they have something. These gutters, you will not see most of them. I just want to make it in case you accidentally see something. So if we have this, we have the gutter, and we are going to, like, turn one of these pieces a little bit out, which causes another problem. If we extrude this out, we will get problems with our window because then we would also need to extrude out our window. Because I do not like those problems, I want to avoid them. It is a tricky one. It is a tricky one. Let's go back to our blockout pieces. And if I go ahead and just press heights on my door. Okay, so if I have this piece, let's just move this over here. Okay, so this could work. So we have a little gutter thing in here. So what if we push this piece up into the gutter, I wonder if that will looks strange. If that looks strange, we can always move this down, and then it will just be like just above the door. But if it does not look strange, it's a win win. So let's grab this piece over here. And basically, let's only grab, that's the thing with more geometry that we do need to do some more precise selecting because I only want to grab these few pieces over here. And I just want to push these up like that. Of course, you can just move everything up, but I feel like it would look nicer if I do something like this. And then maybe what I can do here is I can give it, sort of like a transition that it does not just clip in, but it Act has like an ending. And if I do that, I can just as well, do a re mirror later on. So if I go ahead and grab these pieces over here, I have this shape. And what I want to do is I want to add a edge loop on this side. And I don't need to add an edge loop on that side because we only on this side, we are going to, like, create a cut. And let's see if I cut this, I would go ahead and I will probably move this down let's see. Let's move it down here. I would get rid of this phase, and I would just give it a little space so that I can then go in and I can then, like a bevel or something in that direction. Let's have a look. So if we have this, I'm now going to go ahead and I'm going to, let's see. Let's move this back to get started. And once I've moved it back, I can select these two and I can just bridge them. It makes it easier for me to bridge this stuff over here. So if I have this shape, I'm going to go ahead and I'm going to art probably like a loop down here. Yes, because if I try to art a face here, it will just mess things up a bit more. Let's go ahead and art and loop over here. And we're probably going to use this flat area over here to kind of transition it so that now if we move it back, see, we still keep some space left. But then in here, it makes it feel like it's actually going in somewhere. I'm doing this. I know that I'm pushing the backside out. So then with the backside, what I'm going to do is I'm going to go ahead and up until probably this point, I a quick contre B bevel, set this to like 0.1. And then I want to start by moving if I go to my top view. Sorry, select only this verts because the top verts seems to be still correct. I want to push this back until this line becomes straight. And when I do that, we get a little like a bevel here. And then it's just a matter of, well, at this point, you can kind of decide what you want to do. For me, it is too small of a detail, so I'm just going to push this out so that at this point, when we have the reflection sketching it, it will just look like this, see? And then we have this tiny bevel over here where you can decide really what you want to do with it because, for example, with this piece, this piece over here, you probably do not need. So if you want, you can, try and maybe merge it together using a target belt which you can find in your mesh tools and target belt. Yeah, you can try and merge this together and maybe also merge these two together. I guess that that is a little bit cleaner if we do it that way. But yeah, there we go. Okay, so we have this piece, so we know that we don't need it on that side. This piece is now completely done, I hope, yes. Those bolts over here, we can go ahead and I don't know, those are actual bolts. So I wonder if that is let me just quickly check. Yeah, might be nice if we add that as actual geometry. Yeah. Okay, so these bolts, I will add as actual geometry. For that, what I'm going to do is I'm going to go ahead and I'm going to simply add a simple, like a probably like a sphere should be fine. Move it over here. Now, I am not going to go for 20. Even though we use nanite I feel that it's a bit overkill, let's go for, like, 12 or something because if we need to add adjustments to this or if we need to unwrap this, you still want to twine and keep things fairly low. Now at this point, I'm actually going to cut my sphere like this and not the other way around because else you have that sharp point that is very visible. Then can press contra shift I to invert my selection and delete that invert. And at this point, I can go ahead and I can push this in to make it a little bit flatter and I can scale this in and by the way, just do like a soft select on it. And then you can choose where you want to place this. Now, since we have enough Jome tree that we can use, we can, for example, see here one, two, three, four, five, six, seven, eight, something like nine and has some extra bits at the bottom. So what I can do is I can simply go in here, select all of these edges, and I can try to add a connection. Now, for more difficult jometry, the connection does not always work, but if I go ahead and set this to nine feels a bit high, let's set this to eight and press Enter. This way, I literally have an instant measurement tool for myself because I don't need to worry anymore about this type of geometry. So I can simply now move this do shifty, shifty, shifty, shifty, shifty, shift D. Now you can see that the shifte often goes like a tiny bit off. This is because we did not place it completely perfect. But we can basically move this up. Wow, we are already at 21 minutes. Time goes by fast. And then down here, what I can do is I can do a double to make it look a little bit more interesting. There we go. I will copy this over to this side, but first of all, I just want to make sure that the centers and everything are correct. The way that I can do this is for this one, place a connection over here. That's just like a one, just to make sure it's exactly in the center. Select these faces, Shift click and let's go ahead and extract the pass so that now it is its own little piece. This way, when I mirror this, I should be able to just do a perfect flip. And the reason I'm doing this is because now I'm going to extrude this in. And after that, I will probably move on to the next chapter. So if I go ahead and extrude this in, I will extrude this in up until something like this point because remember, the backside does not matter. We are not going to make a backside. So I'm going to go ahead and the bottom side also does not matter. So let's delete that. Ii will only be in our way. Now, select these two pieces, and we want to go ahead and want to extrude this. So for this, we want to go ahead and press Control E because we want to extrude this on the local normal. If you do shift, you know this, if I hold shift, it will not extrude properly. It will only extrude properly on one side. However, if you do Control E, which is the extrude settings and then move it, it will extrude it based upon the direction of your face, which means you get this effect. So at this point, I can move this quite far back, and I move it far enough back until basically I know that my lighting will just show black inside of here, because then we will do is we will later on, of course, have a door in here. I'm scaling this face flat and I'm scaling this face flat just to make sure that it is properly flat. And I'm deleting these side faces because we don't need those. We are going to mirror this soon. So that's pretty much it for this shape. Because the shape is hidden behind here, we do not need to give it any special treatment. The only special treatment is probably at the top, where over here, you have this flat area. But in our case, we just have it straight. So we probably want to grab this edge and want to give it a quick contra B at quite a low level with a few segments like this. So then it at least does not look like a very sharp edge. And because the door will be behind here, it should do the trick, although I guess you can try and add another contra B over here. Like, once again, low level in the event that we see it like a tiny bit. Let's do 0.14. Over here, see? So just in case that we can see the tiny bit, you can see those edges. Okay, so let's have a quick look over here at this side. So this frame is going to be separate. So I'm pretty much sure that over here. The only thing is that we have a little trim around here, and I think that will look quite cool if we have that trim. It's a bit hard to see, so I'm going to improvise, and I'm basically going to do this. I'm going to grab a cube, move it up here. And I have this idea. I'm going to move this back let's start by just moving this into place. And as soon as I move this to this site over here, I delete it. So I delete the phase that I'm moving because I can no longer see the face, so it would be wasted geometry, which I guess is a bit ironic because we are using nanite, but it will also just make your life a little bit simpler. Now, over here, what you want to do is you want to move this quite close to the edge. The same over here. So this is going to be like a metallic edge. Let's delete this. Let's delete our back face. Is that we only have pretty much two faces left. This one over here, which we can move back a bit and the other one. Now at this point, we want to move this quite far back, yes, and then we're just going to go ahead and we're going to add an extra edge here. Let's isolate this, and let's place this edge roughly a little bit higher, something like this. You then want to push this out, delete the sides. Et's get rid of this edge down here, Control Backspace, and then do simple contra B and push it as far as you can and add a bunch of segments. So that will give us a shape like this. Se a nice round shape. At this point, it might be a little bit oversticking over here. I guess that in that case, it would be good if we just move this forward a little bit. So then I feel like here, if we go to our top view, it's easier to see. Let's move this forward just like a tiny bit like this. Grab these two back faces and hold shift and move them back. There we go. So when I turn off my edges so that you cannot see, that is at least covered, and this will just be like a metal piece. So we have this metal piece. I'm not sure how it will look if we also move this metal piece over here. Pretty good, actually. So what I'm going to do is I'm actually going to just cut this metal piece all the way across. Yeah, you know what? Let's do it literally all the way across from here to here. Up until this point. And now, of course, once again, I just need to re art this. So sometimes I do this. But I don't know. I like to keep everything separate. I could, of course, go ahead and, like, do it in a different way. But for now, we can delete this. We can do a quick mirror because it should be exactly in the center, so we can do a quick mirror. On the X axis with a plus like this and set a merged threshold to 0.01. In any case, something very, very low so that it does not accidentally merge the wong things at the center here. You can test if it merged correctly by pressing Control backspace and if it properly got rid of that line, then everything is all good. This piece we have now replaced these pieces over here, we can select all of them, hold shift and deselect the backside, collapse this. Remove your history. You will get used to that, removing history. As soon as you see a lot of stuff here, you just automatically do it. And we can once again do a mirror. No cutting on the X axis in the plus. Move it out, press okay. Select all of it, and you can go ahead and do an extract phases. What it will most likely do is it will also separate also separate all of the bolts. At which case, I'm just going to go ahead and I'm going to very quickly select all of this stuff, combine it again so that the bolts are included. And now it's just a matter of me going in here, moving this nice and close lead together a little bit further out like that. Okay, so that's already getting a pretty solid start. So now that we have all of these pieces over here done, what we're going to do next is we are going to go ahead and work on a door. Then we'll go ahead and work on these picture frames over here, which ironically have probably the most detail. And yeah, some of those really small bits and pieces. I'm actually going to do those separately, and I'm going to go ahead and, like, art those separately on top. This is also actually quite cool that we have a door thing, but I don't think we have something like that. And there's a really creepy guy laughing at us. But okay, let's go ahead and save sin, and let's continue with that. 7. 06 Creating Our Final Door Part2: Okay, so let's go ahead and continue with our door. I'm going to get just finishing off the side panel. We're going to go ahead and work on something like this. Now, this inside over here is quite easy because it is a little clip, only the top part you need to work on. This one over here, however, it's a little bit more interesting to create something like this. What I have in mind is I have a mind to go ahead and let's do this way. Let's go in here and let's grab a start with like a cylinder over here. Yeah. Okay, so that's a cylinder. I'm not going to make it 20 faces more like 14 because then it's easier for me to manage the geometry amount. Now, one thing I do need to know is I need to know how high these pieces are over here. So I'm just going to go ahead and I'm going to clonee them and quickly add them to my door. And the only reason I'm doing that is that I can, do some measurements. So I can see that it is pretty, this one is actually really tall. That's interesting that it is so tall. But okay, so in any case, this piece is almost like separate. So this piece goes around here, and then you have like this little bar over here that connects to it. So it is actually quite detailed for us to do something like that, but should be fine. Let's go ahead and first of all, scale this out, and we're just going to go ahead and make, like, a fairly decent oops, fairly decent thickness. And I just want to, have a look and then, make sure that from a distance, I can still sort of see it. So I think I'm going to go a little bit bigger, just so that I can see it a little bit better like this. And then once you're happy with it, well first going to go ahead and we're going to work on some of the scaling. And if I have a look at this, it looks like it comes quite close to the chair. So let's do roughly around this point. I'm not too picky about it. And then here at the top, I do want to give it a bit more space. So I'm going to go for probably around this point. Now at this point, we can go to isolate. Oh, sorry, Isolate only works per view. So let's go to isolate to the top view, delete over here like the backside and then double click on your faces. This Double click will just select your entire border. At which point we can push this out. And now we can go outside of isolate view, and now we can, like, we can move this out, and this will give us a little bit more space to work with. So let's go for something like this. Okay, so now what we need to do is we kind of need to figure out how to create these pieces. Now, I was thinking of that we could probably use sort of like a boolean for this to kind of cut it out. That would probably be the easiest way of doing this. Or we can go ahead and we can make this as one small piece and then just duplicate it over and over and over again. That could also be that might actually be easier because it will resolve things. So if we go in one, two, three, four, five, six, seven, eight, nine, ten, 11, 12, 13. Let's say 15. Let's say we go for like 15. We can go ahead and we can select this. We can do connect. Oh, wait, connects only work until ten. Oh, no, wait, they do work until 15. They work until 100. That's it. They work until 100. So let's go ahead and go for like 15. Let's try it again. 15, Enter. Thank you. Okay, so here you can see that I messed up. So let's try that again, again. Connect. Enter. Ah, that sucks. Remember how I said that sometimes to connect does not properly work with your edges. There isn't a lot that I found that I can fix with this. I can remove my history and go to modify and try to freeze my transforms. But often it doesn't seem to matter. I don't know exactly why it does this, here see you can see that it still does not work. So I'm not exactly sure why that it does this. It is a bit of a pain. So if this is the case, I'm going to turn it more into like a guessing game where I basically select these faces. I go to my connect and I just basically check roughly where the last connect will be. And then I can just go ahead and press W, and then I can go to a Swift loop and roughly place it in the same location. Oh, hey, it's broken. Oh, wait, it's broken because of our connect. So U make sure to Undo twice. If you don't Undo twice, come on. Three times? How many times do I need to do? There we go. It must have still had the old connect on it. Try that again. Come on. This is a known bug. So at least as far as I know, well, it is a bug. Like, if it doesn't work like this, then clearly something is wrong. So if we see it then over there, that means that over here, There we go. Finally. Okay, so you need to do quite a few times to just get rid of the connect. Let's go ahead and delete this, I believe. So over here, yeah, that should be a fine piece. You know what I'm going to actually make it a little bit larger over here. So we're going to delete the back. Now that we have this piece, we basically want to cut out a boolean over here. And then what we'll do is we will place a cylinder in there and that cylinder we will connect again to our metal beam. For this, it might be cool if we can use some sebush Nah, that would be overkill because that would be the only time that we use sebush because this specific environment, it just doesn't eat a lot of seabush because it's hard surface. So let's instead just do this. I'm going to go ahead. And although you know what? I don't even need a boolean for this, I can just hope that connect does work this time. Let's remove my history to, like, a double connect. Et's try it again. Now it does work. Okay, fair enough. So double connect, and that does seem to work. And then I'm going to place another swift loop just behind here. This is basically just to create a little bit more space, at which point we can delete these sites. And now we can just go ahead and we can do, like, a shift click bridge on here. Double click on here, and then you want to hold Control. You want to deselect these two pieces because else the bridge does not work.'s do another bridge like this and then same over here. Select this, Control, Deselect those pieces, and another bridge like this. Okay, having this piece. Now what I'm going to do is I'm going to wide away, start adding some bevels, just to make this look a little bit higher pole the contre B. Maybe give it even a few more segments over here so that we do not need to turn it into a fill on hypol. There we go. And now, this one, it looks like that transitions perfectly, which means that we would only want to add it on the top, but we will go ahead and add it later. So how this will look in a bit is I will go ahead and I have this piece. And then this piece down here will basically move down so that this will happen. See? That's what I'm going to go for, which does mean that over here at the top piece, we don't need it. Now, you can go ahead and you can try to select it like this, but that's quite annoying. So what you can else do is go to modeling Toolkit, go to selection constraints and simply set it at an angle and give it like a five degree angle because then everything that is flat, it will just select, at which point you can go ahead and you can delete it. See? And now we have this funny looking piece over here. Kind looks like a coffee machine or something like that. So we got this one. Now, over here, of course, we cannot really see too much of it, so I'm just going to improvise, and I'm going to have this as a cylinder, and I want the cylinder to basically transition into, like, our square bit over here. So the way that I'm going to do that is I'm going to go ahead and Shift click create a cylinder over here. And then for the cylinder, just going to turn on my wire rim. For the cylinder, try to nicely fit it in here. And I think what I'm going to do is I want this to be like a fill cylinder pretty much like this so that it feels like it can actually properly rotate and everything. You basically move this over here. I don't know. Do I need 20? No. I think I'm going to go for 14 again. I'm going to go ahead and move this up. Then, first of all, I'm going to select all of these faces, press contro heft I to invert my selection and delete any faces I cannot see. Now my idea for this was that I was going to go ahead and I was going to grab these three faces and extrude them down. Give that a bit more space. Let's go ahead and let's do a double connect. Let's move this up. Placed in the center. Here we go so that we have a little bit more space. And now let's turn off your angle select. And now we can go ahead and hold shift, and we can hopefully move this down. And my idea was to then see, I want to properly move this down, I don't know, like over here. And then it would need to transition into like a metal piece. And that's what I said, like for Zebras because in zebras, I can quickly jump in and I can just smooth it all out and I can make it look like a metal piece. However, in this case, I do not think that that will look or that will be a bit overkill for what we want to do for one piece. So instead, I'm just going to go ahead and I'm going to say move this over here. Maybe give it like a bunch of, like, segments and then like a bevel. There we go, see. And then by that point, we get to the metal piece. So by this point, I will flatten this out. I will delete the backside also we flatten that out. Now over here, just carefully move these little bit out so that the geometry is a little bit cleaner in that direction. There we go. Let's see, from a distance, that should work. If we now go ahead and add a bevel on the rest, if we add one here, one here and one here, you like a contra B? Oh, also transition it on this side over here and over here. If I do that, the jom tree will flow a little bit cleaner as you can see. So let's do that. Let's not make it too big. Maybe I'll like one extra segment so that when I smooth this and I turn off my edge and vases, it will just look like a nice smooth piece that is sitting in between here. Perfect. So we got this piece done. Even if you press three, you can see that it already will just smooth just fine. So we got this piece done. Now what we're going to do is we're basically going to copy this down. And then the only tricky thing is that because we need to turn this into, like, a plate, I'm going to do that in a slightly different way to basically make it easier for us. For now, first of all, go ahead and just hold Clone I can see what I'm doing. Let's turn on my edges and faces. Yeah, that's fine. We can even go at and we can even collapse this temporarily, Clone. Move it very close. Zoom out, shifty, shifty, shifty, and just do that until we get pretty much to the end so that now it will look like the C, and it looks very similar to what we have over here. Okay. So what I'm going to do is I'm going to just have that metal plate sitting against it instead of trying to move it out. At this point, I'm actually going to go ahead and I'm going to, first of all, select all of these pieces. Mong buttons, sorry, hold control so that only these are selected. I'm going to collapse them. And then what I want to do is I want to go into my vertex mode, press Control Shift A to select all of your vertices. And I basically want to hold Shift click, merge vertices, and then in the merge vertices in the setting step. Let it loose because we want to merge these on a very low level like 0.0, zero, five, for example. And press Apply and also double check over here in your numbers that if you press apply, they become less. The goal is that now that transition that we had over here, for example, it has now become one piece. So all of this has now become one piece. And now if I go ahead and go to the top, I feel like I also need to move this straight because we now have a different plan. So we can just select all of them, move them nicely straight, and there we go. Finally, all we need to do to finalize this one is go ahead and select the top Bridget. Double click, hold Control, to remove those two, bridge it. Select them Contra B, bunch of segments like that, and do the same over here where I can just top, bridge it, double click hold Control, bridge it, select all of these. In this case, I might want to just go ahead and give it like one last transition piece, and then do like Contra B. Give it some jom try, and now you can just go ahead and you can smooth this. And then what you will see is now it will have a very nice transition. Okay, see, not too difficult. This frame looks like a solid chunk of metal. It will most likely have some welds here and there. Those welds, we can go ahead and we can probably make them. I think we can actually just make them inside of Maya, at least we can give it the effect that there are welds over there. So if we go ahead and go for a cube, let's turn on my frame. Now for this cube, I want to get started by scaling it up and I want to give it the thickness of our metal. So if we go ahead and go against this, let's say that metal, our metal is not going to be too thick, probably like a thickness like this. We move this back, we delete the backface et's see, does it perfectly, here, so it perfectly hits the ends. So it means that I'm going to have an end here. I'm going to have an end over here. And now what I'm going to do is I'm going to start by moving this out to roughly, pretty much like the very far out to the end like this, double check how your thickness and everything looks, and if it looks correct, you basically want to select the inside, and you want to do CtraE which is the extrude. However, if you extrude at zero and you just set an offset of 0.1, that's very low one, you can see that it will do like an even offset on every side. So if I set this to looking at my reference two, maybe 2.5 Let's do two. Yeah, let's do two over here. And now that I have this piece, what I can do is I can then push this back in, and then I can press delete. So because it will just be hidden behind our wall, so it doesn't need an actual backside. Now that we have this piece, as I said before, I want to, like, create some kind of like a transition piece over here. I'm going to do that first, and then I'm going to add my bevels. The way that I'm going to do this is very easy. I'm going to double click on every side. I'm going to give it a tiny bevel, 0.01, for example. Oh, that's pretty spot on. Now, still too large, 0.005. Let's do that. Then you want to go ahead and actually just control shift A select everything and then hold Control and then deselect as a case like this. Do Oh, does contra R. Sorry, do a control E. You want to push this back in over here. Like that. I don't know what I have no idea what I just pressed, but to go. Let's try it again. Luckily, undo exist. Let's save my CNC see. It's been a while. Now I'm going to, first of all, give the edges a very nice bevel with multiple segments and make it nice and round. Like this. And this is probably one of the few pieces where I am actually going to use a technique where we are going to smooth it because these back faces, it's a bit too annoying for me to give them like proper bevels. So for very, very large shapes or just large shapes in general, it's easy to do that. However, the smaller you go with your shapes and like, really fiddly details, I should say, the more annoying it becomes. So how are we going to smooth this? If we want to smooth this now by pressing three, you can see that it kind of collapses into each other. Very simple. We need to add something called supporting loops. They are very simple edges that we place around these rings, and the only reason we place them is to tell the system. Actually, we don't even need that one, probably, to tell the system that it needs to stop smoothing at those areas. So if you can see this, you can see that over here, there's like a few areas where we need to tell to stop smoothing, maybe at the end, and for the rest that like these little corners over here. So I'm going to place two support loops at the very end. And for, you just want to place them like not too far away, but also not too close, because the closer you place them, the sharper your edge looks, and there will be a point where it will simply look so sharp that it is no point. This is also what you would be doing with hi poly modeling. So with hi poly moodeling, you would do this, and then you would keep your old shape, and you would keep this shape without the segments. And that's basically how they do the high poly to low poly mooding and then you would like, bake your textire maps, which is a common technique. For this technique, although we will not be using it in this course, I've used it in many other courses. So you can just go ahead and wherever you got this tutorial from, you can probably find many more courses. For example, I made a course about an aircon unit. Although it is in blender, the course does showcase, like doing vari vanc props with high pole to low poly modeling and all that fancy stuff. In any case, now that I've done placing this, that should look pretty good. Sometimes, when you have very long shapes, it is beneficial to just add a few extra segments in between. And the reason for this is that they do not try to smooth all the way from one side to the other side, and they have a little buffer zones in between. This is just for very long shapes, however. So here I'm placing a few of them, pressing three. And now if I go outside of my segment mode, you can see that now we have this cool looking transition over here, which is pretty good. Okay, so that's pretty good. I do feel like that I actually want to add one extra loop over here, and I actually want to use this loop to push things out a little bit, because I feel like that once I've smoothed this and I push it out, it will give me that bulge effect that you often see in this type of metal. We will also get this effect later on, but here you can see it will just give you that effect as if there is a little bulge sitting inside the metal and as that it has an inside over here. I would say if you want, yeah, you know what? It might be nice if I just isolate this if I press control backspace on that edge and move this edge just in front of our shape. Like this and then go back into isolate. And then if I do Control E on this edge, it might be nice if I just push this edge out over here using you almost always need to have the blue slider and then do like a Contra B. We like a few segments. I have a feeling that what this will do is it will give us a little bit more of like an depth effect because you can see, like going behind something like that, there's actually something behind and that it is not just clipping in the wall. That's quite important when doing these type of things for the wall clipping. Now we are already quite long, so I think I will transition to next chapter. One thing I find quite annoying is that I have a lot of Wily jacket edges over here. I'm just going to go in my render and in my VewPor 2.0, just go into your settings, and I think I forgot to turn on anti Aalizing. Oh yeah, here, see. So if you turn on multi sample anti alizing, you can see that it immediately improves everything. And for the count, depending on how strong your computer is, my computer can handle ten times more than this, so it should not really be a problem. We can just go ahead and we can increase that. Is there maybe some ambientocclusion in here, screen set pace ambient eclusion? I always like that because it just gives you a little bit of AO, and it just makes everything read a little bit better. Set the samples up a bit more. I'll see, let's just leave it at the setting. So around one like this. Let's close. Yeah I think just having a little bit of that AO, it does give me a nice effect. So that reads quite well. Okay, cool. So we'll fix that. Save your scene. In the next chapter, we will finish this thing off, which means that we only need to create the insight over here because this is now all nicely transitioning against each other, yes. It might be a little bit too sharp over here. Oh, wow. I think alizing my wire frame. Oh, no, huh? That is strange that it all of a sudden gives me this wireframe color. Is that because of the occlusion? Sorry, give me 1 second. No. Multi sampling for some reason, a multi sampling breaks my wireframe. That is very strange. Okay, in any case, if I want to make the smooter, I can probably just move this out, and then if I press smooth again, see, it will give me a smooter effect. That's the last thing that I will do in this chapter because I move them a little bit too close. So I'm going to go ahead and move these out. Like this? Because, yeah, in this tutorial, we are really going to be quite perfectionist when it comes to modeling. And then when you just want to preview it, then I will just turn on anteralyzing. It's a bit strange that it shows that it shows me the Y frame like that, but I will. Okay, let's continue to the next chapter. 8. 07 Creating Our Final Door Part3: Okay, so let's go ahead and continue. So we're now just going to go ahead and work on these ones. These pieces, they often they hang like as a flap on top of them. So I kind of like know in my head what they will look like. So let's just twin and replicate that. And then we also do need to make probably just like a plane on the inside, so that should be fine. Yeah, let's see. Can we reuse this? No, I don't think we can. I think I'm just going to go ahead and go still on my edges. Let's create a brand new cube, scale it up a little bit out. I let's make it not too thick. So let's see. I'm gonna so I'm just having a look at my reference right now to see roughly how long and everything I need these things to be. You'll see because there's quite a bit of space left for that, but there's also quite a bit of space left here, so it's an interesting one. I think I'm going to leave it up until this point. Let's go ahead and scale this in a bit more. Over here, let's go to face mode. Why is it not showing my Oh wa, it is showing my etches. For a moment there, I thought I didn't see them. Okay, so let's see. Probably a little bit thinner. Yeah, I think something like this. And then what I'm going to do is I'm just going to go ahead and I'm going to grab the top and the bottom vertices over here. I'm going to scale these down to give them like this little point, like you can see over here. And now for these pieces, I need to have a quick look. So the backside we're just going to because this is going to be like the inner central side. So for the backside, I'm just going to go ahead and I'm going to bend that down. And then from the front side, I probably want to give it a little bit more debt. So I'm going to add another loop around here, and then we'll add another loop here. This is mostly so that if I go to my isolate mode, sorry, isolate mode, that I can select these piece over here and also the backside actually because we can just remove that and delete it. So now all that we have left is this piece, this piece. This and this, and we can just bridge that together. See? That will give me a little bit of like an X. So yeah, that's a nice thing about using Nanite. We can literally just make it like this in real life. We don't need to make shortcuts to basically fake how it looks. So at this point, this etch of, I'm going to just push it back a little bit more. And the reason that I'm doing that is that I can actually create a large enough bevel that I want to have on this side. So create your fraction or create your bevel and ArterFranko around 0.7. Then select the sides, create another fraction, two segments at 0.5, that should be fine. There we go. So now that we got this one, I'm going to go ahead and I'm going to do quickly and isolate to make my life a bit easier. I'm going to go in and let's see. So I'm just pressing F so that I can see. Yeah, I think I just need to kind of go around these areas over here, let's go ahead and select them. I could have done this selection better with my molding toolkit, but we. So we got this one, so I'm going to go ahead and do Control B, and I'm going to see. So it looks like that it is withholding me from going very close, and that's because we have two small edges over here. So if you just shift click, merge vertss and press merge at center, it will just move these vertices and merge them together at the very center. And you can often do this quite quickly. And now you know what I'm going to do is I'm actually going to press Control Shift A to select everything, hold Control, deselect the rest. And then I do need to go in here, and I just need to deselect these few edges here. And now I can press Contra B and have a look at both the top and the bottom. See, let's make my segments a bit larger. It's really hard to rotate around it now. And maybe like add an extra segment here. And finally, just have a quick close up look. Wow. See, that's the problem. Imagine if we had to work in meters and we had to do this type of precise stuff. So for this point, I'm just going to move it down, select the bottom side, and press F. The bottom side is working a lot better than the top side, actually. So that should do the twig. If I now go ahead and just do like a shade smooth on this. Oh, no, wait, it has a back. If it has a back, then you don't want to do a shade smooth, you can very simply go into mesh display and do a soft and hardened edge. What that will do is it will basically smooth your mesh based upon a specific angle, and this angle is often 30 degrees. So we got this piece over here. Now my goal is to then remove my history and clone it, hold J, and rotate this round, and this piece will basically overlap on top of it. So we have this piece. We're going to first of all, move my vertices a bit further back in because we do need to adjust the original shape a little bit more, and that's because I want to have this overlaying. I'm going to have this over here. And then what I want to do is I want to push this stuff back, and I want to push all of this forward. Let's see if we can go to our side view, where are it's typical. I need to go into, like, isolate mode. Over here to push this out. Select the top. Push this over a little bit. And then what I want to do is I want to push this out a little bit like this. Let's hold shift and move this down a bit more. And see. I then want to go ahead. Let's push this out a bit more, but we want to place a edge loop in between here and want to push this edge loop out. I don't know exactly why they do it, but it's like an effect that they often do. Now we're going to push it out quite far, and the reason we do that is because then we can double click on this edge. We can press Control B and we can give it an extra segment. Or actually, maybe a few more segments just because this is just needs a bit more geometry. And there it goes. Now we have this. Now, over here, it does not have a perfect transition, I would say. I can go ahead and I can use my mult cut tool, which you can also find in your mesh tools and ult cut. And basically, what you can do with this is if you switch to Vertex mode, you can use it to customly add extra loops. So I could go ahead and, like, add these extra loops here to basically compensate for the fact that it goes backwards a little bit. I don't need to do it a lot, and the reason I don't need to do it a lot is because we don't have a lot of geometry here. But I'm just going to do this. And then all of these verties that are not connected down here, I will make sure that the out triangulation that you get when you export or import into real that will fix those things. So it's like a little cheat because basically, normally, when you are doing high poly to low poly modeling, you want to make sure that those verts that every vertze is connected because else you get an uncertainty that something might go wrong. However, with this type of technique, we don't really need to do that as much. So what we can do is we can go ahead and we can just upon export, select a specific setting, and that will often take care of it. Having this piece now, I'm going to go to mesh, and I'm going to mirror this. I want to mirror this on the x axis at a very low 0.005 welding. And I think we need to set the direction into the plus and then move this in just press W. Now, you can go ahead and you can double click on this center and just press Control backspace to get rid of it. And now it's just a matter of grabbing this piece, resetting your pivot point, holding J, rotating it 180 and moving this in the same location that this is basically the same distance away from each other. And upon that point, you can go ahead and you can grab this piece and you can move it on top of it. See? You do that, you clone it, you reset your pivot again just to be sure you rotate it 180, and you move this down over here. And that should do the trick. If we now go ahead and later on, just like place a plane in two planes, one plane for the graphics, one plane for the plastic, that should do the trick for those pieces. So that is now ready to go. I know that it was quite a bit of work for something to small, but, yeah, it looks nice. It will look nice when we actually have, our antiysing turned on. There you go, see? So that looks good. Okay, cool. So we have done those things. That is all fine. So what I'm going to do now is turn off my anti alysing. Let's get rid over here of my seating because it will be distraction. The duplication to the other side, I will do later on after we've done Alva texturing and everything. So we're now going to go ahead and start working on our door. So for our door, over here, you can see, a little bit, but I think it's best if we go for something in this direction but then just straight. Let's have a look. So, we also still need to do something with the floor, but we can do that on the floor itself. For our door, we have the insights ready to go. So I'm going to get started, and I'm going to get started by just creating a cube. Let's do that. Let's create a cube, and we're basically going to divide this cube into two times so that we know exactly where our door is. So let's move this down. Let's move this just behind here. Here. So we want to make sure that we cannot see the bags. And then this door, I'm going to go ahead and I'm going to make it roughly the thickness that I think the glass windows will be, because it's like a double glass window. However, our glass windows will kind of have this effect where they will be dark and they will just reflect the entire environment back so that we don't need to make anything behind it. If I think that that does not look good, I will have a time lapse chapter where I will just very quickly build a tiny bit of like a metro station behind it using assets I already own. So yes. Actually, yeah, this glass over here, it looks very thin, but I do want to get the more thicker look. So where is this look? Mm, it does look very thin, actually. I think it's just like single sided glass and because it goes inwards. Yeah, because it goes inwards, it's single sided glass. In that case, I'm just going to guess my thickness, so I'm going to move this I'm going to move this one all the way up. Make sure to move it a little bit inside like this so that you cannot see through it. And now I'm going to go ahead and I'm going to move this up here. At this point, we can select these etches and we can just place a single connect. Here one connect in the center. And then we know, Okay, so this is going to be the center. So now I only need to create one door and I can take it from there. So we do need to have that little rubber bit in the center over here. But that's rubber bit. I'm probably just going to go ahead and I'll add it to one of the doors that when they close because it's just a little bit, that is like a little flap that sits along it. Knowing that we have this, let's go ahead and select these edges over here and just bridge them. It feels a little bit thin, so let's go ahead and make it a little bit thicker. I don't know, do you want to make it dis stick? No, probably not probably like this stick. And now we need to decide exactly where our piece is going to be. But that's quite handy because here it's all on one line. So what I can do is I can go ahead. Let's go to my front view or something like that, and place a single loop on this line. Maybe just for consistency's sake, we can move it down a little bit to Yeah, let's move down a little bit, just to give it keep it on the grid. You can even snap to the grid if you really want to. There we go. So this is where our window is going to be. It's going to be between this piece, and it's going to just have a little edge at the top, which means that we are going to place one extra loop around here and go to grid point. I want to place this loop just like with a little edge around the top, and that little edge will give us the option to add, like a little sticker here, that should do the twig. I keep losing this image for some reason. The next thing that I'm going to do is I'm going to go ahead and I'm going to select these edges. I'm a little bit worried that the inside over here, because it goes inside, I'm a bit worried that it will give me an uneven feeling while this feels very does it feel even? No, actually, you know what? No, it does not feel even, so that should not actually matter. I'm going to go ahead and I'm going to do double connect. So two segments. Press Enter, scale it out. So yeah, turn off grid snapping. So we're going to make this not feel as even. We're just going to roughly guess the distance between our window and our door over here. And then based upon that, we can guess the scale probably something like this should work, okay. Once we've done that, we can go ahead and we can delete these centerfaces. We can bridge these pieces because this will go a lot easier if we bridge it. So just bridge all of them. And now that you've done that, you can basically select these sites and we can add some very large bevels to them to give them the round effect, and based upon that, we can start with all the extrusions. And then for the extrusions, I will, have a look here and just make sure that it looks very precise. So first of all, let's go ahead and press Contra B. Set is larger, and let's add a bunch of segments. Let's do like 912 maybe even. Now let's go for nine. Let's do ten, ten. Okay, so we have ten, so we have some quite nice friction. We can always go in the friction and set is higher if you want. It will just sometimes break a little bit. But actually, this is one of the cases that I think it's fine. Maybe 1.2. Let's do 1.2 and press Okay. And it just means that over here. We often need to fix some stuff that has happened. I can't really see exactly where the fix needs to happen. Oh, wait here, it needs to happen. These verses need to be pushed back like this. Same over here. You know what? I'm going to do this in a different way. I'm going to use the target welt because using the target welt, I can immediately, like, weld them together, as you can see over here and here. Makes a bit easier. This backside I will most likely mirror. I will most likely just focus on the front side, but it just depends because I think I can actually do them both at the same time. As I said before, I don't really care about how clean the jom tree looks. Now that I have this, all I need to do is I need to look over here, and I'm basically going to mimic. I do like this profile more. I'm going to mimic, like this little trim. And for the rest, I'm going to use this profile because I like the more beefy looking profile. So it's going in with the bevel. Then it is having, like, a tiny little space then goes out in out up down, up, down, up, down. That's basically how it will look. So just fall on my lead. We can get started. Click Shift, double click to select all of these inner sits over here. For this, I'm going to hold Shift and I'm going to basically. No, you know what? No, I'm going to do extrude because extrude in this case is more accurate. You can hold Shift and then scale it down and then scale it in, but it's less accurate. So let's do contre E, Extrude, Extrude is out. And then Extrude this in using the scale button. That will push it in on both sides at the same time. So we can do that, and then we can still move around and just see roughly how precise we want this to be over here. Let's do this. Press W, extrude this out again. Contra E. This time, I'm just going to extrude this probably sideways like this. I think that is easier for me. So move it sideways very carefully. Oh, never mind. It is breaking some stuff. Why is it giving me this edge over here? Let's press Control backspace on this edge. I don't need this edge. This one also, that's a strange edge for me to have created. Try this again. Shift double click Control E, and now if I do it, A. Okay, fair enough. It gives me a little bit of trouble, but that is no problem because what I can do is I can go ahead and I can just move this out again, and then it will not give me as much trouble. And when I move this out, I'm just having a look at my reference here. I then need to grab this shape and just for good measure. Control shift. Also grab this one, extrude this out again. Like this. So that will be like this tiny little lip over here. And then what we need to do is we need to push this in and then extrude this out again and take it from there, I believe. So we got this one. That's double click on the inner lines because these lines no longer serve a purpose and will only be in the way. So we press contrabgspace. You know what, at this point, I'm going to remove my history because it's getting really long. Let's see. I'm going to extrude this. So we got this one control E. I still find strange that this breaks so much. But that's no problem. Then we'll just do it like the long way around. So I'm going to move this down, and this will be the width. So make sure that the width is correct because this is where your pieces will be, your bolts and everything. So you're going to move this down. Like this. Same thing. Select this side. Control Shift, double click, se like that side, Control E. Move this out to, like, how far you want to move it out. I'm not going to do it too far myself over here. And then we can actually reuse these pieces that we have here because we are now going to make this very thin. And for that, we're just going to simply scale it. So click Shift click Go to your scale and scale this very thin. Like here, and then later on we will just push the glass in here. So if we have this, I'm going to not make it as thin as you would think. You do this. You do a contra E on it, you push it out. Then during this push out, you then scale it in a little bit more. Then you do another contra E, and this time, you just scale it flatter like this. Unfortunately, that breaks it. In that case, you just go ahead and you basically do Contra E, and then you just use your scale tool to basically scale it in. Because if you're doing contra E, without scaling it in, it will still extrude, but it will extrude into its own place. D one last contra E and push this in. There we go. Window. Here we go. Okay, at this point, I'm just going to press Control Shift A and select all of my vertices and just do a very quick merge verticies at a very low level, just to make sure I do not accidentally have anything duplicated. This mesh, I will most likely turn into a hypol's one of those meshes again where it's just a pain if I want to go ahead and do this like yeah, do this I just like hypo you meshes. So I'm going to go ahead and do that. Before I do that, I need to make sure. So these flaps are separate. This pin, can I can probably just do that here. I can probably do that in this mesh, where I want to go ahead and select these few meshes and just do a single connect. That's the nice thing about connect. When your Swift Loop does not work, the connect will most of the time work just fine. You then scale disconnect flat. You move it down here. And what I'm doing, what I'm going to do is I'm going to select this piece. And you know what? Because we've been doing this the entire time, it's du contre E, and I'm basically going to push this out a little bit. And then I'm going to move this out, a tiny bit also, just to give it an interesting looking profile. Then later on what we will also do is we will also go ahead and we will use, first of all, let's move this back a little bit more. Here we go. Later on, in our floor, we are going to make our floor look a lot more interesting. I have decided, so that will also look nice. Okay, so the flap will overlap, which means that we do not need to do anything with those edges there. So although we are sitting quite a bit over time right now, I can go ahead and I can, for example, here, I can isolate this and I can already quickly turn this into hypol means this will be a larger chapter. If I have a look at this, if you delete this, technically, you will not see any of those faces and they will only be in the way. So you can go ahead and delete that. You can do the same over here where we just because there will be a flap in between. I do recommend that, of course, if you want to have these open or closed, you probably do not want to delete the centers because then you would need to make something just like overlap on top of this. I can do that later on if I want, because you can technically just open this or close this. However, because this is a tutorial for our specific purposes, we're not going to actually do that. Just because it takes a lot of time or a lot, it takes more time than needed. Okay, so now that we have done this, if we press three, Y frame? No, three. You can see that these outages, this completely breaks. I know that. But these outreaches are fine. Now, after doing all of this work, I think that we probably still need to symmetrize this a little bit, but we'll see. First of all, let's add some supporting loops. Let's go to our Swift loops At one here, Add one here, and then this one will most likely be broken. Yeah, I see here. I'm going to I'm going to actually click Shift click like this and that will do like a ring. And I'm going to place a single connect here and press Enter. Click Shift click on the outside, and press delete and delete the other side. I thought that I could do it, but it looks like it will just become a pain if I also want to turn this into hipoly. So now at this point, let's go ahead and do a single connect over here, scale it flat, move it down. Like this. And then if you would press three, see this just becomes like a soft loop. You can see over here that it is a little bit stretchy. So what you can do is you can add a few more connects, like three of them or something. Press Enter. That will get rid of the tiny bit of stretchiness that you can see over here. Maybe move one of these connects a little bit closer together like this. Now around this edge, the only one that's a bit annoying is this outer edge because we do not need to worry too much about clean geometry in this case, I'm going to hold Control Shift and I'm going to select all of these outer faces over here. Like this. And then what I'm going to do is I'm going to do contra E and only use my offset at a very low level, like zero point see, 0.1. Okay, slightly higher level than normal. Let's do 0.5, and that will just place a loop automatically around here. And because there are no faces behind here, they will not affect the rest. So it will look quite ugly, but it will keep my edge just fine. And all of these edges are perfect. All of these edges perfectly loop around. So it's just a matter of us going in here and nicely placing our loops. However many we want, like over here, this edge, I probably want to do like two. Then here I want to keep it quite smooth. So I'm going to make this a little bit further away. This one further away, this one. And then over here, we can loop this around. And then on the other side, we can also now and it's way easier to also now connect. And now if we press three, we will have this look. The only thing that I do not like this look is fine. This look. You see, it is not going as straight. So I think we could fix this if we just control shift and just move this up a little bit. Let's go into three. Then if we go into three, we can still move our pieces around a little bit. So that must have been that line that I removed. Never move this out. Okay, yeah, so that does work better. If I go ahead, control shift, move this down a little bit, and then move this one out to basically make it straight. And then if I turn off my wife, I do not like the look of that. By the way, we broke this because we are at our segments, but that's okay. So in that case, I'm going to undo this on both sides. And then what I'm going to do is I'm going to add another loop over here. And hopefully this loop will give me a bit more space in between this area so that I can move this one out a little bit. Probably you need to do this for all of them for consistency. So we move this one out a little bit, and now it becomes a little bit rounder. Yeah, here, see that works a little bit better. So to do the same over here, we just add a simple loop roughly down here. We then select all of these Virtss and we give this like a slightly smoother fallow so that it does not have such a strong ring. And now, by the way, to fix this kind of stuff over here that we have created, simply do a target welt and target weld these areas to the edge. What I will also do is I will do some cleanup, which is just going to be me doing this, basically. This is just because this does not really have a very specific reason, only that I like to have my jom tree look fairly clean. Even when I know that we can just go ahead, go crazy with it, pretty much. Yeah, it's a force of habit. When you learn to always make your models nice and optimized, it's a little bit hard to then all of a sudden turn that function off in your head and that you can just basically waste as many polies as you want on it. I just don't like the look of that. You also get to know your geometry better if you do this kind of stuff, if you do the cleanup, might sound a bit strange, but it does work. And now that has fixed that. We have a nice high poly mesh sitting around here, for which we can later on like add our little bolts. And for our bolts, yeah, I said that I was going to do that using Where are you? Do I not have any good reference for that? I said, Oh, yeah, here. Oh, yeah. So for these bots, I said I was going to go ahead and I was doing, like that as a norm map. Yes, that plan has not changed. I'm going to do that as a norm map. It will look nicer, actually, as norm map than compared to geometry because geometry I need to do a lot of work for. In any case, we have this. Let's go ahead and just do one final reset. Let's do a very quick mesh and a mirror. Turn off isolate so that we can have a look. Yeah, see here, this mirror just fine, and just make sure that we set a merge value to 0.01 so that it is very low. And then we can just press W, and now it should fit nicely and perfectly. See? So we got, this really nice looking door that is nice and hipoly all working together. Everything is nicely fitting, that's perfect. Let's save cin. Let's double check over here. So this is all looking final, so it actually adds a really nice looking edge like that, so that's perfect. And in our next chapter, what we'll do is we will go ahead and do some small finalization. All these norm map details we will do at the very end, so don't worry about it now. It will just be making sure that everything just looks correct and else, maybe I'll have some details, and then we are going to move on to our window. So let's go ahead and let's continue with that in our next chapter. 9. 08 Creating Our Final Door Part4: Okay, so in this chapter, I would like to finish off our door. So we pretty much have quite a large part done. One thing that I wanted to do that I forgot to do in the last chapter is to grab one of these bolts over here. Here, I'm just going to select them, Shift click and just do like an extract phases from it. And then you always need to reset your pivot because it's not in the right location. But I think this is like one of the few locations where I do want to have an actual jom tree bolt, while on the top of our window, we are going to go ahead and we are going to go for, like, a more non map type just because it's easier to do. But yeah, for here. Oh, wow, that's not in the center. Let's try it again. There we go. So for here, we can just do something like this. And actually, you know what? Let's start over here because it's easier for me to do this and then do like a shift D. Oh, excuse me. Shift Shift D, right? Am I just having a brain freeze or, that's a. Shift D. So it is going fine. I just don't know why it does not work. It duplicates it in place for some reason. It's a bit awkward. Shift D. Now, it works. Okay, fair enough. Bit strange. But in any case, we can just go ahead and place these bolts over here. I'm not too picky. I'm going to do, one last one, probably in the center there just in case. And there we go. So we have those things done. We technically don't really need it back. So for now, I'm just going to leave that, and let's just have a quick look. So here you see. So that's why I wanted to do those. Oh, yeah, the black strip, we need to do. So for our black strip, you know what? I do have actually an idea what we can do. So I had this idea yesterday because it's already new day today. And that is that if I make the black strip slightly different on this side than on this side, we can pretty much, rotate our door around. If we do that, however, it does mean that we after all need to add these pieces. So let me just quickly, select one of them. I'm not able to select that one. There we go. And I'm just going to go ahead and I'm going to rotate these. And because these are small pieces, I can just nicely, rotate them like this. Move them out a bit more. Here we go. Okay. So for the rotation, it basically goes like this. I'm going to go ahead and I have this strip over here. So one of the strips will be straight, and the other strip will be up and then it will kind of be overlapping. So with that piece, I think it's easier if I actually just grab a cube instead of doing this with like a spline or something like that. You basically grab a cube like this. You placed over here, and you even have this little trim over here. No, you want to do it over the trim, so I will go ahead and, like, move that later on too. And I'm going to start with the straight piece, which goes roughly over here. We then scale this cube in let's turn on our edges and faces. So let's scale this cube in over here and then move this back to roughly, I think, something like this. And then I will first make the shape. So the shape idea that I have here, let's move this out in a little bit is we have a little bit of, like, a straight piece, and then we just have a little flap. So it almost goes, let's move it back a bit, hold Shift. We basically do this and then do another shifty. So it's just going to be something very simple like that. And then what you want to do in this case is, since we have the geometry, we are going to make this with like a bunch of segments. A little bit like this over here so that it here just kind of flows over from one side to the other. I don't know, maybe it's cool if we add a little trim here. Let's add one edge over here and just move this back like this. Then maybe it would be nice if we also replicate that by adding one edge here and moving this back. There we go. Okay. So now if we go to phases, we can go ahead and we can select our bottom pass. And for this, I think I will need to move this up a little bit. And then I'm just going to go ahead and I'm going to transition this over here and then just carefully move this down. And move it into place, something like this. You can always just this bolt, move it a little bit. For this stuff, what we can do is we can maybe add one extra segment in between, which we can then go ahead and we can, carefully sort of select like this. Here we go. And then if we select these three, it doesn't need to be too precise. I just here. It just needs to give the idea as if there is something going on. And if you really want to make sure that you cannot see through it because you want to have your camera, for example, very close to this area, just do this because then no way from a distance, if I smooth is, Okay. Sorry, I I do a mesh display and do a soft and hard edge, smoothening does not always work. And like this, here, see, all you see is this. So we got this piece over here ready to go. Select the bottom side and let you delete that. Select the top side over here. First of all, we are going to move this all the way like this. Actually a little bit more like this, delete it. Now, I do want to maybe give it a little bit variation. The way that we can give variation to a very long asset like this is we can go ahead and we can give it a few random segments like you can see over here. And then in this case, just grab the ends and move the ends around a little bit. So this will just in general give some interesting variation from a distance. It might not be as intense up close, but from a distance, you will just here if I turn off my selection mode, it might be a bit difficulty, but believe me, in the engine, you will be able to see that there's a little variation going on, and it's not something that people will notice actively, but it's more something that it will just tie in the scene together, and it will make everything feel a little bit more interesting. So that's why I like to always do that when I have very long assets that are not like perfect metal or something, but that are a little bit more organic like this one. Okay, so we got this piece over here, and now my idea was that I place this on the other side because then if I rotate my door around, the other side, it will basically slot nicely in here. Since we moved this out, we should have some space in between here that we can use. I'm going to go ahead and I'm going to probably reuse this. So let's hold Shift and try and reuse this. And let's see. For this piece, how do I want to reuse? I think I just want to flip it around, and then I'm just going to extrude this out. So if I go in here, actually, we could have just done a mirror. I do a mirror and I just turn off my cart geometry. This is how I often just tend to flip things around because I can then just, like, delete this one, and there we go. There's probably a better way, but this is for some reason, I'm stubborn, then this is the way that I always use. So over here, I can now go in and I can push this out like this. And a little bit, it's always annoying, working with such a long shape. Let's go ahead and do an isolate, and I need to get rid of these pieces, I believe. Let's turn off isolate here. Yeah, see here, I need to get rid of these pieces. And then for these ones over here, Let's go ahead and we can get rid of Sorry, Maya is acting a little bit strange. We can get there we go. We can get rid of those segments and these ones over here. And now it's just a matter of me pushing this out up until let's say this point. So we don't want to push it out too far, like a little bit less far than the rest. And then you should be able to just do a simple bridge because all the selection tools are the same. You go. And just in case for these ends, we might want to just give them some geometry. However, we can actually just go ahead and turn them into a hypol I think. I think that would be nice. So over here, it's a bit yikes. It's really hard to move around. I'm going to go ahead and add some supporting loops. I'm going to add one in here, one in here, one here, one here, one there, and then one at the bottom. Finally. Okay, so now we have a press three. Looks like it does some pretty good geometry. So we can now easily just switch 1-3 for these pieces when we do our UV unwrapping because, of course, we're not going to UV unwrap on the tree button, but the read on the one. Over here, I'm going to go ahead and I'm going to select this, and then I do want to select this one edge and carefully move it back again. Like that. And now it's once again just a matter of me adding some supporting loops, one here, one here, here, here. Here, here, here and here. So, look, perfect. Okay. See? So now we have like this little trim over here, also ready to go. You know what? I will just keep my viewpoint open on the other side so that I can sometimes just turn on the antiising so that I can have a bit of, like, an easier look. But that is looking pretty good. So okay, let's see if we missed anything accidentally. So sorry, I need to go ahead and here, let's do this. Okay, so for our door, we've done the bottom strip, we've done the metal strip. We are going to later on do these pieces, and the glass we are also going to do later on. Same for, like, the glass over here because the glass needs specific branding and everything. So for that, we first need to create some textures. It's just a plane, so it's easier to do that. This outside trim, yes, okay. So it has something like a tiny little detail over here, but that detail, it's not visible enough, and I do not really know what to make up out of it, so I will just keep it easy. And we also have some bolts, just like kind of how you see over here. We, that kind of stuff is also quite nice, but this is a very different looking top, so that's why we probably don't have the space for that stuff. Although we can go and I can add, like, some small pieces later on. Let's see, over here. We have this case. It goes all the way around. We have a nice looking locking mechanism, and then we have the inside, which also has an overlapping locking mechanism. And then we have the side trims. These side trims over here, what I have in mind, so as you can see over here, whenever you transition a modular piece, there's always a chance that there's going to be a seam. So for these side trims, what I want to do is I want to move them tiny bit further like this because my idea is that if we then snap it to this corner over here, we will never be able to see the seam anyway. So it will give us a really nice looking transition. And the same will happen over here, if I just move this a little bit further. Maybe if I look at it from the bottom, I can do more precise movements because the closer your camera is to the pivot point, the more precise your movements are. Make sure that they do over here, still transition into, which they do. There we go. So this will give us a bit of a better look. Then over here, we have this metal trim, and yeah I will most likely make this metal, but I am actually tempted to, they do like the more stripy metal. I might change my mind my mind and I might make it more like a plastic look. And else I will give it like the stripy feel that you get over here. That's something we'll have to see how we're going to do that. And for the rest, there isn't much going on over here because the seating, that seating will be separate. So I think that we can finally call this done. As you notice, I'm not yet adding the other door in here. You can do it for testing purposes. However, because we are going to UV Nwrap all of this stuff, and then we're going to, like, play some extra pieces, it's overkill for me to now also copy this over to the other side. But if you want, we can quickly clone this, set it back to one, do a very quick collapse and a reset on our it. There we go. And then we can, like, rotate this round. Which mostly serves the purpose of trying to make sure that everything nicely fits together. That if I now press three Hmm. So it does not fit together. That's great. Like, I wanted to have it go inwards. So maybe this one I need to, like, push it in after all. So maybe over here, I need to add a segment at this point, and then also at the other point because we have it like that. And then if we go ahead and go to, like, our top view, this view over here, maybe if we move this down, and then give it like a Control B with a few more segments. Not too much over here. Yeah, I think that might work a little bit better, C. So that's why it's good to just test things out, even though I personally almost forgot to test it out. But okay, so we have now this piece. Now if we do Control J and rotate this around, yeah, see here. So now if you would push this in, it would like it would give the feeling like it's just sitting low. Tiny bits of clipping does not matter. What matters is that you can see that there's like a transition between them. See? So that's what we wanted that's what I wanted to get. So that's perfect. So I can now delete this and I can call the door done. Select everything and add it to your door layer over here. And then we can save our scene. Now, what we'll be doing in the next chapter is we will most likely just continue on with our window, and our window is actually going to look like this. However, I will go ahead and I will find some better reference because over here, I don't have enough reference of how the actual window looks. The actual outside of it looks pretty easy. And then over here, what we can do is we can later on just like an extra module on top that has something like this that is no problem. Yeah, that might look interesting, it might break up the modular flow. So I quite like that just to give it a little bit of variation. So for this for now, let's go into your blockout pieces. Grab your Shift D and duplicate your window. And we can go ahead and we can add this in here, call it window underscore A, in case you want to do that extra piece. Go ahead and turn on snapping and just snap this nicely to, like, zero, 00 on your grid. There you go. Okay, perfect. Save scene, and we will in the next chapter continue on with our window. 10. 09 Creating Our Final Window Part1: Okay, so let's go ahead and continue with our window. Now, I went ahead and I found a few more references over here. So, this one is a little bit too modern, as you can see, but I still want to grab it. Here, I got another one. This one I grabbed because I here, it's like the best reference I could find of the top piece over here. And then over here, this is like a pretty good reference where we can just see how that the actual window looks. So what we're going to do is we're going to get started with, like, the base shape and getting that ready, and then we can get started by just doing the window frame, which will mostly be most of the work. I also found this one, by the way, which is pretty cool for, like, our transition door, like the back door over here, especially because, like, it has, like, this really cool handle, and I think it can make stuff look a little bit more interesting. And also for to show how we can, like, implant these things like the backsides over here and stuff like that. In any case. So for our window, if we have this, so this is the current window that we have. I know that those metal plates on the side, they will always transition from a door piece. So I don't need to worry about that. What I'm going to do is I'm going to go ahead and let's see if I grab this. So this one is already fine. I think we can just use this blockout. Let's turn of our entra lsing over here. I'm doing that on my screen, by the way. So over here, if you look at your window, you can see that it has distilled a bit, and then it goes straight because it needs to basically flatten out in order for the window to fit. So what I'm going to do is if I have this piece, first of all, I want to decide once again how large I want this to be. So let's do something like over here. I think that looks pretty good. Yeah, I think that is not too sharp. And then what we will do is we will go ahead and add some extra geometry there. If I now go ahead and I just select the back side over here, I'm going to move the backside back a little bit. Maybe it's good if I like my door. Let's move it back a little bit and then hold shift and then extrude this back in again so that we have this little flat piece. Let's see. If we have this, if I now double click on this line, I can now very easily move this back and forth however I want. Yeah, let's do something like this. So that should be pretty good. Now, what I'm hoping is that when I already extrude this out and I start to make this piece round, that this piece will automatically also go extra round, but we'll have to see how that works. So if I go ahead and shift double click to select all of these pieces, I'm going to go ahead and press Contra E so that I can push this out. And I'm going to push it out up until, let's say, this point. I already have a feeling it's not going to work the way I want it to, but we'll see. Let's go ahead and let's select these corner edges over here. Press contra B. Yeah, or C. So I don't think it will give me a big enough bevel. If that is the case that it will not give me a big enough bevel, I'm going to only select this one over here. Then I will need to do it in separate passes. I will select this one as number one, press Contra B, and give it a couple segments and just make it look a little bit round like that. Yeah, maybe let's do open six. And then for these insights. Hm, that is a tricky one. So it's interesting because it's almost like it adds an extra bit of space in between here. But unfortunately, I cannot really do that. If I do that with my fraction, you see, it just basically blocks it. I can set it to like five. So then it does sort of work. It does mean that we need to do quite a bit of cleanup, however. Let's see how bad it go. Oh, sorry. That was weird. I don't know what I pressed, but again, in any case, as I was saying, and now my selection mode is completely messed up. Let's remove my history and let's freeze my transformation. Sometimes that breaks your selection mode. There we go. See now my selection mode is back again. Any case, what I was talking about is if I set my fraction to five and I add a bunch of segments, I basically want to see how bad my geometry ends up being in those areas. I feel like I actually need to set my fraction to seven because I just need to try and capture that area. See, no what? No. Let's do a Yeah, I think five is actually fine. Okay, so that looks manageable. Yeah, I'm going to clean it up. So for now Undo it, select these sites over here on all of them. And then we're going to evenly give them a bevel. Here we go. So select both of them. And then it just means clean up. So we're going to give the bevel five in the fraction, and let's give it a segment divider of round eight like this and then press W. Yeah, see here so that works, that is around, and then we can place our window in here. And now it just means that over here, I just need to have a look and see exactly, there we go. See, this is what I expected to happen, that it just completely breaks, but it should not be as bad as you can see. So we can basically just go on the inside, move it around, and then just place it like that. And although it's not like the nice bit of geometry, if you want to make this really clean jom tree, what you would do is you would do this. I think I actually want to do that because it just makes everything look a little bit nice. I would then press Contrabacspad on these pieces, then go into my Etche mode and then start connecting them like this. And then over here, you can pinch them together. But as you can see, this will give you much cleaner geometry than doing it the other way around over here. And then for these ones, I don't really care because you cannot really see it. I will probably just remove the backside. But in any case, I think that is quite nice if we go for something like that. I'm just going to go ahead and I'm going to select these two, move them back. Select these two. Move them back. And the final two. Move them back. Okay. Now what I will do is I will just quickly pass the camera because I don't think you guys need to see me doing this four times. So I'll pass the camera, and then I will just go ahead and use the same technique where I will just go ahead and connect all of these pieces together. Here we go. So that's now Also done. If you want overhe, you can also do some cleanup, but we will do that a bit later. And for the backside, just make our lives a bit easier. Let's go ahead and go into our modeling tools. Turn on selection constraint by angle, select the back and delete it because we cannot see it anyway. So there we go. We got our base window frame done. This window will just be sitting on top, so I'm not worried about that. So all I need to do is I just need to make sure I'm going to smooth all of these pieces, but I just need to make sure that it looks correct everywhere. So where was our main reference? Here is our main reference. Okay, so our main reference does not show much this stuff. I just need to ignore. It has like a little thing at the top. I think that looks quite nice if we do something like that. Let's turn off selection constraint. Let's grab this top piece and just hold Shift and extrude this in. And then what we need to do is we just need to go ahead and we need to do like a quick target weld where we just weld these pieces together. And then just to make sure that everything is flat, select your individual etches and just use your scaling to basically scale them flat. And now at this point, if I just have a look at my reference, I think I just want to make this this thin little thing that's just kind of like sitting here in the center. I don't know. I don't know exactly what this. Maybe it's like a vent or something. But I think it will look quite nice. So let's go ahead and add that, hold shift, and throw this in. Okay, so let's see, at this point, I need to decide or I need to decide if I'm going to go for actual geometry or if I'm going to go for using the pressing tree method. I think I will actually go for actual geometry just because it's a large piece. So for these pieces, if we do actual geometry, it's just going to be a simple matter of selecting this corner. This will ironically have quite a bit of geometry, tre B, giving it like a bunch of segments like that. Yeah, the reason that the actual jom try, you need to be a little bit careful with is for large pieces, it's fine, but if you do it for a lot of small pieces, your UV unwrapping will become a pain if you want to properly do that. Now, give it like a bunch of segments over here and just, like, a nice soft corner like that. And now over here, what we can do is so this out of sight, this out of sight will have our window, which means we don't need to do anything because it will be overlapping. However, this side over here, we do need to give it some nice look. See now I can just double click. And although it doesn't transition perfectly because we have some merging over here with our edges, it is a lot easier than if we would have left it with something like the old way. So over here, I can just go ahead and I can add some more segments. And then if I just go to D select, I can do mesh displays, soft and hardened edges. Oh, you know what? Let's do mesh display. Go into our soft and hard and edges settings, and set the angle to like 20 degrees and pass apply. Oh, sorry, 40, 40 degrees and pass apply. The higher the softer the angle like this. There we go. So that will give us a nice soft angle going on. So that's all looking good. We've got that stuff also ready to go. On our door, did I Okay, I left the side panels in here, so that's fine. So I can do the same over here. See, I think that will work pretty well. If I go ahead over here, I have one extra phase, but it looks like I got some geometry errors. Here, yeah, I see. That does not look very good. Let's have a look. So what has happened? This one needs to be moving down Yikes, this is not looking very nice. Let's go ahead and do, like, a target weld over here. Let's move. It's like a round bit. Oh, wait, this one is pushed back. That could also be the case. It's a bit annoying. I think it's easier for us if we just try to fix it now than trying to redo this part. I should have seen that earlier, but I did not. So now I'm just going to need to fix my mistake. And I do that just by moving this one forward. Moving this one forward. And then over here, I'm just going to go ahead and I'm just going to delete these bits over here. To make it easier for me. And if I go ahead and add a multi cut tool, I feel like it would be nicer if we add some segments over here so that I can then also move this one forward. It does not need to be perfect because it's such a small piece, but I do want it to sort of, like, work. Okay, so that one moves over there, which means I just need to delete these two. I need to move this one back in. Over here, I need to move this back. So, yeah, hopefully you do not make the same mistake as I did, and you will be able to see it. And now over here just to make my life again a bit easier, I'm going to place a connect from here to here, to the back and then press Enter and do the same over here, connect here to the top and then to the back. Because this way, I can just do some easier bridges. If I now go to Edge Select, I can see, here we go. Is there a double edge here? Looks like there's a double edge here. If you suspect a double edge, just press Control Shift A, and then shift click, merge vertss and then just merge them at a very low level, and that does sometimes fix it. So if we now try and bridge this, see here. So the bridge is won. So that means that we somehow, we somehow managed to get a double edge. So let's delete that phase. So you just move it up and you try to find that duplicate phase that you find that is there. And once you found it, you can delete it. And now if we bridge it, now it will work fine. And that means that if we go here. And actually, pretty good thing that for these pieces, bridging is a little bit of a pain. What you can do is you can just double click to select the border. Shift click and press fill hole. After you've done fill hole, this only really works on straight pieces. On band pieces, it will look a lot messier. But after you've done the fill hole, you can go at and you can use your cut tool to basically cut it all up and just make sure that everything looks correct. And we can do the same over here where we can select it, fill hole, go back to our ertzes do this. And now if we do one last mesh display, hard and soften edges. Let's force this edge to be hard over here. Actually, let's force all of them. So let's go ahead and just select all of these. I do this. If I do this over here, I can just drag select and just make sure that there's nothing on the outside. And then I'm just going to hold control and like these pieces. And for these pieces, what I'm going to do is these like those and let's soften edge. We go see. So then we just force it to become soften edge like this. And that should do the trick for our outer frame over here. So at this point, we can go ahead and save our scene. And now what we can do is we can go ahead and we can move on to the inner frame, starting with probably like the rubber band that is around it. So if I have a look at the construction. So the construction is a little bit different based upon what reference. But this reference, as you can see from the chairs, is from the actual train. So we're going to create a rubber band, and in that rubber band, we will place two frames. We will place the bottom frame and we'll place the top frame. The bottom and top frame, they will kind of well, so we will go for, like, roughly this design, or we will kind of like mimic the design that we have over here in our doors. And for the bottom frames quite easy if I have a look at this. Let's see. So it looks like that this frame actually transitions all the way around, does it? And that is a tricky one. So if it transitions all the way around, then the window is placed slightly on top. You need to think about the construction here. So if this window is placed all the way around, so it has one frame around, then it will have a center frame in between here and the center frame will have our actual window, and then there's like a rotating mechanism in between the center frame. You can see a tiny bit over here that there's a rotating mechanism. So that would take care of the glass over here, and then it would rotate you would basically lock or unlock these two at the same time by pulling them down. When you pull them down, there will be a little slot that will go open over here most likely. And then you are able to push this out. And this piece over here, the metal piece, which are quite like it is basically here, I believe to here see? It is here to prevent the window from being pushed out too far. I think that is the plan that we want to go for. So let's actually go ahead and I will just do the rubber frame right now and then in the next chapter, we will do the rest. So for these pieces over here, doing the rubber frame, what we can try and do is we can actually try and convert this to a spline. If we double click on this edge over here, and then if we go ahead and go up to modify, convert polygon edges to curve. Yeah, that's one. Ooh. Let's delete that. Let's do a quick reset history and freeze transformations, just to make sure and else we need to clean up. Or what we can do is then we can just make one ourselves. Polygon edges to curve and Oh, select your edge, modify, convert polygon edges to curve. Let's press isolate. Let's see you. Yikes. That is not looking good. I don't think. Yeah, I don't think this is one that I can fix. That's unfortunate. So that one does not transition very well. In that case, what we're going to do is we're going to simply go to our side view over here, and I'm simply going to draw out a spine because I think that's a little bit easier instead of placing a cylinder extruding it. So I'm going to go ahead and click once there. It doesn't need to be too precise. I click here. I click and drag over here. I then go ahead and go all the way down here, click and drag over here. Go here. Click and drag over here. And we can, of course, just make this look a little bit better once the spline is done. Click here. And then if we do like a quick click and drag over here because we do need to close the spline off to make it one spline over here, Oops. And the way that we can do that, actually, we can just stay in object mode. We can go to curves. Oh, God, where are you? A touch. Let's try it again. Select Curves. Actually, it's not a touch. It is curves, and it is the open close function. Sorry about that. And then the open close function, we need to go in over here, let's push this back a little bit because now we have a Basie corner. So if we shift click and go to the Basie corner over here, which basically allows me to now select them individually like this, I can now focus on first of all, making this one pretty much like a straight piece like this. And as I said before, it does not need to be absolutely perfect. Just try and get it very close. Then over here, I'm going to go and turn this also into Bezier corners so that I can select this piece, and I can basically use these two to rotate quite closely around, and this is where the rubber piece will happen. Oh, over here, make sure that this one is pointed straight. And then this one also so that it is like a nice straight line. Over here, this one is not a Baje corner, so let's break the anchor tangent so that I can just go ahead and select this. So you can convert the entire thing into a Baje corner or what you can do like over here, I would do a shift click, Baje corner, or you can go ahead and select the outer side and then break the tangent anchor. So there are multiple ways to do this. It just depends on how you are currently having your selection. And depending on that, you can choose which one is easier. Now, if I go ahead and over here, I have a really long anchor point, does not really matter. I just need to move this one up and this one up so that that is straight. Here we go. Now, I'm just going to break this angle point, once again, I do that because if I do Bezier Corner, this one will most likely reset, and it means that I would need to redo the placement again. But in this case, I'm going to move this out over here. Move this down. And here I will need to do a Basie corner because I need to push all of this stuff around, and then that should do the trick. So if we do this, there we go, I think that, that should be good enough for us now go into our Why remote. If we go ahead and just reset my pivot so that I can select it. Okay, so now that I have this spline, what I'm planning to do because it's pretty much like a cylinder is I'm going to go to create sweep mesh, and now you can see that it just adds like a nice little cylinder around this. And with the cylinder, what I can do is first of all, I can choose how many sides I want. So I'm at eight. Et's go at the sets to like 12. And once that is done, I'm basically going to push it in and then I'm going to extrude this out. So let's first of all, decide on the thickness of this. And if I have a look at it from a distance here, it is actually quite a tick looking rubber band. So let's do 0.65. And for the rest, just turn on optimize and turning on optimize, we'll just make sure that we do not have an overkill of polygons that are hard to manage. Now at this point, selected. Let's go ahead and do a remove history, resetting a pivot. I'm just going to look at it from below, and I'm going to basically push it back as far as I want. And once I've pushed this back, I can then go in here and I can say, if that is the spine, shift, double click, go around here, delete. And I'm going to go, see, so if I have it here, I want to do it straight. So shift double click over here, delete, and then we can just double click on the ends. At which point, we can just move or we can just double click on all of this, and we can basically move it back over here. And we don't need to really do anything else because this is where the window will sit, so you will not be able to see past this point. Now with these points, over here at the transition, it sometimes breaks a little bit, so that is something that we can also quickly fix or that we will have to fix. And that is that, let's see, over here, what does it do? Like it does not always know what to do at the end. So what I tend to do is I tend to just delete this And then I tend to select all of these pieces, hold control, and deselect the rest and just do a simple bridge. And that often tends to the trick. Now, at this point, what I'm going to do is I'm going to add some supporting loops because I'm going to turn this into hipolymsh. So I'm adding one here, one here, one here, and just for good measure, A one on the inside. And then we just like on every transition piece over here, here, and also on the other side, we want to go ahead and add an extra piece or an extra edge loop. And then, hopefully, if we now press three, it gives us a nice soft result, as you can see. Okay, so that was not too difficult. Just a new technique of using the splines. In the next ship what we'll do is we will start focusing on adding this actual trim over here, and we'll see how it goes. Maybe we can rip something off from our door to basically save some time, but we'll see. So let's continue with that in our next chapter. 11. 10 Creating Our Final Window Part2: Okay, so let's go ahead and continue with our window. So for the planning, as you can see, so what we're going to do is we're going to have one full window frame, and then we're almost going to have one extra window frame layered on top of it. So you can see, kind of like the effect over here. And knowing that, I was thinking if I can maybe if I look at this, I can maybe steal something from my door. Oh, no, wait. You know what? No, I cannot. No, that does not look anything like what we need, so in that case, we're just gonna go at them, we are going to recate. Although actually, no, you know what? No, that does look like something I need. Now I look at it. Yeah. Yeah, you know what? Sorry. That does look like something I need. So what I'm going to do is I'm just going to hold Shift and just cloe my door and just throw it into my window layer, and press one because I only need a specific part of this, and that is that I need C. Let's start by selecting this. Press Control Shift I to invert your selection and delete everything else. Let's delete that also, and let's see I need them probably up until this point. There we go. Let's delete that also. And what I'm going to do is I will most likely Delete this face so that I can also delete this side so that we only have one side to worry about. Okay, so having a side there was one thing that I wanted to do is I wanted to add an extra loop to this or an extra little bit. And the way that I'm going to do that is I'm going to add like a swift loop from here to probably over here, something like that. And then delete these two. Let's just go ahead and hold shift, extrude this out. Hold shift and extrude this one out over here. Something like that should be fine. And then we can just go ahead and we can bevel there. So we can select these two vertices. Shift click, move Merge vert Cs to center. We can go ahead and do the same over here, select them, merge Virts to center. And now for this one, I'm just going to go ahead and see if I see this, I will most likely want to make this a little bit larger Press contra B to give it a nice little bevel. You know what? I think, maybe giving it quite a large bevel might actually be nice. And then we can just go ahead and we can re art our supporting loops over here. Like that? Press three. And there we go. So that already looks like a little bit more interesting. Okay, perfect. So if we now go ahead and scale the top and scale the bottom flat, now we just have this chunk of mesh over here. So we are going to place this chunk of mesh all the way around here, and then over here, what I need to do is I think I will go ahead and I will make a custom. Like I will pay use this stuff, but I will make a custom trim around here. And for this trim, how does it look? It kind of sucks that I don't have any better, reference for that, but I really I looked for quite a while. Okay, so over here. So that trim, it looks like that what we will do is we will end it here, and then we will just have another mesh sitting on top, and this mesh is going to be our top window, and then we can create the rest. Next that. That's the plan. So I'm going to hold Shift, and I'm just going to duplicate this. I J, rotate this and just move this down and move this into place to make sure that everything looks correct. If we move this down here, first of all, just guess. If we have a thick enough window and it looks like this is thick enough. I don't need to make a ticker or tinder or anything like that. Next this, we can later on just push it back for now, let's do this. And then yeah, over here, we do need to, like, of course, do a little bit of work just making this nice round. There's a few ways that we can do this. If we go ahead and return on our edge and faces, one way is that we can literally move this to this point and then, extrude this out, and then at that point, we can just like mirror it this point and then mirror it up. Another way is that we can simply select this. Oh, sorry, do it like this way. So select the sides. Hold Shift, go to rotate, hold J, and rotate this 90 degrees and then move it over here. And if you then already move this up, and then what we would be able to do is we would be able to, like, add some segments in here. So you can extrude it down or you can do it this way. It all just kind of depends. What I'm going to do is I think I'm just going to go this way and that I'm just going to basically place one Oh, yeah, I do not like that. Another way is we could also turn this into a single spine. So we could do this where we basically get almost like we get rid of this piece. We move this down. I'm not sure if this is going to work. It's very specific. And we rotate it 45 degrees, and then we add like segments to it. Like this. So I'm not sure if it will work because it has always a little bit of warping now that you look at it. So maybe I'm just going to Undo this and, I'm just going to go for this way. Doing this way just means that we need to do a little bit more manual work that I did not expect. But let's focus first on getting the points to touch these areas over here. I think that's a good one. If we just do that one by one, and by the way, let's set this also to just don't press three on that stuff on the rubber band, sorry, I mean, so that I can do like a proper movement. And once I've done that, I will do some rotating. I only need to do this once, and then we can just use the symmetry for it. So that's why I don't mind doing a little bit more manual work. But over here, it's surprisingly it gets surprisingly deformed, which is a bit I'm a bit curious about how this one works. So we'll see where exactly that it goes exactly deformed. So let's add one more over here. Then we can have a look. Okay. So over here, this stuff, it seems to go deformed quite quickly already. Like, I would almost like need to move this all down. Over here to basically get the correct effect, and then over here, I would need to go in, and I would also need to do the same thing, which I don't really like, but we could do that, where we do some more manual work. It's just a bit of a pain to get white because I'm not completely sure exactly how I want to place. This one needs to go a bit further back. This one needs to go here. But then over here, it does not feel correct. A way that we can measure this out is we can add a cylinder. If we go ahead and we add like a very quick cylinder over here, we can use the cylinder as a measurement tool. We can basically hold J, rotate this 90 degree, move this in here. And then just scale this so that you get one quarter here and one quarter over here. Like this. And then you know that we are way off basically off the mark because then what we can do is we can go ahead and we can just make sure that roughly all of these sites are touching the cylinder, and then technically it should become like a nice round bit. And then what we will do is we will just move the cylinder down a little bit and then move it like that. Like, you don't need to be exactly on the segments of cylinder because I did not bother adding more segments. But I do want to go in here. And now if I would like to move the cylinder, it still looks bad. Let's move this one down a little bit. And else we can try doing segments, one, two, three, four, five, six, seven, eight, nine, which means one, two, three, four, five, six, 24, one, two, three, four, five, six, seven, 28, 32, one, two, three, four, five, 6789. There we go. If Maya wants to be like this, then we are just going to work a little bit more accurately in order to get exactly what we want. Sorry about this. I did not expect this to be so difficult, but it's because we are re using a mesh. If I would be recreating this mesh from scratch, it would be a little bit easier, but it would probably still take around the same time. Although maybe by this point, we would have saved some time, but of course, I don't know that when I start doing this stuff. So now what I'm going to do is I'm going to scale this up. And then I basically want to go ahead and I want to hit it also over here on this side. So I'm scaling this up, and now I go over here, and then the should be pretty much the last ones that I have to do, where I just move this down, place this into place over here. Hopefully, everything fits nicely. And if that doesn't do it, then I will just throw away this footage and I will start over. So that's a little behind the scenes that there is a point where if it still does not work, it's not logical for me to continue because then I just made a mistake and I need to, like, fix it. But, okay, so let's see. Yeah, I think once I press three, so once I rotate this, this is pretty doable. Owing things over here, there seems to be like I need to add an extra edge probably over here, so that when I rotate this and I do the same over here, turn off my edge and faces, it needs to, of course, keep in touch with the ends. Let's do the same over here where we need to place like an edge, probably over here and maybe then move this a little bit further back just to make sure that it is clipping. See, because it kind of pushes itself back when we turn this into a hypoly. But, in any case, I can live with that. That's looking fine. The only thing that I would want to do now is I just need to go ahead and go in here. So I go back to one. You want to go in here and you just want to make this straight. And the way that you can pretty much tell if this is straight is just look at the edges. This is the one time that antializing actually is a benefit because based upon the antialising, we can see when something is straight or when it is not straight because then it will show us these jagged edges. So if it's pretty much straight like this, you should be fine. And then over here, what I want to do is, I'm just going to temporarily move this back quite a bit, which I guess we can also do at the top just to double check, and then just make sure that this stuff over here is all nice and straight, and then we can just move it further back at which point that we are going to mirror it. The same over here, and then let's see. So I was close. Let's move this out a little bit more. But this one over here feels like it's not completely straight also. Yeah, so at this point, that should be fine. Okay, there we go. We've got that stuff done. We can now go ahead and get rid of our cylinder, and now it's just a matter of mirroring this stuff. So let's remove our history and let's save seen before we need to go through this again. Mash, quick mirror, mirror it on the x axis. I think, yes. Set the merge threshold like quite low, 0.05, for example. Just move this back. And hopefully I can move it correctly, right away. Let's do this. Let's quickly go into Vertex mode just to make sure that I did not push it too far in or too far out. Let's press three just to double check our work. Yeah, that's looking fine. What you can do is over here this center segment, go ahead and select it, and I always like to get rid of it to make sure that my mirror went correctly. And now, so this one needs to go all the way through the top. And then what we'll do is we'll place something that basically slots in between here. So for this, let's reset our pivot. Mesh and do another mirror this time on the y axis with the direction in the plus, and once again, a merge of 0.05 or something like that, and move this down. Let's press W, select the top. Once again, just make sure that it all nicely fits together, and then we can go ahead and also like the side etches, okay so those remove correctly. That is all looking good. So if we now press three, this one will also be done. There we go. We now do have a really nice looking mirror frame. Okay, so now what we're going to do is we're going to first of all, build this piece on top, and then we're going to go ahead and build the actual window in it. For that, I'm going to mostly divert to this. So it looks like this piece comes out until the rubber, and it is actually round at the tip. So I think what we'll do is we'll create a cylinder, which will then extrude in and then give it a little profile. And then at the top bit, we will just extrude it flat because we will have another frame sitting on top. And this frame I will most likely if I look at this, it looks pretty much like the same design. So I will partly use it or I will just use the entire thing of it. So it looks like we want to go for something like this. We want to grab a cylinder over here. 20. Let's do 14 segments for now just to make it a bit more manageable. Rotate this. And if I look at it, so it is sitting next to your rubber piece over here. And then if I have a look, it is smaller. I'm just following, I'm just trying to capture this. I think you can I was able to show you somewhere else. I forgot. There was a window where I was able to actually show you how the rubber piece is sitting together. Okay, I already had that image. It's a duplicate image. Doesn't really matter, but Huh? Okay, I guess I lost the image that I was able to show you exactly how it fits together. I know that I had it, so that is a little bit strange, but I cannot find it right now, and I don't want to spend too much time trying to find an image. In any case, it does not matter. I know roughly in my head I can make up and design, I should say it like that. So this piece is going to be like this in front of the rubber. Let's scale it. And only reason I'm scaling it is because I want to get a sense for how large it is. And seeing this, it's still too large, so let's make it a bit smaller. There we go, see, that looks a little bit more logical. Now I want to go ahead and give it like a height. I'm not too picky about that. We can still move it later on. And now what we're going to do is we're going to make the profile in a small scale, and then we can just extrude this out. So starting this profile, we want to have just overshooting it a little bit over here. No wait, we do not want to have it. We want to have it over here because else it becomes a pain for me to do anything about it. And then what I'm going to do is I'm going to see, I think we want to get rid of these areas over here. Yeah, I know that I'm doing this very unoptimized, but it was because I was figuring out I was not thinking about how to select it. So we got this area over here. Let's go ahead and start by extruding this out. And this extrusion will basically happen up until let's say this point. Well, I will just push it out because I will just make something here. So let's see if I have this, actually, let's focus on the bottom first. Select the bottom edge. So if we have this, we go out, then we extrude this sideways to probably around this point. Then I will move it down a little bit. Oh, let's move this a bit forward. See, I move it down a little bit, and then I move it in, and then it will sit over here. That will mean that it has some clipping going on. However, that clipping, we can probably fix a bit later on. So have ending on the other side, it basically just moves all the way in like this. And yeah, I think we want to end it up until this point over here. I don't think we want to move it any further. Okay, so we got something like this. Let's go to our modeling toolkit, turn on angle constraints, so that we can just very quickly delete the sides and turn it off again. And now what we can do is we can have a look and see how we can make this look very nice around here so that it kind of cuts out. I think what I'm going to do is I will cut out square pieces, so I will move like an edge over here and then delete this. So, oh, wow, that's actually really simple doing it this way. And then we're just going to fill in those pass. Then we are going to bevel it, or we're going to make it at least look hypol. I think that's the best way of doing it. And then down here, I will just keep it straight, even though this one is flowing off because I think I mean, we could try to like art and etche over here, but I wonder if it will give me any inconsistencies later on. Here we go. Let's move it like that. Let's see if that works. Cool. So now, knowing this, isolate this. Let's go ahead and let's see. I want to that is a bit of a tricky one. How am I going to So this one I can just extrude out to bevel it. But this one I feel like I almost need a little extra bit of space. That's how it feels like because there's no way for me to actually properly bevel this like it is right now, and extruding it up does not really matter. So let's give this a bit more space. Let's push this out a bit further. Let's go ahead and let's just add a segment roughly around here and then extrude this out. Select these end vert season just go ahead and merge ties to center. So now I do have a little bevel, which now I can extrude this up, and then you will not be able to see anything beyond that point. So we are extruding this up, and then over here, we are just going to merge this flat. So if we have this, let's move it down here. Let's add a bridge over here. So we've done those two pieces. These two pieces we can pretty much leave floating into mid air. And then over here, what I'm going to do is, Oh, no, you know what? These two pieces, we can just bridge like this. I completely forgot about that, that we, of course, have the exact same thing at the top. I'm going to go in and add a quick segment over here that I have a nice bridge like this. And then I can start by just bridging these pieces. And at this point, we can just double click and we can deselect these two sites and we can bridge this. There we go. I think that yeah, that should flow off everywhere like that nicely. Now that we have done that stuff, now what we can do is we can go ahead and we can just add support loop here, another one here, one over here, another one here. And then we also need to add them here. So what we are going to do now is just add those loops that we can nicely for this. So we do need to support loops also over here and over here. It's also do one here because else it will just look too soft. And then over here, I think what is better is if I actually go ahead and do an angle select, and I basically select all of these angles. Except for this area over here because this area is too small for me to do like an insert. And then what I'm going to do is CtraE, offset 0.1. Yeah, 0.1 actually works. Maybe some very close verts, just quickly merge these two together. One thing that will most likely happen is that this etche over here might break. So let's see. Oh, no, it's not too bad. Over here, it breaks. And when you have that, so this because it doesn't have a supporting loop ending here, we can simply fix it by adding a multi cut like this. See, and that kind fixes that. And for the rest, this all seems to be looking fine. So now that we've got this piece, now what we're going to do is we're going to go ahead and just reset our pivot, remove our history and you know it, do a quick mirror on the X axis in the plus, 0.01 in terms of the merge threshold. And let's press W and then just get rid of the center line. And now we can finally select this and we can just move it all the way over to this side. And I know like ding on variation, I talked about that stuff. I think for now, I don't want to do that until everything else is done. So we got this one. Let's just select this site and let's move it a little bit closer. Don't know then this site I probably need to also do that, here. Select this just a little bit closer. Let's press three. There we go. Not too difficult, but yeah, it just has like this little trim. And the only thing that I feel like that is missing now is that this stuff needs to go down a little bit. So let's select this. As compared to my reference, I feel like it is just a little bit too thin. There we go. That should do the trick. Okay, let's say acin and the next step to what we'll do is we'll just work on the smaller window and the locking mechanism. So let's continue with that. 12. 11 Creating Our Final Window Part3: Okay, so let's go ahead and continue with our window. Now, I think I'm going to mostly look at this reference. This window is actually very easy. It's just a little almost like the same trim over here, but then a little bit more simplistic sitting on top. And then these pieces, they are just going to be a plane or something like that. Oh, no, no, wait. I do want to make it as a cube. I need to remember, it needs to be filled on geometry and not optimized. That's why I kept this one on purpose over here. So I kept this piece, but now that I think of it, I might be able to actually use this piece. Let's see if I have this. I don't know. This stuff, I might be able to, let's just redo it. But I'm not really in the mood to do that. Basically, I'm thinking of doing this here. Let's just duplicate this one. And basically, what I want to do is I want to get rid of this trim over here, and I want to just push this back and also get rid of this trim. That's what I'm thinking for something like this. And then maybe I'll push it back in a little bit. But if I do that, it does mean, it's better if I just redo this stuff because else it will take quite a while to just properly redo that. So let's just go ahead and select only this side, press control shift I delete everything else. Let you see if we can get this to work. So my idea is to get rid of this stuff over here. So we're basically just going to simplify it. Here we go. We get rid of that stuff. We also get rid of this one over here. Let's also get rid of this extra line. Double click on this, and then I wanted to push this all back. It's like a little bridge in between. Um let's see. So this one is this straight. We can flatten it to make sure that it is straight. Yeah, you see it's not straight. Now it is straight. But it looks like that I need to probably slack this one and flatten. Because now the thing is that over here, of course, this piece, if we just go ahead and go into isolation mode, and let's make this a lot smaller because you can already see that it's really annoying to just rotate around it. I basically want to make sure that over here, so I keep pressing the Wong button. There we go. I want to make sure that in this case, it's just going to be straight. So I'm just going to flatten this out like this because it's a little bit more manageable. And then this piece is going to go up. So we're going to make less Tick. I'm going to go ahead and I'm just going to get rid of all my spotting loops on the top and bottom side. Let's press control backspace on that so that now I can actually, you know what? Let's also get rid of that one, so that now I can go ahead and I can push this back I can select this final piece, push this back. And then I most likely just want to push it up and out. But I'm not 100% sure. I just need to see how it all fits. So let's see if this piece is going to be on the top of it, I think if we make it fit over here, this would be good. So let's press J and rotate this 180. What I'm thinking, so this piece is going to be like somewhere along here, Yeah, I want to give it a little trim around it. Knowing that, it does mean that we can get rid of this one, and maybe we can move this a little bit in over here. We have a little trim around this, we go out, and then we go in. For these sites, we can flatten them. And then it looks like over here, we need to go for a corner and then we need to go for a round piece for the rest. If we have this, how does that look? Let's see. If we just scale this just to make sure that the thickness is correct. Um, let's undo that, and let's make it a tiny bit bigger, a general thing, make everything a little bit bigger. And let's take it up until this point. There we go. I think this should be pretty good. So now, the first thing that I want to do is I'm going to just very quickly add some more supporting loops again, just to bring those back. Like that, and I have a press tree. There we go, so that will give us a nice look. And then I first of all I want to go ahead and I want to go in here and just do like a proper corner. This one is actually very easy. But the reason that I need to make sure that it works is because we, of course, want to fit this nicely together. So I think what I'm going to do is I'm going to here. This fits actually really nice. So let's just fit it together like this and maybe scale it flatter a tiny bit just so that we can push it out a bit more. And now we have some space still for a glass that we can just place and then we'll take it from there. Okay, so to turn this into a nice corner, that is very easy because what we can do is we can just go to mesh. And while I'm saying this, I actually have an idea. I should have done this last time. This idea is to set your xs to the X, set it to the plus, and just set your merge threshold to 0.01, for example. And this idea, I should have done this last time because I can actually rotate this, and now it becomes a perfect corner. And now I could go ahead and do it like a Control B and then make it round. So I think that will actually work totally fine if we do that way. So for this one, it's basically going to sit in here nicely. And I'm going to try that out. So that is just an oversight for me, but there are so many ways often to do something that yeah, there can be times that you just forget about it, and then you notice later on. So don't worry about if you don't have the perfect way wide way that's very normal in modeling, and sometimes you just need to mess around with some stuff. So let's push this out. So now is the moment of truth that if I get rid of this line, if I select this one and do contre B, I'm hoping that with like a bunch of segments and just doing like here doing like a general 0.5. It does have a tiny bit of warping, but it might work fine if I press three. Yeah, so if we go now and let's see. I think that if I art like an extra segment over here, an extra segment over here, and don't forget that over here. You also need art segments, but art them very close together so that they, they just become a nice corner. Okay, so almost. So this almost works, but at least it works to a point that I can now just use my cylinder technique. So I do save a little bit of time. It's not as perfect as I want it to be. And because we are so focused on modeling in this case, I am going to go ahead and I'm just going to, like, make it all perfect. Oh, sorry, let's go out to the violation mode and grab your cylinder that I've just created. I can go ahead and in here, I just scale it down. Hold J rotated 90 degrees. Now if I just go ahead and go in this side, what did we say 32, I believe. I don't know how many. I have one, two, three, four, five, six, seven, eight. So then we are probably at 28, one, two, three, four, five, six, seven, eight. There you go. So just multiplying. And I'm really bad at math, but even I can still manage to get this sort of correct. And then I'm just going to go ahead and I'm going to scale this. Neatly and just place the corners, and now that should do the trick. So if I now go ahead and go in here, like, pushes out a tiny bit. There we go. And now I just kind of move this over here. In this case, because of the way that we are placing this, it is still the same. So actually, you know what, this looks pretty good. Only over here, it just needs to, like, move a tiny bit. For us, it looks pretty spot on. So I think we can delete this, and now if we press three. Hm, it does feel sorry, let me just go to this view. It does feel thicker for some reason. Like here, see, it does not feel as round. So I don't know. That is a bit of a shame. Like, it works over there. Maybe it's that the thickness over here is not working as well. Let's press Uo until I get my cylinder back. Let's go to my side view, grab these two pieces over here and just give it to go. So that one is working. This one is working. Now, wait, you know what the problem is? The problem is that we most likely here this is supposed to expect to be like a straight line, and this one is supposed to expect to be like a straight line. So over here, it kind it expects to flow like this, like this. And then over here, it expects to flow a bit more in this direction. And then as soon as you do that, you can see that there's actually a massive difference between the two, where if you would now fit these together properly, you would most likely see that there's quite a difference. So if I now go ahead, and Twin here, it's even difficult for me to even fit this. Correctly, let's do this. Here, let's do something like this. Now if I go at and I do like X ray mode, which you can do up here, you can go into X ray mode. There we go, see. So that's most likely the problem that we have. And I guess that at this point, we can leave them like this and we just need to kind of move them out, or you can select all of them and try to move them out and then, try to do some rotations. The tricky thing with this that later on, we need to move them back. So because of those reasons, go outside of X ray mode, I'm going to move it up until here because this is straight, even though the lines look like they are tilted, they should still be straight in the extra geometry. So in the end, I guess that this was still not a better way or something. I guess you can save a bit of time this way, but it's still a bit of a pain to do this kind of stuff. So we got this one. Now what I wanted to do is I wanted to go outside of X ray mode. I wanted to scale this out carefully. And then based upon that, I wanted to go in here and let's Yeah, this one is a bit tricky. Let's move this down a little bit. But I was going to go in and then also fit this one to be a proper cylinder around here. Must be an easier way of doing this. I must be I just know that there is an easier way of doing this. I just don't know. At least, it's like a feeling. Like, I feel that I am doing it the long way around while it will most likely have a much easier way to actually do this. A move this one back a little bit. Then we'll just have to be careful that over there it is looking correct. And now if we go ahead and actually the scale is up once more over here, now we can see that there's actually a massive difference between them, and I think we got to the point where I need to, like really deform this, which means that we will most likely overshoot our original frame a little bit. And if we happen to do that, we just need to compensate for that stuff. Yeah, because this stuff here needs to, like, go up here and then go, like, down here, and then this one needs to probably also move up. But hopefully, that now does look round. See, that looks a lot rounder. So now that we have this one, now what we need to do is we need to just try and make everything work. So first of all, I'm just going to make my ome try a bit cleaner. Over here. Okay, let's have a look. How are we going to make this work? Start by just moving all of these pieces forward a little bit, so that we have that shape over there. And then we can see that over here that we probably want to move these a bit closer together. I'm, if I'm going to go ahead and move these close together, it's just going to be a little bit of pushing. So at this point, let's carefully twine, push these closer together like this that might work if I just set this one back to, like, our original shapes. Yeah, I push the bit close together, see, let's move this one here. Let's move this one over here. Let's move this one straight. I know I know it looks really messy right now, but I hope that that will resolve itself as soon as that we've placed these pieces over here and this one. Let's say, over here. Okay, so we do need to still redo the outer side. But if I go ahead and add an extra segment over here just to turn it into nine segments. Let's see. Let's go to this side. So if I press three, it does look a little bit better. I I press three. Just on the outer side, we now just need to redo once more the cylinder trick. Let's scale down our cylinder. Let's set this to 32 so that we have enough segments over here. There we go. Okay. Hopefully this fix it. Messy, messy, messy butter well. As long as in the end, it works, it's totally fine. And I know that if this was three as max, I would have used two splines. That technique. You can do that technique over here, but I was too stubborn to remake my entire shape over here. Now, at this point, what you can do is if you want, you can just try and clean this up a little bit more just by moving some of these edges close together. And this is just doing eyeballing it a little bit. Let's see if I press three on both of these. Yeah, that does not look too bad anymore. Let's go in here. Yeah, see? The only thing that is that over here, there is a little I don't know. It just feels like a little nick or something like that. Maybe it's that this one is not completely around anymore, so we kind of need to rotate it. So we're rotating this around, maybe moving this one up a little bit, and maybe adding then another loop this time around here and another loop around here. And hopefully that. There we go. Finally, Jesus. Okay, that does it. So we can go ahead and we can move this out. One. Check over here that everything is working fine. But yeah, yeah, that looks like a nice looking frame. So now that we have this one, now what we can, of course, do is we can reset a pivot. I'll just quickly breeze through this. So it's just going to be a mirror on the x axis. 0.01, merging, press Enter or press W, get rid of the center segment, and then I can see that I have not done the merging correctly. Don't worry about it too much because what you can do is you can select it and you can press merge vertices and then merge them like that. And now you can see that the merging has gone correctly. I don't know why I didn't do it first time. Maybe I made a typo in my merge settings, you'll see there are still some tiny verses, there's control bag space on them. Or the lead. Also good. Just press the lead. Just end up with not having any edges there. At which point that we can push this back over here. Press three. Finally. Okay. We got the window. Cool. So that's that window frame over here. Now, basically, for this piece, as you can see over here, it kind of just sits, and I believe it sits on this edge. It sits on this tiny edge over here because it makes sure that the window cannot open. So because this window technically would still open, and you can even test it out by doing added pivot and moving the pivot roughly like here. So when this window would open, it would basically block it from opening any further. Of course, the window would look a lot thicker, but that's something that we will not work on. So for this piece, I am going to go ahead, and I think this time I am going to use a spine. I'm going to place a spine over here, and then I'm going to extrude this, and then over here, I'm going to just reduce the extrusion. So if we have this piece over here, let's go to our side view. Turn on X ray mode and make life a bit easier and turn on a Bazier corner. Now we want to have this one, let's see, from up here to up here, click and rotate. You know what? I'm just going to, like, end it. I'm just going to end it somewhere along here. And once we've done that, let's have a look in the spine. Okay, so this is my spine. Let's see. So the points, I need to first of all, let's go back to my side view. 1 second. I just want to move it closer to my mesh that I can actually be sure that it is sitting on the edge of my mesh. Here's a move just very close to your mesh. Just press Control ertzes and just try and move this a little bit. Give it a little bit of space in between. For this one over here, we want to go ahead and just break the tangents for this one, Shift click, break anchor tangents. And now we should be able to just make this one nice and straight like here. So that will just be a straight line. Over here, you can grab this tangent and just carefully move it around. This one, we can turn into a Baje corner and do the same. We just want to basically carefully have a strip going around here. Like that looks pretty good. And let's see then it goes around here and then maybe move this out a bit further. And then at this point, before or after. So before this point, we want to go ahead and want to give it like a little lo so let's say something like that is good enough that we can now just turn it into a mesh. So for this one, we're going to once again go to create, and we're going to use our sweet mesh. But this time we want to go ahead and we want to use a rectangle sweet mesh over here, which is basically just going to be like a cube. Looks like it has some problems down there, but that's no problem because we can fix it later on. And then for our wit, we can, for example, turn on atg and faces. We can give this specific width, and we're going to make this quite thin, like you can see over here. Let's turn on optimize to just make it a little bit easier later on to optimize this. And then what we want to do is we do want to go ahead and set the precision higher so that we add a little bit more geometry around these ends. But remember, we will, of course, go ahead and we will move this. Now that we know this and we have decided on our thickness, we can go in and we can select our spine and go to the control vertex, and we can still go ahead and we can move our spine around. Now, we don't really need to do this for most areas, maybe move this one a bit. And this one a bit. Here we go. Maybe move out a tiny bit. There we go. That should do the trick. Maybe over here, move it out a little bit more. So it's just going to be close to the corner like that. Once that is done, I think that we are ready to go to e this definitely the thickness I want to go for. Maybe turn on antializ no, you know what? I'm going to go for a little bit thinner. So if I go and select my mesh, I can just go to the sweep mesh creator. And I said it's a little bit thinner. Zero point let's do 0.1. Even number. It's always nice. Okay, let's go ahead and remove the history, which means that now this has become its own little mesh. I can go ahead and select the phases here at the bottom, hold Control. Deselect these phases and just press the lead. This will basically give me a clean cut over here, which we can then later on extrude. For now, what we're going to do is we're going to go ahead and having this cut I'm going to get started by adding let's add a bridge on this side, and let's add a bridge on this side. And the reason that we do that is that my loops will go all the way around. I will just make things a bit easier because I want to add a loop roughly over here. I want to select this piece, and I want to basically push this up. And then what I want to do is I want to also add a loop. Let's see. Let's add a loop roughly around this point over here. And now, finally, what we can do is we can go ahead and we can go to our top view, for example, turn on isolate, select all of these vertices over here. And then what we can do is we can go ahead and we can just push this out, which will create that shape. So first of all, we just push it out roughly how far I think that we need to go. Just go something like this far. Then I can just move this up until it looks a little bit better. And then over here, what I can do is I can just move this out like that. And then it just becomes quite a thin trim, so maybe even thinner than this. So maybe even select this. Just make this very thin. So just going to have a small trim, and that trim will later on also hold the lock. So the locking mechanism will sit on top. And then this stuff it will just be like a little block with a spring that is just sitting here. That's what I'm going to create something in that direction. But we will do that in the next chapter. So having this piece over here, that is looking pretty good. What I'm going to do now is I'm just going to turn this into hi poly. Because we are going to do a mirror here, it should be fine, but just in case I am going to actually delete bridge these faces over here, I'm going to leave those. And I'm going to also delete these ones and then do a control shift and delete all the backside because we simply don't need it. Now, at this point, here we have a little bit of geometry that you could make cleaner if you want. I'm not going to do so though, because it's not really needed. I'm just going to place a simple cut going from here to here and another cut going from here to here. There we go. And now we can start by just adding a sport loop over here. We can add two sports loop over here, another one over here. This one, we don't need sport loop. S. So we got those ones, another spot loop in the center just to contain the shape, another one here and another one that is unfortunately broken over here, but with this one, I'm just going to use a simple multi connect. The reason I cannot just use a connect, but I need to use like a multi cut, I mean, is because it is at an angle. If you do a multi cut, well, I guess you can move it up and down. So I guess it would work. Like we can give the go like selecting these edges, you can try to do the cut. Set this to one, and then you would need to go into slide and mess around with this to set it to 00.02, for example, and then I guess you can press Enter, and that would also work. So it just depends how much effort you want to put in it, or you can just use, like, a quick multi cut. In any case, that stuff is done. And now for this stuff over here, I'm going to place a loop around this area. This needs to be quite sharp because this is quite a thin piece of metal. So a loop around this area, which will most likely mess things up over here. You can see that because it's trying to merge it down at the we point. So what we can do is press Control backspace, go to our vertex mode and we can then go in and just do a multi cut from this point down to this point. Same over here, this point to this point. There we go. And that should give us a nice cut. And then over here. Over here, it did not mess up. I just placed it really close together, and then it will become too sharp. So instead, I'm going to slack these pieces, and I'm just going to simply move this down a little bit. So yeah, you just want to make sure that your sporting loops are not too close together to your mesh because then of course, it will not look very good because it will be way too sharp, and then you kind of lose the whole goal of having a hipoly looking mesh. Spress three. Yeah, that looks pretty good. Okay, perfect. So what we can do now is we can just go ahead and mirror it. Reset your pivot point, throw on a very quick mirror on the X axis with a merge threshold of 0.01, and just press W. Go into the edge and just like the check, double click on the edge, press Control backspace. That works. And the edge also sometimes the forms. You could see that. And now you can just go ahead and you can select this site, move it into location, and there we go. Plus three. Turn on multi enteroysing, and there you can see that now we have this quite hypol nice looking window going on. It feels like there is still a backside for some reason. There is not. Oh, no, wait, that's the ambient occlusion being ambien occlusion that has a lot of trouble with this type of wily tin stuff. Okay, in any case, what we're going to do next chapter is we're going to work on the locking mechanism, and I will also go ahead and I totally forgot to, like, extrude this out. But we are way over time. So extruding that out, we can just go ahead and it will just be this. It will just selecting these edges over here. And extruding them. And then like adding another loop. I will just do a re mirror. I will show you how to do this because it's just very quick. So we do this one, and then we can I want to add another edge loop around here. And then around here, you would need to maybe like a multicud from this point to this point like this. Press three, have a look at it. It's a little bit softer around those areas, but it's not too bad. Like maybe add like a few more segments in between here, just to make it look a little bit cleaner. See? There we go. I will do a mirror a re mirror on this off camera just to get it done. And then in next chapter, we will hopefully finish our entire window. So let's continue with that. 13. 12 Creating Our Final Window Part4: Okay, so let's go ahead and continue with our window. And luckily, for the logs that we're going to make, we only need to make one, and then we can just copy it over. I'm going to make this one quite easy, but I still, of course, want to add some detail because if we can add this much geometry, then of course, it would be Wa, didn't know the data. Then of course, it would be nice for us, just add, like a little bit of extra detail here and there. So let's have a look. For these locks, I was thinking of having the base mechanism below the metal bar, and then around the top metal bar, have the actual lock, and it's pretty much going to be something. Oh, wow, we have a lot of geometry at this point. Let's move this out. I'm just going to turn off my multi sampling so that I can see things a bit better. Let's see. I mostly I'm just focused on, like, the length of things. Okay, let's turn on etches. It's a bit tricky to see. You can try multi sampling, which it works. Oh, now it does work quite decently. Just when you haven't selected, it's a pain. So yeah, okay, I think I can work with this. I do want to make sure that my length is correct now because it's a pain to change this one later on because we're going to use booleans in order to basically cut out some cylinders. So basically, I'm going to select the back, and most of this is just going to be me making stuff up. Let's delete the back, by the way. And the reason for that is because I don't have enough resolution to really go in detail in what I want to do. So I'm going to push this all the way up over here. I'm going to push this out. And then my idea is that this is being pushed out, and then over here, it has a little gap and that gap has, like, a little slot in which things get like here. So it's basically this one would be locked, so we can, for example, extrude this. We can scale this flat and move it over here. And then have quite a small little gap like this. Actually, no wait. Sorry, this gap is going to actually be a little bit bigger like this. We go inside. Then we go ahead and hold shift and we scale it back down. And then we would like extrude this up. And this would be basically meaning that it is locked. And then I have a lever sort of thing. So I'm going to create a bit of a lever, and that lever has an extra little slot in between, and you basically need to push down on that and then it will release or at least it will retract this piece, and then you can, open it. So you kind of need to think about the workings of this thing. So if I go for something like this, from a distance, here, it will look quite bulky, but then we are going to, like, add some extra holes here and there, and I think we can make it look quite nice. So for now, I'm just going to very quickly undo this. And the only reason I am undoing this is because I need to already add some supporting loops here because it's a pain for me if I need to try and reach these areas. Without. And then what I'm going to do is I'm going to extrude this up a little bit, and then I'm going to extrude this up again because this time this way, I mean, I automatically create some supporting loops, and then I just extrude this up again, like that. Okay, so for the bar here at the bottom, what I want to do is I want to go ahead and I want to let's say, let's grab a simple etche over here. And now I guess that I can just do connect down this way because we need to have supporting loops here anyway. So if you just do like a double connect, so two of them, press Enter. And once that is done, we can go ahead and we can select these two to start with. And we just want to kind of scale those down. And I hope that they are not too actually, you know what? We can start by just moving this. So part of this we will use as a supporting loop. And the other part now we are going to scale this out up until probably like this point over here. And then what I want to do is I want to extrude this out. A little bit, probably around here. And looking at my reference, I want to then. Let's see. Let's extrude this out. I'm going to make it around. So it might be nice if I extrude this out a little bit more and then extrude this up a little bit. Like this, let's have a look at it from a distance, go to object mode, maybe turn off your wire ribs so that you can really see. Okay, then based upon that, I can see that I probably want to push this out a little bit more to get that mechanism working. Then another trick that you can do for these cases, for example, if we go ahead and move this up a little bit more and then push it out a little bit and maybe give it a bit of a rotation, we can then go ahead and we can start by just over here, like scaling these down. Then if we go to our target belt and make sure that you do not have any vert selected. It's sometimes a bit of a pain. But if you go ahead and just don't have any vert selected, go then to your target belt, you basically want to weld these pieces over here together because this way, you have a free range that you can double click on this one, two Contra B and give it a bunch of segments. So we have this piece. I'm going to go ahead and I'm going to move this one back a little bit more, and this is just to basically even out the scaling. Here, we can go ahead and there we go. We do something like that, and now if I press Contra B, hopefully, I can give it an interesting look like that. I can select the tips and I can also give those like some roundness like this. And then before you know it, you just have this really subtle looking piece. At which point, we can grab this piece over here. We can hold Shift and we can extrude this in, and we can basically move this down up until this piece over here. And then we can kind of extrude this let's see. Let's make it a little bit thinner. And this will be basically like the handle that you're pushing down. So if I extrude this like here, this, and then I just kind of like don't have it crossing the tip, but you kind just want to grab like here, these two edges and then move them up a little bit and then do another contra B where like a bunch of segments over here. I no. You know what? Let's Undo that. Let's first of all, just go ahead and let's scale this in to kind of get the same pattern. Let's try it again. Over here, and then over here, we can just go ahead and we can add a bunch more segments again like that. So it's like a double click. So you kind of click it around. Over here, I do regret that I did not properly extrude this in. So that means that we now just need to select it, press Control E and do a zero point offset of 0.05 or something like that, and then extrude this in. I forgot to do that, but I do want to extrude this in. And then once it's over here, I'm going to extrude this in once more just to add a supporting loop. And at these points, I can add another loop roughly over here, and this is what I mean. This is why it is so why you should actually do this in the beginning because else, it's really difficult to just even select these loops. But okay, let's see. So the mechanism like this, I think that will work quite well if we do like something like this. And then if we go ahead and actually, let's make it a bit more bulky by pushing this back in. Then what we're going to do is we are just going to have two little cylinders that are going inwards at this area. Maybe I'm also going to actually select the top and I'm going to just try and scale the top in a little bit more maybe push it out a bit more. Yeah, from the distance, because, of course, we look at this, probably not very close up, but I do want to make this environment as if that I'm going, very close to most of the meshes in order to, for presentation shots or something. So I do want to make it look nice, but yeah, it doesn't need to be absolutely perfect. So we got this stuff. Now, we're going to show Booleans, which I don't think I've showed you before. Basically, first of all, what I want to do is I want to clean my geometry. Booleans, they have a tendency to break your geometry. So you want to twin Boolean and geometry that is as clean as possible. Also, over here, I'm not at all happy with how this stuff works, so I'm just going to double click and just press Control Backspace and get rid of it. And now let's go into isolate mode. So what do we need for booleans? We need a cylinder. And basically what a boolean is very simply, it's cutting one mesh out of another mesh. You can do more with it, like you can merge two meshes together and stuff like that. But what we are going to do is just cut one mesh out of another. We want to make this quite low, so I'm going to go for probably like nine subdivisions. And the reason I do this because I know that I can press three to basically add my subdivisions. If I set this to like 20, it means that I need to connect 20 different edges, which is just going to be time consuming and it's a bit of a pain to do. So instead, I do nine I just place this here. You can, if you want, you can do, like, a mirror on this. I don't know if that's useful for us. Yeah, I guess we can select all of this and do, like, a single connect and just scale it flat. Yeah, that should work. Let's just delete half it and then maybe I can even reach all the areas that will save some time. In any case, we have this. We place it into location like this and let's delete your history on your main mesh and what you want to do is you want to go ahead and you want to select your main mesh, hold Shift and then select your cylinder. The order matters. Then if you go to mesh Booleans, you want to simply press difference. What that will do is it will basically just cut out that one mesh out of another mesh. As you can see, this means that now none of these fd seas are connected. And this is why we need to use, for example, a target belt to connect these pieces. And next this, we also need to use a cut because if these are not connected, basically our smooth mesh preview, which is number three by pressing number three, it will just collapse into each other and it will just break. And we do not want that. So we simply now do this, and this is why it was so important to have not as many segments. Now it is connected. Now let's go ahead and let's get started by adding some very simple support loops, holding Shift and scaling one to do one there. Let's do two on the outside. And now for these outside, we can just do a multi cut, and we can just nicely place it around here. I think I want to do some more manual work here instead of trying to, like, do an offset extrude, just because I want to make sure that all of this stuff is correct. So we do that. Now here at the top, what we can do is we can pretty much also use a multi cut. There is a twig that I can show you, but I don't know where I want to show it to you. Yeah. Okay, I guess I don't really have a place but I can show it. Basically, it's this. You can use your cut tool to click and drag and place a cut like that. So I guess you could have done it on this area, maybe here. So if you would do this from like a side view, maybe go to Object mode, isolate and press F. Anyway, if you do this from a side view, it is quite nice because you can just cut along here, which can add a very quick edge like that. So just so you know that it's handy to just do stuff like that sometimes. Over here, we have some stuff merging together, which I do not want. So I'm going to go ahead and press Control Backspace on these. And then what I will do is I will just simply add my multi cut whoops, one button, try it again to make sure that you snap it correctly like this. And now because we are mirroring it, that's why it's handy. We can just end all of these pieces over there. Same over here like on this end, although it's probably not needed, just in case we can just go ahead and we can continue this on over here and press Enter, just like that. Okay. Can I do like a supo loop over here? Yeah, pretty much. I don't know exactly where it ends. Okay, so this one ends over here, which means at this point, I can just connect. And the other one ends over here, at which point I can move it down and I will connect it like that. There we go. These pieces should just be able to handle spok loops like this. You know what I'm going to make these a little bit softer. I'm just going to place one support loop to basically bring out the softness of these shapes. And yeah, then these piece over here, they are a bit of pain. So I guess what we can do is we can go ahead and select this Contra E. I'll settle 0.05, for example. Do the same over here, Contra E, offset 0.05, and then I will clean up the rest. Then over here we will also do the same.The up until here, Contra E. 0.05. Bit tricky to get this one. Control E, 0.05. Yeah, that should do trick and then over here, of course, because this is a corner. You just want to go ahead and just place like a very quick cut like that so that it is all connected. And then over here, what I tend to do is I tend to just place a cut like this and then just go around it because that technically do does the sporting loop just fine like that. Even though it might look a little bit messy in this specific case, I'm not too worried about that messy look. This one I can go ahead and I can, like, place a cut like that, and then over here, I just need to, like, grab this and cut it from over here, and then another one that I cut from here. Here, and then we can just kind of end it like that. And let's just see how this looks. If I press three, let's see where it breaks. It seems to break on this area. This is because we do not have a cut here. So now you can clearly see why it is so important to place all of these etches and why we spend so much time on them. So this one I'm just going to go ahead and place here. The only difference is that, of course, this time, this is what will end up in game. So I'm trying to keep it quite clean. However, for this mesh, because it is so small, I'm a little bit less say worried about it. Oh, here we have like pass shift. Let's merge these words to center. There we go. Okay, so we have a cut like that. Now I want to have another. Cut over here. Okay, so that fixes that one. This one does not connect and it does not connect because probably this area over here. See, I just need to connect that. And at this point, I can just give it a little loop around. Yeah, that does the trick. I could, of course, start hiding faces. You can just select faces and press H to hide them. However, if I can see it, I tend to just not do that. Oh, yeah, and then over here, I need to do the same where I just connect it like this and then just move it to the center. Yeah, okay, so that does give me a bit of a messy loop around here. This loop we can fix. Let's see. Yeah, this loop we can fix. Often, This is quite a nasty technique, but you can literally just do this if you often to just fix this loop see if that works this time, see? So, yeah, it's just one of those things that it does not look nice, but it is a very quick way to just fix those type of areas. Let's see. There we go. So yeah, there's one that looks fine. This one now looks nice and round. So if I just turn off my geometry so that I do not need to look at that mass, it does look totally fine, except over here. Over here, it can use, let's say, it can use another cut down here. And it can also use some kind of like I don't know what's going on here. It is giving me this really weird looking, let's push this back. I think something went wrong in that area or something like that. But in any case, it can use a support loop here and a sport loop here, which we happen to be able to just simply move like that. Let's try that again. Almost. We're almost there. We want to go ahead and do one last. Let's move this cut over here. There we go. Yeah, let you do the trick. Okay, cool. At this point, reset your history, also reset your Pivot point, and just do a very simple mirror on this on the X axis in the plus with a 0.01 merge border, and just push it back until it nicely merges together. Select the center and just press Control Backspace. Have a look, press three and make sure that everything looks correct. And if it looks correct, which yeah, it pretty much does. Don't know if we maybe want to make it a little bit larger, actually, and just mean like scaling it like this as in larger. But this is the time to do it. If you want to scale it, this is the time to fix that. Yeah, see here. I think that looks a bit better. I'm not too worried that it floats a little bit. It's just like they just screwed it on overhead there in that point. Maybe if you want, what you can even do, you can even go to, like, your site view, you can, like, select this and this cylinder, move it down a little bit to kind of like indicate that this is where they screwed everything together. Then if you press three, here see. So they screwed it together over there, we can even place like a little screw in here that we're going to place on our door. And then around here for this area, it's just going to be probably like a simple because yeah, I cannot really see anything here. So I'm just going to improvise it and I'm going to keep it simple with like a little bar that is just sitting around it. So it's basically just going to be like a cube and I move like this. I, let's say, let's scale it down. Let's do something like that. Because I want to make sure that this bar is exactly the same thickness on both sides, you can, of course, just place like a loop here. Or what you can do is you can just do a very quick mirror on this, and then you can go ahead and, like, rotate this set this into the plus all J, and just rotate this. There you go. And now we will just place this bar around here like this. Now at this point, I'm going to get started by selecting these faces and press controlshift I to basically invert my selection. And I want to first of all, bevel these areas contra B, maybe give it like an extra segment over here, and I do not want to have it completely round. I just want to give it just like a nice roundness to it. And then for this one, I do want to go ahead and, like, probably make this quite round. Oh, God. Never mind. I don't really like that. In that case, I'm just going to go for, like, more sharper stylists. Lo something like yeah, something like this because you'll barely be able to see anything like this most of the time. And finally, one last thing that I want to do is I'm going to move this up a little bit. I'm going to add one final segment probably around this point and then just select this phase and press contra E because you want to extrude this out a little bit. And then maybe it select this edge and then maybe, like, push it back a little bit, just to give it like something that it is attached and that it is not just clipping in. At which point, we can just go ahead and we can overhear We can add these segments, so now that if we press three, maybe also add a few more segments over here just to retain the shape a bit more. There we go, see? And now it's just once again a matter of going into mesh. You know what the mirror tool? I'm just going to add, Oh, wait, I have it here. I just keep forgetting that I have it there. So on the x axis, with a merging of 0.01, move it a bit that we only have one segment over here. Or, actually, it's moved a bit more like this. And then just these edges over here that we have. Just go ahead the press Control backspace and get rid of them. There we go. Press three. Looks pretty good. I think the last thing is that I just move this one a little bit higher to make it stick out a bit more. And that's it. That does the trick. So we will, of course, later on, duplicate this. But for now, just to see that this works, It's a very quick duplication like this. And there we go. If I turn on my multi sampling, there is our locking mechanism. Okay, so yeah, it's a little bit smaller than our reference, but it should still show up and should be totally fine. As you know, I have already extruded this out, and I just mirrored this in my other chapter. I don't know if they can maybe go a little bit further in extruding like this and maybe over here also. So now we're just going to do some balancing. And then what I want to do is I just want to add some bolts, because I feel like that. Oh, no, wait. You know what? These look more like the normal map versions. So I think we will just use the norm map versions for those. Yeah, I see some stronger bolts in between here, which is a bit interesting because I don't know. I think it is because this window is layered on top. So I guess that they more like have the metal going around here instead of just having the metal sticking in here. So I do want to capture this as real life, but I don't know if that is going to be such an amount of rework that it's just not worth the detail. It's basically going to be let's see if we just double click on this edge, I want to just deselect up until this point, and hopefully it will just nicely flow around and deselect up until this point. So this arrow that we have over here actually happens to save us. And then I want to do control E, but I don't think it is even in the right location. Push it up, but then at this point, I just need to very quickly move this forward a bit more. Yeah, so this is more like what it is looking like. Ah, it seems like this is flipped. We can always go to mesh display in reverse. Okay, let's see. So yeah, I guess that could work. If I now go ahead and just do some very quick cleanup. So as I said before, I want to not I do not mind cutting a few corners, but I don't want to overdo it, and I still want to capture this like a very nice look. So let's also do the cleanup over here, which I think I forgot to do. I've just turned off my angle select select like this face. I don't know exactly. Oh, it has like a flat face or something like that. Bit strange. I don't know, let's go outside of isolation mode. Yeah, so at this point, you cannot it's a bit strange that it did this. I'm not sure why. But honestly, you cannot really see it anyway at this point. So I'm not too worried about this. Maybe just like maybe do like a bridge over here, just to connect that. And then if I just go ahead and go ahead to the other side, I can probably do the same thing where I just delete a bunch of these random faces. Probably like this, and then I'm just going to select these two. I will do a bridge. And then in here, we, of course, need to add some more supporting loops. So let's add one loop in here. One loop around these areas. And then most likely we can do like a cuts Indo D. Let's see a cut going from here. Come on, it does not want me to do the cut. There's also, by the way, there's another loop, probably around there. So I don't really like this jom treat works fine around those areas, but I feel like it's breaking quite a bit down here at the bottom. Just because it has that extra loop in between and this loop over here, we do not need that loop. So what I'm going to do is, you know what? I'm just going to delete it. I'm going to get rid of this, this Click Shift DoubleClick all the way around. Let's see, can I Okay. Delete delete this, delete this. Double click on this side face, and we can also delete this. And over here, what I'm going to do is because it has one extra edge that is still being a little bit messy. But let's just see how this looks when I press three because if it does not show up as being one, when I press three, I rather just leave it like this. Yeah, here. So the only loop that I'm missing is over here, and I think that's about so you know what? I'm not going to mess with something that small that you will never, ever be able to see if it works fine like this. Okay, so we got these messages over here. That's pretty good. Now that we have these messages, and now that we have this metal across here, it does mean that we need to do, like, a tiny adjustment, which is moving this forward, maybe moving it down a little bit. Same over here, moving this forward and moving it down a little bit. And the second adjustment is that I want to have some actual bolts in this area. So I think I like this that we did this. This will look nice. So if we just very quickly select everything, assign it to our window A layer, and then quickly go into our door and just go ahead and do a shift D on one of the bolts. Add those to my window layer. And now I can go ahead and I can just place this into position. So here we have our bolts. I can move this in, scale it down a little bit, move it in. I think the rotation here, let's do -90 in the rotation that you can see in transforms down there just to make sure that it fits. And I will, of course, keep them a little bit larger. Yeah, so we have one phase down there that I will probably fix, scale down a little bit more though. So I will fix that phase later on. But basically, let's do like a shift D Shift D and one more shift D. Hey, that fits really nicely. And then what I'm going to do is I'm going to have one more over here because I don't see any, I don't see any bolts going around that area. Shifty, shift, shift, Shift D. You know what? In these areas, maybe it would be nice to have two bolts like this. Do one more, shifty, shifty, shift D. Keep that going. Over here, once again, do like just two bolts sitting next to each other. So I don't think I moved that one far enough. There we go. Shift, shift, shift D. Let's move this one a little bit closer, and then just move all of them a little bit up so that you don't really see the difference in distance. And then we can do, one more here. And you can just duplicate this from the other side if you want. I think I accidentally did like a double connect. Yes, I did. There we go. Yeah, at this point, you know what? I'm just going to do it manually. Here we go. Okay, bolts are placed. That's all looking good. It's done on our anti alysing and there we go. So we got that done. So I would say that our window is now officially done. I'm going to go ahead and save my scene. In the next chapter, what we will do is if we go back to our blockout pieces. So door done, window done. Let's go ahead and let's focus on our chair with, like, the bottom van. It's not going to be too difficult, that shape. This kind of stuff is pretty cool, though, so I do want to try and capture that stuff. So going to do a chair, then we will do the bars. Then we will do this backside, then we'll do the floor and the top. And then this side, I will go ahead and do that in time labs, and I will also do those really small pieces like these random pieces. I will also do those in time labs just because at that point, you know every technique that you need to know for the modeling. And yeah, then it's just a matter of just finishing that last little bit done. So let's go ahead and continue on with our chair. 14. 13 Creating Our Final Seating Part1: Okay, so let's go ahead and continue on with our chairs. So over here, our chairs, they come into parts, so it should not take too long because the shapes are quite simplistic. I'm going to go ahead, press Shift D, create a new layer. Whoa, that was a lag. Odds are shaped to our layer, and now we can go ahead and we can call this I know chair on the score A, for example, just in case we ever want to create also a chair that's like a single one. But these pieces, it almost feels like the stuff is painted on here. See, like, there's probably a tiny little trim around here. We also want to create this trim because it will make our lives easier when we texture this stuff. And this might actually be one of the few ones that I will go ahead and I will actually do, like, unique materials for this? Yeah, I think so. And the reason for that is mostly because of, like, the gradients. Like, I can mess around with the gradients and everything, but this one, I think is actually easier if I just go ahead and do a unique texture for it inside of substance painter. But that should not be a problem. We can then go ahead and have I don't know, maybe something with like the priority seating, although, yeah, I don't know. We'll see what we're going to do. So knowing this, we already pretty much like here, we already pretty much did this correctly over here. So if I have a look at this, what do I want to do? I think I'm just going to go to my side view. Oops, that's not my side view. This is my side view. And I'm just going to select, like the bottom piece. And I just want to see, oh, wait, Taxi, you know what, let's select the top piece. Let's see. Over here, this is a bit thinner, so I'm going to push this back a little bit more. Then it is actually quite thick, as you can see over here. So that is quite thick. So I think I want to actually leave this. Yeah, then over here, I don't know. There is a small fall of going on. So if I have this, it looks like that there's like so it's like pushing up a little bit. I think it is pushing up a little bit so that you can, comfortably sit back and that you do not like, glide off it. So basically just push up a little bit, and then these sides are going to be round. This side is going to be round, and then over here, I just want to go in grab this piece, and I want to push this down a bit more like this, and I will compensate this stuff later on. So that pretty much looks fine. Then on the edges, we are just going to bevel out the edges, which, in turn, will give us the nice transition effect. This stuff over here, we will add on top. But yeah, I think for the rest, that should be fine. So having this piece over here, now what we can do is we can start by just selecting the edges. Actually, you know what? I'm going to remove my history, and I'm going to modify and freeze my transformations. This is good because sometimes the bevels break a little bit, and I'm just not even in the mood to try it out. Because this is a focal point, I'm going to give it quite a few segments. And then I'm just going to go ahead and I'm going to make this nice round like we have over here. Now, for the side pieces, as I said before, we were just going to go ahead and do like a bevel. These pieces, they are not very round, but what I can do is I can turn this into hi pool. Yeah, that will make it nice and round. And then we have these side pieces. So let's start by adding a let's see. Let's start by adding another bevel over here with a bunch of segments, but not as large as that one. So this one is going to be a bit smaller. And then over here, I'm going to go ahead and you know what I should have done both of these at the same time because I think I'm actually going to add the same. It's th 0.2. No way it's 0.1. Yeah, that should do the trick. So we got those pieces. So those are nice and round. And then down here, once we get down there, I assume that they will actually also just have a round bit just because they probably use like a mold in order to create this. So it will just have a small round bit, and there we go. Okay, now what I want to do is I want to actually focus on my chairs. So over here, is it just me or do I see, like a tiny bit of, like, a bulge going on, like there? I'm not sure. It might be that the gradient I might be that it's just like you know, because you do have that also over here. I'm not sure. Like it might be an optical illusion kind of thing. But it does feel like there's like the tiniest bit of, like, something going on, and then yeah, we will have the outer edges. They also do stand out a tiny bit, and then we have the center. So you know what? I think it is safe if I just go ahead and add one single connect over here. Press Enter, select this piece, move it out a little bit like this, and then do like a contra B where like a bunch of segments. Here, that's a little bit too much. So let's move this back a little bit. Punch your segments. Yeah, here, that should do the trick. So we give it like a tiny bit of, like, a shape like that. Okay, and now for the center bit where we are going to turn this into two pieces, for that one, I want to use this version because I can nicely see what I'm doing. And I'm going to get started by just splitting this up into two. So just add a single connect like this and press Enter. Now with this connect, I'm just going to go ahead and press contra B so that I can perfectly split it up into two. And I'm going to have this at 0.00 0.02. Okay. 0.02 looks quite good. So let's do 0.02. Let's add one segment over here, which is the top end like that. So we have 1 second segment here at the top end, and then the bottom end is actually a little bit further along, it looks like. So we're going to make it a little bit further along. And then once we've done that, we also do need to go in, and we have over here, we have the shape. If I just go in and create a u cube, turn on my edges and faces. The only reason I really create this cube is so that I can measure this out here we go. And then based upon this, so if this scaling is one point let's say 1.5, 1.55, Yeah, so 1.55, which means 0.75 ish, 0.752 or whatever, something like that. Knowing that, we can go ahead and we can place one of these cubes over here on this side. It doesn't need to be absolutely perfect, but it's still nice if you just get it white. And one of them on this side, and that will basically cause the transition piece to happen. So if we do this, I can go ahead and I can place one here. And one here. And this basically means that it will not have a double length transition, but when we place them together, it will have a pretty normal transition between them. And that's kind of like what I want. This is a specific chair that happens to have three seats, but we are going to go for two. And then, actually, by the way, the corners. You know what? I quite like the corners. I think I'm going to actually add those. But I'm only going to add them at this piece. Oh, that's a pain to turn that into a corner. I'll do that later on. I'll do that later, because that's a real pain to turn those into corners. Now, you can see that over here, they are a little bit unlike the edges, but it feels like they are only on the edges on one side. So it feels like only on this side, we want to scale this out quite far, and then this one scale this in a little bit more like this. There we go. So if I now go ahead and I'm going to extrude this bit out. Yeah, I'm going to extrude this out, and then I'm going to rotate the corners, and that should do the trick, although it does feel like it feels a bit large. Mm. Just having a think if this is maybe No, that should be xy enough. Yeah, that should be enough. The only thing I'm going to do, sorry, is I'm going to scale this one out also a little bit. Then we go to give it like a smooth transition. And then the pass they will just remember that we have those selected. So now we can press CtraE and I'm going to go ahead and I'm going to push these out a little bit like this. And then what I can do is I can select the corners, and I can turn these into round corners. And I will do them separately. So I will do these first. Give them a bunch of segments, make them bit larger. Ah, yeah, actually, you know what that's fine. And then over here, I want to do the same. Contle B, given bunch of segments. Because these ones, of course, they can go a little bit larger, but I think, if we do 0.9, I think that will give me quite a nice flow. So let's go for something like that, and then maybe going here like scale this up a tiny bit more. There we go, just to transition that. And then when we turn this into hi poly, this should look nice. Now, for these corners, yes, I said that I wanted to do a corner like that, which now I think of it is actually going to be a bit of a pain, but on the other hand, we could also see it as practice. So doing a corner like this, if we have this over here, this is why it is tricky. So we kind want to just cut this out, but I'm not sure how the transition will perfectly happen around this corner. One thing we can try for this, although it will require a bit of cleanup is using a boolean, and it basically means that we are just going to go ahead and we are going to grab a cylinder, and we'll just give this a try. So we'll grab a cylinder. Well, J rotated 90 degrees. You basically want to go ahead and you want to grab this part over here. Press contle shift on, get rid of everything else. Now if we just go to a site view, do tool settings and reset our pivot. Et's move this forward so that I can see what I'm doing. Yeah, this is basically what I'm thinking of. So what it will do, so we will place this a little bit above the range like this that these pieces stick out a tiny bit. And once we do that, we should be able to go in extrude an edge here, extrude another one here, another one here, and then select these to embridge them. At this point, Booleans, they really hate open pass like this. So what you want to do is you want to fill hole this phase, fill whole this phase. And then finally just go to your mesh display and reverse everything. See? And then we basically get a shape like this, which we should be able to then use to cut out a part of that shape. Now, having this shape, I'm going to reset my pivot point, and I'm going to clone this, and I'm going to hold J, and I'm just going to rotate this. See, yeah, that's still a nice location. And I want to actually do I Yeah, well, I guess I could do symmetry. If I also want to do the front bit, it might actually be easier if I just do a symmetry. And I keep forgetting that, but that's just a little quirk I have. I keep forgetting that we actually have a tool called symmetry or mirror or whatever you want to call it. In any case, what I'm then going to do is I'm going to go ahead and in here, place a simple connect like this, scale flat, and I'm just going to go ahead and I'm going to go to my top you, and I'm just going to basically delete half of this chair. There we go. Then I immediately can also turn this into like a hi poly. I should have done this earlier. That's my fault. But I well, doesn't matter too much. I can now go ahead and I can just copy this. I'm going to hold J and rotate this nine degrees. And I think if I go to, like, my tofu, turn on my edge and faces, Do something like this. Okay, let's. Let's see how this works. Remove history, save scene, grab this piece. Mash Booleans difference. That one works pretty well. Do it again. So click this select this Mash Booleans difference. Yeah, you know what? Once this is turned into a hipoly I can live with this. Now, the only thing that I was worried about is cleanup because this often requires quite a bit of cleanup. So what I'm going to do is you will just see me doing some cleanup for a while, and it's just me, like, merging some verties together like this. If we have like, single vertzs like this, Oh, wait. We cannot just move those back. I need to be very careful with that. I'm going to just go ahead and I'm going to connect them. If we have pieces like over here, we can just connect all of these vertices and then move them close together. Over here, there is, like, something going on on the inside it looks like. I don't know exactly what it is. It's like a double phase, something. Oh, wow, let's undo this. I think, see, I must have messed up a welding accidentally. That can happen sometimes. Twilight again. Okay, now it works. Yeah, let's leave those separately. And then over here, what we can do is we can go ahead and let's see, at this point, we can just merge this down, merge this down. It is the stuff that I don't like that it might look nice over here, but then over here at the top, it looks a bit ****, so we kind of want to try and give it like a nicer flow of. And that's the thing with, like, in Tri D we need to, of course, have a think about it in both sides. I'm going to connect this one. I'm going to connect this one. And I'm going to go ahead and I'm going to connect one of these. I do not want to connect too many because if I connect too many, what will happen is that it will no longer look round when we smooth this down. So that's why I'm just doing that. Then over here, this one is a little bit tricky what I'm going to do with those. Let's see. Can I maybe merge these two together over here? Maybe like move this down a little bit and out just to keep it into location? And for this one, I think what I can do is I can just select it and press Control Backspace so that it's no longer my problem because it's on the back and then when we smooth it, it will hopefully transition a bit better, there we go. That fixes those pieces. I guess that we can after all merge this one down. So that fixes those. It's nice to go around here. We just need to do some manual work in order to make this smooth properly. Wow, over here we do have a lot of pieces that are all over the place. Several looks. Let's press F. So from the top and from the side, I think from the side, I want to move these a little bit forward. See it moves forward like that, and then over here, let's move this one also. A little bit more. Although, actually, this one, just press Control, oh, that's too bad. I cannot do control backspace because it's attached to a line. In that case, just do Control backspace on the entire line. Same over here on this one. Just do control backspace on that. Okay, now let's see if we can replicate this at the bottom, where we select this one. This one, This one, then we have one connection there, which means one of those, we probably press Control Backspace on. I already forgot which one Bol, we merge this together, and then having this flow nicely and also having it flow nicely here, we can then go ahead and we can do a multi cattle, connect this one together, and I think that does the trick. Yeah, so I think now if I go ahead and turn off my faces, it should have a nice transition piece. Great. So we got these pieces now. Now it's just going to be a matter of just doing a little bit of cleanup and then turning it into hipolon then what we can do is we already ready to basically mirror this and then it's done. So this one was not too difficult. It's a little bit fiddly at the sides, but for the rest should be fine. So over here, I'm just also going to, like, do a little bit of cleanup by simply moving these pieces close together like this. Maybe I'll go ahead and get rid of this one. At this point, like, most of these pieces, we cannot do, like an automated edge. We need to do it by hand. But oh, well, it's not too bad. So Oh, here, over here we have a double vertice. Just to make sure that we do not have any double vertices. What I'm going to do is I'm going to press Control Shift A, and then I'm just going to merge my vertices at a very low level and press apply, just to make sure that that is clean. And once that is done now, we can start by saving our scene, and we can turn on or we can start by adding our supporting loops. This one over here is quite easy. Although this piece over here might cause a small problem, but we'll see because it is very close to our bend. In any case, for here, Contra E, 0.05 Okay, no 0.1. 0.2. Let's do that one, 0.2. Then let's add a quick support loop over here. I can already add two over here and over here, and then wherever they did not add, I can just go ahead and continue them using a multi cut because we need to have these nicely along this entire part. Here we go. I like that. And this part, let's see, it goes from there. It ends pretty much over here. So let's do this. And then over here, we can just go ahead and connect these pieces like this, which will create a new part for me that I can go along, and I need to merge these pieces together anyway, because these ones are a little bit. When these pieces are on the edge, it's often not as forgiving as when they are on a flat area. But in any case, I can now go ahead and I can just continue this part. Nice long here. It's presentu because it does not want me to place it anymore. There we go. Okay, so we got that one done. Now, there is a part over here that we need to follow, and it's basically going to be only one single edge on this end. But of course, this edge, it does not flow as well. So let's see where does it end? It ends over there. But if I go ahead and at this point, I can I p vertex. S, let's also do one over here. Oh, no, wait, sorry. On this side, I need to have two edges. So I'm gonna have two of them. Go to the vertex node. I know this takes quite a while. So we might want to continue this onto next chapter because we need to create our ventilation anyway. And I'm going to basically move this one down to this low one and then this higher one over here. I'm basically just going to transition it like this, end it over there, and then here at the back, continue it on and quickly add this one and add this one. Here we go. And just like nicely, continue this. This one does take a bit longer to do. Sometimes when you have a really long line like this, just sometimes press Enter because if you accidentally miss click and you click away from it, you actually lose all of that work you did. So sometimes it's good to just press Enter a few more times to get it done. And this style of modeling where it's a little bit more forgiving, that's only because we are doing our hypol. That's why it is nice to model like this because as I said, yeah, as I said, it's more forgiving. Over here, let's just merge this one like this. And then over here, just merge this one. And I just need to end this somewhere. So let's just go ahead and, like, end it somewhere over there or something like that. And then over here, we can, nicely go around it again. This might still cause problems, even though we are doing this properly and we are nicely going around it, but that's something that we will need to wait and see. And then this one over here, I don't really need to continue it because there's nothing there to support it, anyway. Okay, at this point, let's press T and let you see how this works. Surn off my edge and faces so that I can see. Okay, so over here, it has a little bit of stretchiness going on. It looks like that is because there is a let's go into X ray mode. Just want to see, Let's merge these two center. It looks like there's like a double edge. Was that already it? No, because over here, just Oh, over here, it turns into a single edge. I think I need to select this one and just press Control Backspace. Let's go outside of X ray moote here that does look a little bit better. The only thing that I do not like is that over here, it's press control back space, and let's instead connect this one down here. I think that will give us a better geometry flow, see? Okay, so it goes around here, not the most perfect edge, but it's fine, except that over here, there's like a tiny little problem, and this problem we can solve using the old technique that I've already showed you where we just make a circle around this, and it should do the trick. Yes. Over here, Same technique. Multi catol et's do that. Okay. And then over here, that transitions, not absolutely perfect, but it's fine for this transition. And this like nice smoothly does the same thing, which is a characteristic that I can see in real life. Over here, we go nicely around. And then here, these edges are also quite nice and around. And then over here, let's have a look. Same deal where it's just like we need to merge some of these verses together in order to get a nicer effect. Like that. Maybe also over here that we can go ahead and, like, I know, merge this together. There we go. So that gives me a nicer flow. Perfect. Okay, finally, remove our history, save our scene, reset our pivot, and then we can go ahead and we can do a mirror over here. And set the mirror on the X axis in the plus 0.05 in the merging. And I think that already does the trick. It's already nicely in the center. And you can, of course, double check by selecting. Now, this one, I expect that one breaks. But for the rest, it does work well, only I think this edge is one of the few times that I want to keep it because I think it will actually give me a good transition. So if I turn off or turn on antializing, you can see that now over here, that does a pretty good job. Only over here, it seems to still be a bit messy. If we press F, we could maybe try, sorry, I just need to go into Xray mode because in Xray mode, at least I can make sure that they do not accidentally select anything at the back. What we could try is we could try to merge all of these pieces to center at both of them. Go outside of X ray mode. First of all, check now. And then if it still does not work, we can then merge this one to the center over here and then merge these ones to the center over here. So now they don't really have anywhere to go, and then see it will give us a smooer effect. Okay, perfect. So we got those pieces ready to go. Let's save my scene. And now in the next chapter, what we will do is we will mostly just focus on the Airco or the vent over here and just make sure that we did not forget anything in here, but it should be fine. So this looks pretty straightforward. So let's go ahead and continue with that in our next chapter. 15. 14 Creating Our Final Seating Part2: Okay, so now let's go ahead and finish of our chairs, which should not be too difficult because the only thing that we need to do is we need to create this little plate over here, and we need to create the actual vent. So for this plate, I'm going to keep it quite simple. I'm not exactly sure. Like, on the inside, that looks a bit weird, but I'm just going to go in and create a very simple cube over here. Oh, actually, over here. There we go, nice and small. And let's go ahead and just scale it up roughly to the size of that plate that we have let's see, something like I don't know this. I'm just having a look at my reference over here. Yeah, let's place it a little bit lower. Let's place it over here. And at that point, you can go ahead and you can get started by, well, turning off multi sampling, deleting the bag, moving it into our shape. Making the font a lot smaller like this. Say like this over here. Click and then shift Do click over here, which we'll just do a nice little ring round. At which point we can do Control B, and we can just give it some bevels, and I'm going to keep it quite low. So probably something like this. And then we will go ahead and we will turn this into a final mesh or into a hipolymsh we can do that by just selecting this side. Control E as an offset of 0.1, probably, and then like a quick loop over here. There you go, see? That should do the trick. Okay, so for the bolts, because we are going to also place the bolts down here below it, where are you? Oh, God. There you are. So because we're also going to place the bolts below here, I'm just going to go ahead and I'm not yet going to do that now because I first want to create this shape. This shape is actually going to be super easy. The reason for that is because we are going to actually use, once again, like a norm map like we're going to do with these screws over here. We're also going to do that for the grid because doing this in geometry is a pain while doing this just like a norm map, it's just going to be a simple plane that we place on top. So I will go ahead and I will do that. So it's just going to be the main shape with some bolts. So for this, we have this piece over here. Now, one thing I'm curious about is why it is so far back. I would assume that it is going to be around this area, but. The base over here, I know that that one is already at the correct base, which means that I just want to go ahead and grab the top and I want to move the top down like this. Now, if I go in and I go to my site view over here, I want to push this out a little bit more. Roughly over here. And then I just want to go ahead and I want to maybe, like, make just a little bit less that we have a little bit more space for that event later on. Here we go. So let's not make it like two over the top. I don't know. Something like this, maybe. Yeah, I think that feels that feels quite natural. Okay, so we got this now. I almost feels like that this one is less tilted, but I don't think I have any other reference that I can base this on. So it would just be like a guess. Oh, wait. Yeah, here, see? It feels like that that one is a lot less tilted, so that this one, wants to go up a little bit more. Probably like this. There we go. And it will also add some interest to our shape. So we got this stuff over here. Now we can pretty much just turn this into a hipoly. I think for this, what I'm going to do is I'm actually going to turn this into actual geometry. So let's delete the base. And then for these pieces, I can just go ahead and I can grab all of these over here. Actually, this one also, and then just press Contra B. And just like a bunch of segments, do something like this to make it nice and smooth right away. At which point that we can just do like a shade smooth. There we go, see. So we don't need to do well, by this point, you can probably just press three, but it's not really needed. So for our bolts, we are just going to grab, for example, here, let's just quickly grab the window. Scrap one of these balls, clone them and move them over here, and then add selected objects to chair number A. At which point, we can go ahead and we can just place in the position. Starting with these ones over here, Scull up, snap rotate it a little bit, move it in here. And now I turn on my edge and face so that I can see things a bit better. This looks like a nice size. Let's start with this one over here. We want to have quite close to the edge and then in the center. Then the other one is also going to be quite close to the edge like that. Now for these bots, they are basically going to be just like on either side, I'm just going to have a little bit. I'm going to move this one down here. J, rotate this. There we go. Let's go ahead and let's move it. I'm going to move this one, probably something along here. Another one along here. Yeah, I quite like that they stay nice and big because that's where you can see them very obviously. Then what we will do is we will create the grid and you can see that there's the tiniest little holes also here at the bottom, and I also want to just do those in the actual norm map. Also, a really cool detail, as you can see over here that I did not notice is that there is an actual bar and that makes sense. There's an actual bar that is holding up over here the chairs. But I also find interesting that over here, it seems like they literally just welded this stuff into the rest of the mesh. Although that is interesting, I'm not sure if we're going to do it exactly that way because for us to do that, we need to make this all into one solid chunk, but we have modular pieces. In any case, at this point, I would call my chairs over here done, so I can save them, re arts. And now, if we go back to our block our pieces over here, we can press height on those pieces and also on this one. And what I'm going to do is, you know what? I think I first want to actually do this one. And then all of these bars and everything, I will then do them all at the same time later on. But yeah, they should not be too difficult. The only thing is that now I know that there will also be along here. I'm just doing this already in my blog out here that I do not forget. Along here, roughly, there will be another C, there will be just like another bar. So just so I just need to keep that in mind. But okay, so for this one, let's go ahead and let's press ChevD. Add the new one, assign selected, and just call this like top advertisement on the score A. And now we can turn off our blockout pieces, and there we go. So now we can go ahead and we can start working with this. In which case, we can just start by moving this down. We will do this in a new chapter just to keep things organized. However, this thing is already pretty good. So I don't think we need to do too much on it. We just need to give it some nice looking trims, some round bits at the corners and give it some place for, like, some lights. So let's go ahead and continue with that in the next chapter. 16. 15 Creating Our Final Advertisement Panel: Okay, so we're going to get started with our advertisements, which is pretty easy. So basically, it's just like some metal, although the metal is quite like, bulgy. I think I guess that's the word. And then for the rest, we do have some round bits over here that are actually round bits that are almost like cylinders that are sitting on top. So it might be nice if we simply literally just grab a cylinder and we just place that. And for the rest, because the metal is being extruded, everything else kind of just falls into place. So if we have a look at this, let's see, I'm going to get started with just doing, probably, like, one side, and then I will just mirror it. So if I go over here, let's grab a simple here we go, like a simple edge. And let's see. So there's going to be a cylinder on this side, there's going to be a cylinder on this side. So for the rest, up until this point, I will probably leave it because it is up until this point, what I'm actually going to do is I'm already on purpose, going to place an edge here. The reason I do this is because it's easier for me to then reach it. And it does not really make that much of a difference. So I can click, Shift double click, and then just hold Control like these are like these bits over here. At this point, we can just do like a contra E and we can extrude this out a little bit more to the point where we want to have it extruded out. Actually, it's quite the original extrusion is actually quite thin. Now, here these bits because they are on the corner, they do not always extrude out properly. So sometimes you just want to scale these flat and you just want to, like, move this down a little bit until the thickness has evened out. Over here, same thing. We can just go ahead and scale this flat. And then maybe for this single one over here, just scale it out a flat and move it out a little bit more. You know, let's move this down just like compensate for the fact that you are losing some thickness around the corner. Just like that. Okay, so for these pieces, we are going to, like, make them stand out a bit more. Over here, I actually want to keep this line over here because then I can bevel it, although I do not need, like, the top line. So to make this stand out a little bit more, what we can do is we can add an edge loop over here, and we can set this edge loop here in the center. And then if we go over here in our channel box and go into our actual settings, I'll set this to 0.5 to get started with so that's exactly the center, this rarely works for me, but I do want to show you if you go to your profile curve input offset, you can actually push this out, and that will already give you the original push. And it often does it by the local normal only yeah, well, actually, it worked quite well. It's just that over here on these areas, of course, we did not need to have that. So what if we do this again? What if we undo this stuff? Oh, no, wait, sorry, we cannot undo this. So let's just press Y again. We cannot Uo this because it's a default placed edge. In that case, for these pieces over here, up until, let's say, this point, I'm going to press Control black space and literally just get rid of them. And then here this last one let's go ahead and how does this look? This one needs to be pushed back, I see. There we go. And then this vertzi over here needs to be pushed up. I think that's about correct. Yeah. Okay, yeah, that should work. So once we've done that, we can go ahead and we can just select it, and then we can do a Contra B, where we can add a few segments. Or what you can do is you can just smooth it out. I think I will actually smooth it out. So this is quite good. And then I will just turn this into like a high pony mesh or something like that. That should not be a problem. So we have that metal piece ready to go. That's nice going router. Now, as you can see over here, we might need to later on, just like push some stuff out a little bit more because we are now going to add like a cylinder. So first of all, let's add the cylinder. Let's make it, start with 14, just to make it a little bit more manageable. Move it over here. There we go. Hold J and rotate it 90 degrees. And then if we just place nicely in the center here, we can see that we need to just scale this, like in a little bit more and if I scale this out, just to have a look at how ticket looks, I want to make it a little bit thinner. So I'm just picking my green scaling so that I do not scale it on every single axis at the same time. Here, this looks quite nice. So let's go ahead and start with something like this. I'm just going to actually, you know what I'm just going to leave it there. So if I push this out over here, and then for this piece over here, what I'm thinking is that I can do like contra B. Let's see, because that goes straight, let's undo that. Let's go and isolate, and then we just want to go ahead and let's double click. But then hold Ctran just get rid of all of those pieces. So because this is hidden, if we now go outside of isolation mode, I can now give it like a few segments. Let's make it a little bit smaller. And then based upon that, I can add, let's say, one extra segment here at the top. And then I can double click and I can push this stuff out except for these pieces. 1 second here. Let's maybe it's easier if we just use our X ray mode. No, not very easy. Maybe a little bit easier for selecting. But basically, just push this out a little bit more. Let's go back into Xray mode. Twin and select this, D select these pieces. Just do the same over here. Oh, sorry. I'm in isolate mode, not in X ray mode. And then it will try to isolate these few edge that I've selected. But the goal is that I grab some of this stuff, and I just push it out just to give it like the feel as if that It has a little like it goes around it. Something like that. Let's see. So that one goes around there. So I will clean it up a little bit more. Maybe I will make this one a little bit more around it. Yeah, I don't want to, like, overdo it. So maybe, like, push it out a little bit more and then just follow it along this range. Here we go. And then I will just like slowly Okay. Make it come in like that. Now we go. That should be fine. And then when we transition this in here, Yeah, that should all be fine because it also transitions in here like that, as you can see. So for now, I'm fine with doing that. Maybe I want to scale it in a little bit more just by going into my scaling. Here, we're going to scale it down a little bit more just to make it fit a bit better, push it up a little bit more, and then maybe just move some of these verses in. And then what we can do is we can actually give this a better transition so that we can actually extrude this out. So if I go ahead and push this one down, over here. Actually, you know what? We don't have the space for that. I was basically thinking of just doing random extrusion. However, it might be easier if we simply do like a boolean for that. So let's just duplicate this cylinder over here. Let's push it down here. And yeah, you know, let's go ahead and just make it like a bit smaller. When I do the boolean, it will also cut this out. I'm just having a think if that would be a problem or if I can just go ahead and I can, like, select this, mesh boolean, or if I can just clean it up. So it will cut all of this stuff out. And you will need to, like, select all of this stuff and, like, delete it and everything. That's not really a problem. I'm just having a tink if it is annoying for me to then clean all of this stuff up or not. But I guess now that I'm doing it, I can just well finish it. Okay, so now we have these pieces. They do not look very good, so let's do some cleanup. Let's push all of this stuff out. Let's get rid of these few faces over here, the lead. Let's do another target weld. There we go. So that's now one piece. And let's merge this one together. Let's merge this one together, and then carefully also move this one together. And at this point, we will have the silnes sitting around it, so I don't need to really worry about that stuff anymore. The only thing that I do want to do is I want to add a multi cut and see if I can just like place a Wow, why does this multicutnet work? Multi cut. There we go. Okay. So the reason that does not work is because it's most likely not connected or is it? Oh, no, wait, it is connected. In that case, it probably just like a remove history and, like, modify freeze transformations. And maybe that will do the trick. Also, by the way, let's just quickly merge these pieces together over here. The other stuff is just some general cleanup. It doesn't need to be very precise because this is such a small area. I just need to basically get something that looks like it is going inwards. So for second day, I thought I had, like, duplicate faces. But in any case, so we got this stuff over here. Twilight again. Can I cut this, please? Thank you. I can cut this. Okay. Now if I double click on this, it should just select all the way around. Yikes. It looks like it has decided to keep some of these edges here, which I do not want to keep. So I'm going to go ahead and I'm going to Delitos and I will make that look a lot better soon. Yes, because all I need to do is I just need to double click this side and I need to push it out. And then when we turn this into a hypol, we just fit this one in here. We scale this down a tiny bit more just to make it really look like you can go inside. And then on the other side, because you can never even look through it, what we will do is we will just have a simple face. So it will just be like grabbing these faces over here, doing a control E extrude, extruding these out. Here we go. We move this in, and then we just basically do some small manual work where we grab these eedges and we just kind of rotate them down. Something like that. And then maybe grab these two vertices and move them like that. There we go. Okay, so we turn this into hypoly because this one is sitting here, you will not be able to see anything else. So I believe that covers that piece, that covers it down over Oh, God. I forgot that we also need to do it on the other side. On the bottom side. Can I I can steal this w. Like, if I grab This stuff over here and then hold chtron deselect this stuff. I can press extract pass, reset this and maybe I can save some time by just moving this down here. If we turn on our edge and faces, let's see. If I can move this down, then I can just place it roughly into position because it should be pretty close to the same thing. Only over here, we need to move this up again. Scale this flat. Yeah, move this in. Yeah, that should be fine. If I'm now adding a simple edge over here, it might not be the nicest way of solving this, but it is a way of solving it. So now if I isolate this, I can just go ahead and, like, slack these pieces and delete them. Go outside of isolation mode, grab these pieces, just move them down a little bit. And here, move them down because what we're going to do is we are just going to go to vertex mode. Oh, sorry, select them first and press combine and you can find your combine up here and mesh and combine in case you didn't know. Now just Target Weld mode and just weld all of these pieces together like this. Maybe going like Xray mode. This is already taking way longer than I expected and for some reason, I'm not able to do a target welt on those pieces, which is a bit strange. You see? Let's try and reset my history. That is very strange that it does not allow me to do a target welt on this. I've never seen that before. But in that case, there are many ways that we can do this. I can also go in, just move this closer together, and then I will just do a merchant center. But it's very strange that it does not allow me to do just a simple target weld in this area. Here, so I can do this. And I can even select all of them, and I can even then do merge vertices and set this at a lower level. So like 0.1 and press Apply. And then you can see that now all of them are merged together. Which means that the last thing that we have is we have over here. Here, see you have this box. So if I go ahead and delete this shape, can I now please do like a Target Weld? First of all, before I actually do a target welt, let's do multi cut from here to here. And now I can do a target welt. There we go. This time, it does also work. Let's do a target weld here. Let's grab these two pieces and just carefully move them closer together, make it once again easier for me to then do another target weld or just, like, merge at center. Okay, finally. See? Let's save some time doing it that way. So now I can go ahead and I can grab this piece over here. I can go in and I can move it down here and just like I like to always just move my pivot closer so that I can do some more precise work. And I'm just going to move this into location. Roughly like this. At which point all we need to do now is we need to turn this one into hipoly because all of this, it's just like texturing. Yeah, so it's just me changing my textures. Over here, we have a light, so it will then do the same, and then down here. I guess what you might want to do is you might want to add another corner over here. However, I think for this corner because it's so far back that it will not be noticeable if we just do not do the same thing over here and just leave it like this. So that's just me using a quick shortcut. And then for these pieces over here, yeah, we can now just go ahead and turn those into hypols, which is not actually going to be that easy for this one. So let's save my scene. This area over here is quite easy because it's just me placing a simple supergo but over here, what you can see, it's already breaking. So we will most likely need to do quite a bit of manual multi cut tool pieces like that to get this to work. Now, over here, it's quite interesting. So these faces we cannot see. It's easier for me to just remove them. These two pass for some reason, are missing, so I can basically just bridge them. And this is probably why the multi cut doesn't work because we have some random vertices that are now not used anymore, so we can press Contrabagspace on them. So let's add another loop here. Let's add another loop here. Let's add another loop here. For this corner, let's do a quick give a quick few segments like that so that at least it will look round when we do our cylinder. Doing these segments also if I now press three, here or see it should not give me a very intense look, maybe because I could see some darkening, add one here. Add another one here, and now we get to the annoying parts which are over here. These ones, we can just add like a double segment in between. Oh, God. I made a mistake. Didn't I. I moved it and I was not thinking about it. I will go ahead and I will do that piece off camera because it just means that I need to move this back again. That's totally my fault. I did not duplicate. I just moved. I did not duplicate. Okay, here we go as if nothing ever happened. You know, you guys could have told me that I was making this mistake. Just kidding. In any case, loop around here, just make sure that this one actually does continue. And when it continues, it does mean also that we have done a good job. And then the loop around here, we can place it, and then it will almost Oh, no, wait. It sort of works. However, this is a little bit too close to the edge, so I'm just going to, like, do a target belt over here. And then at this point, this is the only more annoying point at which we can just go ahead and, like, do some custom cutting like this. We just want to cut around here. I can see that some of my faces are messed up. It looks like. Let's have a look at that soon. If I go ahead and over here I extend it like a double ertz let's see. This face over here looks a bit. Almost like I don't know. Let's do control backspace. Maybe we can get rid of that one and delete this Delete this. Okay, so that one works. And then over here, I think what we need to do is we just need to place a little cut. See, as I said before, this can be a little bit messy. Okay, so that phase is fine. So that one now continues. So we have loops around here, we have loops around here going all the way around. That should be fine. Maybe we want to have another loop here, but we will see. First of all, let's also actually place a quick loop Oh, wow, this area is completely broken also. Like, we can place a loop around here, and then at this point, we need to once again go in with our multi cut and just do some custom cutting. But what we can also dare at this point is just press three and switch between it and just make sure that these pieces over here are okay ish or at least fairly decent. I'm going to place a loop here and a loop over actually, you know what? No, I don't even care about that because it will have a cylinder. So I do not care about all of this stuff over here because we cannot see it anyway. As I said before, over here, it does look like we want a loop, but I think it just needs to be like a multi cut connected over here. And I think for the rest, it does not actually, it does not make too much of a difference. Yeah, so if you turn this off, nah, it looks like one of these pieces is getting really far. You can kind of see it if you look at your geometry that one of these pieces gets shut up all the way over there. And that can sometimes just be a simple case of just adding another loop around here and maybe like a few loops because remember how I told you about the fact that they do not like properly transition. By the way, before we add that loop, we need to also fix this one. Here, continue it. Add another loop here. Maybe a few more over here at this point. There we go. Okay, so where were we? I was checking, so let's press three. This stuff is all working good enough. Over here, we need to done, of course. Yeah, it doesn't actually matter too much, does it? Let's see. Yeah, I guess it has a slightly nicer curve to it at that point. Okay, maybe this one is too intense. So for this one, I will need to add some loops. But I think for this one here, it already has some of these loops ready to go. So I think this one was better intact than the other one. So what I'm going to do is I'm just going to go ahead and I'm going to place a cut from here down to there. And also, by the way, from here, down this point. These loops over here I will do a little bit later. Oh, yeah, that does flow quite strongly at this point. Let's just go ahead and let's place a multi cut from here, like down there, something like that. I don't know. And then for the rest, if we want, we can choose like Ara loop over here, just for this one, to make it a little bit safer. Okay, so at this point, what I'm going to do is I'm going to go ahead and I'm going to place a cut down here. I know that this will look very nasty in terms of geometry. However, I honestly do not really care right now. I just want to get a quick loop here and just for consistency, let's also place a quick loop, sorry, I cannot loop that far. I need to then go in here and do it in, like, shorter bits. So let's do one here, one here. See, now I'm going back to my old ways of creating hi polis which is a little bit less clean in terms of geometry. However, it is a little bit faster. And for this kind of like a mess at such a small area, I am willing to make that sacrifice in cleanliness, because most of the cleanliness, honestly, when we get to unreal, it is just me and my pride that I want to make it look very clean. Technically, if we are using Nanite, it does not matter too much as long as we don't get any problems, I will just look fine in the game engine. In any case, let's press three. It's a fun final look, and it looks like that is fixed. Okay, great. So having this piece, what I'm going to do now is I'm going to go ahead and then I'm going to do a reset, and I'm going to do a mirror. Let's set this back to one, mesh, and do a mirror, and we are going to mirror it on the X axis in the plus and we are going to set the axis position this time to object because if we do it in object, it will basically set it on the PivoPoint and because the pivot point was already in the center, it will not add any extra length to our object. Set the merge threshold to like 0.05 or something, and now if we press three and maybe turn on multi enter alysing, you can see that that looks quite good. And if we go outside of isolation mode, you see we can have look over here. Oh, what's that? Seriously. I'm not even going to comment that apparently, I did still have it. I just didn't see it because of isolation mode. The joys of working late at night when you are not completely flexible. In any case, I'm just going to, like, hide that. Does not matter. It's good practice. Just I hope that you guys, of course, save my mistake and that you did not try to follow along with exactly the same mistake that I made. In any case, we have this one. Let's go ahead and go in here and I'll say for this one, let's push it down, and that should look totally fine up close to the camera when we are looking at this. You see, you will be able to, like, see the gap, and I was going to go in, and I was going to add an extra cylinder, which we have over here. So I already added that one. And for this one, I'm just going to, like, kind of move it in here. I'm going to move it down there. Here we go. Ta da, I know it looked like a simple shape at first, but when I really got into it, especially this, this just took a long time. But at least now we have the detail, and I think it's nice that we just have that extra bit of detail. So for all of these pieces, we can right click and add to the selected object, and we can call this done. In our next chapter, what we will do is we will go ahead and we will start with the metal bars. And then there's only a few more pieces left. And you know what? Uh yeah, I think I will just go ahead and do those pieces as like a time labs. I do really like this, but we do not have this design over here. So that's why we cannot really work with something like this. But yeah, then I will just probably kick in the time labs, and I will do the rest because the rest is just very basic modeling and reusing assets that we already have. So let's go ahead and continue to that in the next chapter. 17. 16 Creating Our Metal Handles Part1: Okay, so now what we're going to do is we're going to get started with, like, all of these bowls over here. So for this stuff, let's just do all of them in the same layer, shall we? So let's grab this, shift the throat into a brand new layer. Oh, a little leg. There we go. And now I can turn off my blockout pieces and this layer. Um, metal handles or something like that. I feel like they are guard handles. What we're going to do is I'm going to get started with this one over here for this one, I had a look, I would like the base over here, but then I want to implant the top that we have over here just because it looks a little bit more interesting. That's basically going to be it. And then for the thickness, that one is a little bit tricky because I don't think yeah, there's no real proper reference to exactly know how thick it's going to be. So I guess that we are going to use the blockout, but I felt like this one was a little bit too thick, so I think I'm going to just tone it down a little bit more like this, St off on multi sampling, and let's go ahead and get started with this one. So I will first of all, do them, and then I will move them to the site. Although we most likely will actually split them up into two layers. The reason we need to split them up into two layers is because we need to keep everything at 000 in order to when we export it to Unilngin that the pivot point will be in the correct location. Okay, so in any case, we have this piece over here. Now, for the base, the base looks pretty simple. It looks like that. We just want to scroll all the way down. It's a bit annoying to work with this. If you want, what you can do is you can temporarily duplicate this one. And then for this piece, just go ahead and grab the top and move it all the way down. Because this way, we only need to create the top and the bottom, and then everything should be fine. So if we go ahead and move this, still feels very thick, but I can scale this in if needed. So knowing this, I'm going to add a loop probably around over here. Let's first of all, get rid of the bottom because that one will just be in our way. And then select all of this. This time we need to do Control E again because we need to extrude this based upon the normals, and we're going to extrude this out a little bit. Mm, there is almost like a little edge in there. So what I'm actually going to do is I'm going to let's see. I'm going to extrude this out up until this, and then I'm going to do another extrude out. So this will be like that edge, and then we kind of go down in it. So it will be like this. So this one, let's go ahead and do just a shift extrude with this one. I'm going to move down once because remember, supporting loops, move down again and move down again so that now we automatically, as you can see in here, have placed all of our supporting loops. The only thing is that I probably want to get rid of this supporting loop because I want to make this round. Over here, it will have created some extra pass. So let's delete them. Let's go to edge mode and then for this one, just on your green scaling, scale out a little bit. There we go. So that should do the trick. Now, go ahead and let's get rid of control B space, get rid of that edge so that we can select these two and make them nice and round. Do like a Control B. Maybe actually, yeah, you know what I'm going to do this as actual jomtry. Let's just give it some segments over here. Like that. I don't know. We don't actually have to do it as jom try because we have Added ta sporting loops. So it depends if I just add some supporting loops here. Yeah, this might actually look nicer if I just, sorry, not that one. This one for some reason is really sensitive. There we go. And one here. Yeah, see here. So now that that goes inwards, that looks a little bit nicer. Okay, and then for the top part, what we're going to do is we are going to mimic this one over here, which looks like the base, we can actually reuse the stuff that we have over here. So what we can do is we can reset our pivot. Let's also get rid of our history, and let's do a very quick mirror on the Y axis in the plus. With, like, a border merge of 0.05 or something like that. Yeah, let's move this down. And then for this one, let's get rid of this top piece over here, because this one goes inward, so that's already, kind of what I'm looking for. I'm going to scale this flat, because this one is a flat design, it's a little bit longer. It will have some holes in here. And then for this piece over here, what I'm going to do is I feel like that, let's see, if this is a corner, it feels like that if I select these few pieces over impress control backspace, I can actually set a fraction higher for this. Hmm. I kind of want to go I want to actually go even higher. So what I want to do is I want to go like this, and then I want to grab this one and I want to actually move it up so that it really becomes like a corner. Maybe if we then scale this out a little bit more, just to enhance that look I like a Control B with a few segments in here. And that will immediately also become like a sporting loop here, see? So it gives us that more round feeling that we get with this stuff. At the top face, top face doesn't have anything, so that's good. What I'm going to do is this top face. We're basically just going to fake it. It will probably just go inside the actual metal, but what we're going to do is we are just going to go ahead and we're going to move this. At this point, we're going to move this out, hold shift and extrude this out. Like this. Move it down, maybe give it like a tiny bit of like a scaling to make it a little bit like beveled. Then we're going to move it out quite a bit further, and then we're going to move it up. Here we go. So this will be sitting against it. And then for this piece and this piece, I'm just going to go contre B, give the bunch of segments. And then maybe over here, what I can do is I could add another loop inwards. And then what I'm hoping is that at that point, the shadows will take over, so you cannot actually look inside it, and else there are a few more tricks that I can do to fake it, of course. But those tricks, of course, take more work, so I just hope that the shadows will be fine because that's the thing you kind of need to justify. So I have this way more than you guys that I need to make sure that every minute that I spent on this is correct. And that's why something's a bit better that I like to just talk and ramble. But even in Treti, you need to learn that, see, that works. You kind of need to learn that you need to justify your time spent. And if you are going to spend 1 hour on like a tiny ring up here while you could, in the same time, create an entire bench, for example, it's not really logical because this piece, it will be very, very small. In any case, we have this piece now all that we need to do is just create some booleans in here. And those booleans, they will kind of, like, do that stuff. So if I go ahead and remove my history again, I'm going to grab a simple cylinder, and I'm going to make this quite low. Like 12. You might notice that at this point, I am going quite quickly because all of this stuff we've already covered it just to let you know which techniques I'm using where. But in any case, we place this boolean I think something like this. I'm going to make it a little bit bigger than real life, and the reason for that is just so that we can properly see it. Let's do this height. Let's extrude is also out over here. Select both of them, press combine, and then just hold Shivj and nice to clone them like this. And then we can select both of them again, press combine. And now select your main mesh, select your Booleans. And let's go Booleans and do a simple difference. Here we go. Now, with this difference, let's go ahead and just do a bit of cleanup. So I'm going to see if I can do this one a bit quicker. But booleans on cylinders are often even messier than booleans on, like simple squares. So because of that, I might need to actually put in quite a bit of work just to get the jom tree to flow correctly. If we do not have the jom tree flow correctly, what will happen is it will no longer look like a cylinder because it will look like it has jagged edges. And that's not something we want because then yeah, it just ruins the entire look. So because of that, we cannot just go ahead and we cannot just do cuts. Well, we can do probably a cut like this will most likely not break your shape, and a cut like this will most likely not break your shape. However, for these pieces, I would recommend that you cut them in this direction because you can cut cylinders around without affecting the shape at all. So I think doing this It's a little bit better, and then over here, we can do something like this, and then later on what we will of course do is we will just add some supporting loops. Oh, so, try it again. Later on, what we will do is we will, of course, add some supporting loops to this, and yeah, that should all look fine. Oh, yeah, yeah, it doesn't take too long to do this. I'm still a bit worried about these pieces over here, but I think this will add more support than also doing those really top pieces to the side, but we will see I can just remove them if that's not the case. However, normally, from my experience, this does not show up too much. The only reason why I'm a bit uncertain is because we have a soft bend below it, and that soft bend could also start affecting things. Everything can affect everything pretty much. But that's the fun of it. So let's go ahead and select this one, last one. Same over here. Oh, you know that, make sure that you do. Select the correct. I've heard seen that it's snapping works. Okay. And now, all we need to do is we just need to give it like two supporting loops probably in here. Same in here. And of course, in here. Now, it would most likely also need a spotting loop around, but I will see because that is not always needed, most of the time it is, but maybe that we can get away with it because it's such a small shape. So I'm going to select these insights, press CtraE and just give it an offset of 0.0 0.06, something like that. Now let's see if it works. Here you see. So this is one of those times where technically you can see a tiny bit of the forming, but deforming is not bad enough for me to go in, see, you can see the tiniest bit that it is twined scale like that. And then we do not need to go around, but I do want to quickly do a test that if I set the cutting method like this, if it will give me a better result because this is metal, it's shiny, so you will most likely be able to see really large incorrections. You see, here you can see the difference between if we clamp it down or if we run it across. So what I will be doing is just off camera. I'm going to go ahead and I'm going to get rid of these pieces and then I'm just going to reconnect them. And once that is done, I will get back to you. Here we go. Only took me a minute, there we go. That's now all looking good. Now we have arrived at the point where all that we need to do is move this a little bit closer. Sets back to one. Let's get rid of the mirror edge over here. And we can go ahead and we can move this up. To like roughly that point. And then if we press three, there we go. See, when it is so long, it does feel a little bit thinner, as you can see. So I don't know, maybe I want to make this a little bit longer like that, but that's something that we can also adjust a little bit more inside of unreal. So that's looking pretty good. So we got, like, a nice looking bowl sitting over here, so I'm not too worried about that. I will just keep it straight. I don't really want to add incorrectis here where I like, move it around a bit because it's solid metal. You probably won't even be able to notice in real life if there are any incorrections. So this one, I'm going to call let's start a new layer and assign this metal center pole. There we go. For later on when we go to unreel, it will make my life easier if I add it like this, and then I can turn it off, get rid of this one. And now we have arrived at this one. So this one, it has a slightly different connection point. As you can see over here, most of these pieces are welded together. Now, this is actually not difficult to do. It's basically just doing a booleon and then extruding it out and then connecting it. That's one of the ways that you can do it. You can also use a cut tool to basically cut around the I'll show you both of them, probably. I don't know. We'll see. And then, just like where it enters, so here this I quite like this. Look, but I do need to just double check to see because that is a very gamy fide look here. Oh, yeah. So where at entles over here, they did not really do a nice job of it. Well, in real life, it makes sense, but not for us. So that's something that we want to fix. And over here, what I'm going to do is I'm actually going to make this not round, but I think I'm going to make this like square to add, like, a mechanism where it, like nicely sits around it. So yeah, that's the general idea for this. Let's get started with this one, which is probably the most important one for this. See the metal rod we will do later on. So what I'm going to do is for now, let's pass height on this. I did actually now I think of it, I have my splines in here, backup. There we go. I have my splines. Let's do Shift and add these to our metal handles. There we go. Okay, so I got my splines in here. So I can already just work on getting this white because I feel like these pieces over here, they already do they have a decent flow. It feels like this one is a little bit longer over here, but that's just like a preference how far you want to stick it out. And in my case, if I go to my chair and I go up here, let's see, so if that is my chair, yeah, I guess that I want to actually make it stick out a bit more. Let's grab a very quick cube. Scale it out and scale it long. And the reason that I want to do this is because I want to use it in order to then go in here and just simply go to Control vertex and grab this one. Let's push this one out. And let's also go in here, Control vertex, push this one out. And these are straight. I want them to be straight, right? Yes, here. So they are perfectly straight while the chairs are at an angle. This one is a bit longer. So now we actually have a really accurate look of how things look. And then at the top, where are you? At the top. It will most likely sit in the ceiling like a lock like this, which in our case, is going to be like this one, here, see. So we will do that. Yes, so we'll do a tinging at the side, and then maybe at this side, I don't know. What I'm thinking about is this looks cool, having a metal bar like this with really thick bolts or something. However, logically, they would most likely do something like this. They would most likely just grab the exact same piece, and then they would just, like, extend this out and then add some screws. So we will most likely just reuse our piece. Sorry, I knocked against my desk. We will most likely just reuse our piece, and it will save us some time. So having this shape over here, I can turn off my chair. I just want to go ahead and quickly go to my center pole, and then I want to grab this piece and once again, just do a Sweep modifier. So mesh, sorry create sweep mesh. Let's make it like 12 because what I am interested about Am I moving everything? I need to be very careful about the movement because they're ERC. That's why I need to be careful. But if I select just my splines, the movement should go better. If I just do the splines and move those, ERC the mesh follows. So I'm temporarily just moving this into the center. It doesn't need to be perfect in terms of the scaling. But the reason I want to have the same scale is because I need to reuse elements for it. So having this sweet mesh creator, I can now go to my scale profile, and it looks like that 1.45 seems to be a nice value. So at this point, let's turn off our Center pole. Yeah, here, 1.45 seems like a pretty decent value to work with. So this almost does look thinner. This does look a little bit thinner than these pieces. Yeah, let's do that. Just in case because they do feel a bit thinner and I'm more of going on feeling. So let's do 1.3, in that case. There we go. They are a little bit thinner than the center poles. Maybe they need less structural integrity, and that's why they do something like this. So over here, you can see that this is how it now looks. Now having these two pieces over here, I'm going to go ahead. Oh, turn on optimize. That's quite important. Turn on optimize, and now just remove history, and we can go ahead and we can do it like an isolate. There's a few ways that we can fix this stuff. So the ends, we are just going to go ahead and we are going to do the technique that I showed you. What I'm more focused on with these type of pieces is how we are going to connect it. Now, you can go ahead and you can connect it in multiple ways. If I go over here, you can see it quite nicely because all of the jom tree is the same. It's quite nicely fits. So I think the cleanest way to do it, you can try a boolean. You can twy and duplicate this shape, just extract phases, duplicate it, and then cut out a boleon. However, I think it is just as easy for us to simply use a multi cut and to place the multi cut exactly on where the cylinder meets like this. I can see that the mult card is breaking a little bit. I don't know exactly why. Now it's working again. So we'll see how far it went. But if I do this and press Enter, here it just plays like a cut around here. Now, this multicud as I said before, I felt like it was breaking and it is. So let's merge ertzes, merge those at center, maybe do another isolate just to make sure. You basically want to just get rid of these faces over here, and that makes it easier for me to then select this and just do a merge a little bit closer to make sure that there are only a few vertzes here. And then at this point, yeah, if you want, or you can just connect it how we are going to do it, or you can extrude this out and make it flat. So it kind of depends if I extrude this out and make it flat, it's the exact same concept where I move this out like this. And then, for example, I grab this piece and just move it over here. But of course, you can also just merge these Verses over here. It just depends. I think in this case, if I do it this way, it might actually be easier for me to the press combine. So it might be a tiny bit quicker for me to the press combine, select all of them and do a merge closest. And then just do a double click to make sure that every single thing is merged, which it is. And now comes the magic moment. First of all, this is something that you after doing it many times, you will learn is to place like a simple cut along here. It will just make everything feel a little bit better, so that it still has some jumtre, not some floating verti. And then we can press Contra B. Add a bunch of segments here. Like this. And then what you can see is it will look a bit more like it has been welded. Might not look perfect now, but as soon as we turn this into hypol which we can do already pretty much over here, here, see. That's why I added that little edge and now we can do a quick loop. And because all of these pieces are going to also be nice and round, those pieces are going to be nice and round if I now go ahead and press three. Turn off my edge faces, you can see that looks very much like what you have here, especially when we turn this into metal because then the shine will catch on those areas. So we got this piece ready to go. Now, if we grab our metal center pole, here we go and let's steal this one and add it back to our metal handles, we are going to use we are going to use the top bits. So we're going to use the top bits, and then we might want to just adjust them a little bit. So let's start by just deleting all of the bottom bits. Let's go to the tool settings and reset. Oh, we are a little bit over time by this point. So I might, I will place this into place, and then we will see. So if we have this one, I think we want to go for, like, a more simplistic shape for this. I think that will look a bit nicer. So what I'm actually going to do, even though we did like really hard work is I'm going to on purpose, get rid of all of these, still keep this up, get rid of all of these booleans, scale this flat. Move it forward a little bit of flex scaling like that, and then just go ahead and scale this and do the classic merge erzes. And it looks like it did not merge all of them because it has a few stranglers in terms of erzes. Yeah, let's get rid of those. They must have been leftover from the Booleans. But if I do this, and let's try again, select everything, merge, double click. Way you're still not working. You are merged together, so I'm quite curious why you are not doing exactly what I want you to do. Let's keep that in mind. If I press three, here, geometry is a little bit bad, so that's something. But if I place an extra loop over here, and then I just double click on this loop, maybe if I then get rid of this loop, it will automatically fix itself. And the logic behind that is that sometimes the mesh is just being a pain here, see? And then it has duplicate pass or something like that. So let me just try and just get rid of all of this junk. Over here so that I'm just basically sweeping all of this stuff clean. Like this. And then I just select this edge, this edge, and I just bridge it. And now it must be, see, now it must be clean. Okay, so it took a bit longer than expected. But basically, I'm going to make these ones a little bit smaller with the idea that if I make these smaller and make the outsides a little bit larger for the bolts, it will look different enough that it feels like we created this specially. And in terms of, like, real life, it will basically just look like it's just like a V two model or something. It's like a slightly different model from the first one, but it comes from the same factory and in the same design, they just simply change it a little bit, see? And then what I will do in the next chapter is I will just although you can probably you don't even need to really connect it, but I will do that just to make sure that everything looks nice. Here, we can just nicely place into place. And then before you know it, we will have a nice looking transition piece. So let's go ahead and continue with that stuff in the next chapter. 18. 17 Creating Our Metal Handles Part2: Okay, so let's go ahead and continue with these poles. Now, one thing I decided is that it is way easier for me to just close up this hole because you will not really notice the difference. And then we're just going to, like, place metal in it. So if I go ahead and let's see, at this point, select this edge over here, hold shift, scale down. Oh, wait. No, no, no, no, it has some leftovers over here from the old cylinder. So let's get rid of those first. There we go. Is this everything? Yeah, so this is everything. So let's do one more she just to keep that supporting look there. And then at this point, you can actually also just collapse all of this to the center, which will just give us this look. Now if I press three, here, see, that will look a lot easier, and it's a lot easier for us also to place this around, especially since we need to place this around quite a bit, most likely. So we got this one. We can now see how simple it is compared to trying to merge everything together. Let's also have one over here. And then at the top, we are going to go like the big one, which will be if we go into metal over here, let's shift the, add this one to the metal handles. And then I can go ahead and I can see, delete all of this stuff over here. And this one I can just do the same technique where I go in. Let's go isolate mode, get rid of those leftover pieces. Let's press one. Just go into our unsubdivd mode. Yeah, so I can get rid of those leftover pieces. Come on. It's a bit annoying to select. There we go. Scale this in, collapse at center. Because yeah, the reason why these were here was because we immediately modeled this out of our cylinder in the beginning. However, now we can just go ahead and we can also scale this down. You can kind of choose, or you can do like an overall scaling, which I will do, or you can scale only on the axiom Y axis like this. But I'm going to go for an overall scaling. It feels a little bit more logic for me that if this pole is thinner, it will also have a smaller here we are round it like this. And this one, we want to then move up a little bit, and that's about it. Now if we press three, see? And you can never ever see beyond that point. Okay, so that's the site. That's pretty good. Now, these sites are being connected over here in certain locations, as you can see, and then the bottom location is going to be slightly different. So let's start with the top location. For our top location, what I'm going to do is I'm going to go ahead and I'm going to grab this piece and I'm going to nicely move it over here. And, first of all, we just want to try and move it into position like this, and then I just want to move it backwards a little bit because we made this a little bit larger. And now we can just go ahead and get rid of the old one. So we got these pieces. Let's also by the way, get rid of this. And then the first thing that we need to do is over here, we need to merge. However, I'm pretty sure that we can just reuse this. If I press one, I can just grab this piece over here. Actually, you know what? I do need to Oh, yikes. What is that? That edges very, very close together over here. But it seems to compensate itself. I do not like that. In slness that's really dangerous to do. So instead, I'm going to carefully move this back over here. Let's pass zoom in. And if I move this back, I will just hopefully give it a bit more space to get it back to the original. Because else here see, else you get like this thin line. Remember this is metal metal. I know that you might not realize now if you've never done metal before, at least in metal cylinders, but they are very sensitive to smart changes because they are reflective, you can immediately often see it. But okay, that's better. So we got this piece over here. Let's reset my pivot, and I'm just going to duplicate this. And I'm going to let's see, let's place one loop over here. Scrap this loop and just make it nice and straight like this. The other loop we have over here, nice and straight like this. And then we have another loop over here. Which also works so that we can now just reuse this. So we can select this control shift I, delete everything else. And now we just have this little joint, which we can now just go ahead and reuse wherever we want. So I can go in here and I can say, Okay, so it needs to go that way. So I can rotate this 90 degrees. I can nicely move it into location. Let's move this to the site that I have the correct height for this stuff. Like over here. You'll see that I'll do a pretty good job. Now what I'm going to do is I'm just going to go ahead and so this one will be a mirror, but I'm just going to move this one over here because I will most likely need it later on. And for now I can just isolate this, grab our original and add a very quick loop here and a loop here. See, let's move this down. Another loop here. Let's move this up. And then we can go at them. We can get rid of these faces over here. We can start to combine this stuff. So here we go. Let's combine it. If this a little bit closer, Yeah, I think we will need to do a little bit of work, but I think we can get this working. If we do a merge vertss let's 0.1. Yeah, here, 0.1 is close enough. And then over here, I just need to once again, move this down a little bit and, like, move some of these pieces up a little bit because those do change often. Try it again, select it, apply 0.1. There we go. That does a trick. And now, if you want, you can even get rid of these pieces over here, but I like to just keep them because when I press three, Tad, we have our loop, and everything's now also in the same thickness. So at this point, we can go outside of isolation mode. We can go ahead and we can basically move this one up until here. And then what we will do is we will go ahead and I'm just going to I want to keep a copy of that because it's just a handy piece to have. But in any case, I'm going to now go in Let's press isolate. Add one of these joints over here. And once that is done, we can immediately also create this area over here. So let's go ahead and let's select both of them. Let's press Combine. Let's see how far do they get if I do merge furses? Oh, I think perfect already. Yeah. Here we go. So if I press three. Yeah, that has a nice looking transition. And then at this point, it's just a matter of me moving this exactly where I want it to be. And then you can see, like, from the back. What I can do is I'm just going to extrude this out up until this point over here. And then it's just a matter of grabbing one of these pieces and moving them up here. And let's put height temporarily on like a blockout piece. We just want to kind of move this one and keep it at the same height level. Move it around. And then for this piece, just press Shade Smooth, which you can find in display and soften edge. Makes it a bit easier for us to see what we're doing. Like that and press three and double check your work. Almost done. I think I want to just extrude this out so that it is in the center. For the rest, that looks pretty good. Yeah, I think that will work just fine. So now it's just a matter of mirroring this stuff. So we got this one over here, and I'm just going to go ahead and press Show All over here, which you can find in Oh God. Where do I always find this? Display, show, and then Al. So that's one I just added to my tool now that we know this, what I can do is I can just very quickly add one line. If I select this one, add one line here in the center, just a simple connect. This way, it will make it easier when I do the mirroring. When I set this mirror exactly on this line, and then later on, of course, we can move it around a little bit to make sure that everything fits. But this should be the only piece that we need to mirror. If I go ahead and I press add a pivot and I'm just snapping my pivot to the very end over here to one of these points, does not matter which point. Yeah, so the rest we can just copy over. So let's do a very quick remove history, mesh, mirror, set the mirror at object, and this time, set it on the X axis in the plus. Yeah, see, we're pretty spot on. Maybe a tiny bit off, but that's something that we need to change anyway when we start to actually fit this altogether. So that's no problem. So for now, let's press W, and now we can select the d one and delete that one. And we can go in here and select the blockout one and delete that one also. So now all we have left is this one mesh. At which point for these pieces, we can go ahead and we can whoops, turn off snap We can neatly place this one. I'm not sure if I change this one in any way, so let's just grab this one over here. Oh, no, I didn't change it in anyway. There we go. And then over here, we have a few one. I know that I did forget to add the bolts, and that is something I also need to do, but I can technically just copy those over. Here we go. So let's do this. Okay, so for our bolts, it is quite cool that they have a little thing in here. But then, of course, these boots, they are also going inside of it, which I can do, but I will do that most likely with a norm map, and it's going to be tiny details if I feel like it. In any case, let's get rid of the cube. Let's grab this little piece and just throw this into our backup folder. Save sin first, and now if we grab, for example, our window, and I just need to steal one of these pieces over here. There we go and just add those to our metal handles. Turn off window. Et's move them over here, so they are really small. Let's make them a bit larger. And then what I wanted to do is I wanted to cut something in it. Now, normally that works easier if you have, for example, this is one of the few types that works easier if you have your round piece of your sphere over here. It's up to you how you want to do that. I myself, I think I am just going to then re make a sphere. Because I forgot about that which direction I did it to. So let's remake the sphere over here. Let's make it in 12 segments. Hold J, rotate this time, rotate this to the front. Grab the back and remove it, scale this a bit flat. First of all, move and scale this into positions that we roughly know what we need to do. Over here, I'm just going to nicely placed in like the center. And then just click and drag this piece, which I'm going to then make a little bit larger. And because this is so small, all we will need to do is just shift a few times just to add immediately like those supporting loops. Then hold scale, and then just scale it in with shift. And then finally just add like one supporting loop at the end. See? And that will just show something like this. And honestly, we don't need much more of that because we simply cannot see much more of that unless our camera is going insanely close, but it most likely will never be disclosed. So what I'm going to do is later on, I will most likely use a norm data that's just like a tiny norm P trim to make it feel like it's actually going inside of the mesh, and that will once again just be like a timesaver compared to needing to do it in geometry. Be else we would need to boolean all of these meshes out, and we need to push it all out, and then add all of our supporting loops and all that stuff. I would just be a little bit much. Now for these pieces, I'm also going to go ahead and move them over here. And for the top pieces, the top pieces, they are connected differently. So I can remember seeing that they do not have any bolts sitting there, no here. So they have a slightly different connection, and I do want to just leave that because I think it will be nice if we have a slight difference and not that everything is just bolded shut like that. So if we go ahead and turn it off, I think we are pretty much ready to go with all of these pieces. So let's save acine make sure to select everything and just add it to our metal handles. So we got the metal handles, and we got the pole ready to go. Which means that over here, all of this stuff is also done. Okay, we have arrived at the time lapse part of this course because these two are very easy, and then we have the back. And it's also perfect timing because I feel like I'm getting a cold. So for the time labs, a few rules that I will follow. It will be time laps. I I don't think I need to narrate over everything. If there's anything important, I will narrate over it, and I will also include the time maps without the sped up footage. So it is the unsped up footage of the time labs that I will include in the special folder. And this footage will simply it will not have any audio. So it's just like if you want to follow in real time, but without me speaking, you can do that. For the rest, some of the key focus points on the floor, the floor is going to be very easy, but I quite like having something like this. So I will most likely create an effect like this that you can see over here. I don't know if we maybe want to add something extra to the door for that, but we already have these trims. So it most likely would just be overkill if I tried to add something extra to this. Maybe over here, I will add like a little metal strip or something like that. So that is our floor. Our floor is going to be very easy. Our ceiling, we are going to mimic this, and it's just going to be, I do need to make sure to see I think these pieces are here to basically have, like the yellow bits that you can hold on. So I'm going to have a look. And yeah, here, you see them everywhere. So I am going to recreate those pieces over there. And for the rest, I will also create this little center line over here, so we will just make this modular. That is that one. And then for the back piece, the backpiece what I want to do is I'm pretty much going to mimic the stuff that we see over here. Our door style will most likely be I don't know. No, I think we want to go for this door style, but maybe we will make the window a little bit thinner and a little bit longer. I'll have a look. So we will basically here. This is a good image. So you can basically that we will just reuse part of the door. Once again, we will also like out those strips. And then for these panels, these are metal panels. However, I also want to go ahead and here you can see, some copy pasting that we can do. But next to these metal panels, I also want to add, like, something like this in here. So that's most likely something I will also do. And I'm going to add like a handle like you can see over here, just so that you can kind of see it here so you can properly open it. So yeah, you see the handles, and we'll take it from there. Maybe we do something with a vent or something. And then finally, when that is done, there will just be another chapter, and that chapter is very easy. It's just going to be all these small pieces. I just going to be me making the speaker system. It's going to be like adding some like these emercy brakes and like little buttons and everything. It's just like, very, very basic modeling. But that modeling in the end, it will actually add quite a bit to it. You can see like this one doesn't even have that much. So yeah, here this kind of stuff. So it's just going to be a bunch of that really small random stuff that we're also going to create. So that's the planning. So let's go ahead and continue with our time laps. 19. 18 Creating The Left Over Pieces Part1 Timelapse: A. A. B. Do Do Do the I I. 20. 19 Creating The Left Over Pieces Part2 Timelapse: I, I. Oh 21. 20 Preparing Our Assets For Export: Okay, so the time lapses are done, and most of our core models are now ready to go. So what I'm going to do is before we move on to the texturing part of our tutorial course, I just want to make sure that everything is placed nicely in position. So something that I said before that you need to keep in mind, when you export your models to unreel, they will be placed or the Pivot points will be placed on 000, which is where these thick lines come together. So when you drag something in, you want to make sure that, of course, it drags incorrectly. For example, if I have this, I always want to push this in a little bit so that when I drag it on the wall, it will be slightly pushed inside of the wall. It's small stuff like that. And for the rest, yeah, placing it in the center for stuff like this, it's not too bad, but it's just something to keep in mind. So this one does not have anything specific over here. The small lox, we can once again. Okay, so the small x is also fine. So for most of these, I will have already done this. But it's just doing a quick double check. And I wanted to do this in real time, just make sure that everything is correct. The speakers move it down a little bit so that it is not so far sticking in and it should be fine. Then for ceiling, these are the pieces where it is important. So if we have a ceiling because we want to do snapping, we want to have a general direction in which all of the snapping goes. I want to have all of my snapping go basically in this direction, going to the top right, I should say. Just make sure that you snap all of this stuff neatly here on the corner and that is all looking correct, and then everything should be fine. Here we have, for example, floor, a B over here. So what I might want to do is I might want to grab this, let's see, it's one model, right? Yes, it's one model. Go to Snap by points, set the point snapping on this very corner over here, and then snap to the grid and then snap this nicely back to the grid at 000. I know it's a very large asset, but there we go. And that's what just make your life easier when you actually get to unreal engine. This one is a little bit trickier, and the reason why it is a bit trickier is because the Pivot point, of course, we don't really have a point where we can properly snap this. Hmm. As you can see over here, what we could try and do is we can try to snap here I do snap by points. Let's add a pivot and let's snap it. Oh, God, it's really annoying to move this. Snap it to this very top point over here. Then just do a snap to grid, move this piece and then snap it back to the grid over here. Sometimes just go ahead and go in your top view because we are only moving one of the axis, so we're only moving the oh, God, I don't know. Z axis. We are only moving the Z axis. It will not try to accidentally have the floor lower or higher and it should still be in place. Our BwaO back wall is very specific, so this is actually fine. I'm not too worried about that. Maybe you want to, like, turn off snapping, maybe you want to move this a bit closer like this. But for the rest, yeah, you don't need to worry about that one because it's a very bespoke asset. This one is already pretty much in the center. The metal handles are once again something very specific. So I don't know. You know what? Maybe it is better, actually, for these type of pieces, turn off isolation. Actually have the Pivot point in one corner over here. It will just make my placement a bit easier, and then we can also go ahead and move this down, something like that. That should do the trick. So at least that will make things a little bit nicer. And as for the height, let's just move this down a little bit so that the PIV point is here, and then in unreal, I can use this location to basically move everything around. So we have done that one. Advertising advertising, I want to go ahead and I also want to do some snapping. And see how or where am I going to snap that? It is a tricky one. This point maybe. If I go ahead and here, let's do add a pivot point snapping. Snap this up over here to this point. Here we go. I think that will work just fine. Is this one still working? Yes, it is. And then I'm just going to go ahead and just to make my life a bit easier, I'm going to select all of these models for now. And by the way, these models, let me just double check, see, look good that I check. So I do not want to give them ends because you cannot actually see the ends. So that would just be waste geometry, which I guess does not really matter, but it also means wasted UV space, and it can cause more problems later on. I called Shifti. So let's just remove that. And now we can just go ahead and go Where's my tab, there's my tab. Now we can just go ahead and we can grab all of this stuff and we can press collapse. Once again, edit your pivot and just snap this to this point over here. Like the very end, there we go. And then snap this to grid, and I'm going to snap this one to the grid. There we go. Let you do the trick. Oh, and re add this to your layer because when you combine stuff, it does not add it to the layer. These pieces are a little bit trickier. So for these pieces, let's turn off my grid snapping. I'm just going to go ahead and I'm going to move it to the site, but I will not have actual, very precise snapping. I just want to move it basically around. Actually, you know what, let's do around this point. So that will just make it easier for me to move really close by and nicely set them next to each other. So for us, I'm not too picky about this because yeah, we are going to build this environment just completely inside the fn wheel. We will not build the final environment in here. The door and window are fine, and the rest is just going to be blockout setups. So yeah, once we are in real, it will look a little bit like that, and then we have some backups and we have a blockout. Perfect. So all of that stuff is now done. Now what we're going to do is in the next chapter, I will just break chap up here. We will have a chapter where it will all be about creating materials. Now, creating the materials for these pieces are actually not too difficult. So I will go ahead and I will tell you exactly what materials we are going to create. We will be using substance Zina for this, and then we can just jump right in. We can start creating materials. Once we have our base materials, we will do the UV unwrapping. And then this will be more of a back and forth between going into unreal, setting it up, polishing our materials, improving our shaders, and it will just be like a back and forth. But first, let's go ahead and actually create our materials. 22. 21 Creating Our Floor Material Part1: Okay, so what we're going to do in this chapter or in the next few chapters is we are going to work on our materials. So if we have a look at this, the materials are actually fairly simple. The materials itself, but the material response needs to be spot on. So what do we have over here? We have a floor material, which is one that is very specific that we are going to create. We have a metal material, and within this metal material, because we are using substance designer, we will, of course, create all of our materials procedurally, sorry. And because they are procedural, it means that we can create multiple different metal materials in one thing. So we will create the metal material. That can support basically everything from this plain metal that we see over here. To, like, the stripy metal that you see over here to also more like the duller and darker metal that you can see, for example, on these bits over here. So there is quite a difference between it. And the third main material that we will be creating is going to be our plastic over here. So we will create our plastic. We will also reuse our plastic for, like, the rubber and just slightly change the properties of our material. Those are the main focus ones for, like, the large pieces of materials. Of course, next to this, we have some smaller stuff like these pieces over here, but we will do things like the seating. We will do, for example, in substance painter. We will probably do a bunch of very small bits. We will also do in substance painter. And then later on we, of course, have all the branding. So let's go ahead and let's get started by doing probably let's start with our ground material just to get started with. So here we are in substance designer. I'm going to go ahead and I'm going to go to File, New package, and I want to create a new substance graph to get started. As always, I do expect that you have a basic understanding of substance. So this one will be metro underscore floor. And then just go ahead and sell it to metallic roughness, which is often by default. And yeah, we can just do four k because we have so little textures, we can just go all out with like a resolution, and we can always lower it later on in the engine. So over here, we now have substancesgner. We have our base color over here. We have our Treaty view over here, and then I have my graph in the center. Your layout might look a little bit different, but you can just move everything around. I personally will not actually be using my Treaty view. And the reason for this is because I always use Mama set for the previewing, and I have a premade scene that I will give you guys that you can use to preview Mm set just because scene, if you type in Fast Track tutorials in YouTube, you can actually find the free tutorial on how to set up the scene. And for the rest, it's just going to be like a quick preview. So I don't really want to spend half an hour setting up a scene when we're never going to use it beyond the previewing. So as you can see over here, now, that's the thing with these type of materials. It is that there is almost no norm map information. There's maybe like the tiniest bit of some dents and maybe some random specs here and there. But especially in this reflection, you can see that there's almost no norm map information. Never mind height map information. We have pretty much no height map materials in here. The reason I say this is because I always create materials, going from the height map to the norm map to the base color roughness map. So it's like that's my workflow, but I think it's the workflow for many people. So we are going to get started with just, like, a very, very basic norm map. Over here, we get some default outputs. Let's select the metallic and get rid of it. We don't need it. Ambient eclusion in height, we also don't need. We only pretty much need the base color, normal and roughness. So form norm map. It's very hard to see, but I'm going to give the tiniest bit of, like, dense, something like that. And the way that I can do that is I can go in my library over here. And if I just grab, for example, what's the directional noise? No. Let's do like a crystals over here, a crystals noise. Then what I'm going to do is I'm going to press space and pressing space. You basically get access to everything that's in your library, and you can start typing, and I'm going to type in HIS to get a histogram scan. With the Hiscom scan, what we can do is if we move the position up, it will basically slowly start showing the contrast, and as you can see what it will do it will give us some very small bumps. Now you can press space to basically show the tiling view to make sure that it is correct. And the way that you should see norm map information is the same way as height map information. White means up, Black means down. So when something is white, it will mean like it stands out. Now, it does depend on your norm map format. So if we press space and type in normal over here, and that is the open GL here. So I always work in open GL. You can see that it has some very subtle going upwards. So we need to add some changes to this. First of all, let's select this line, and whenever you select a line and you press space, it will just place a node in between. So we can type invert and get an invert grayscale. You can just use your arrow keys to switch between them. That's an input. I try to say invert grayscale. And now you can see that over here, it will now go inward. It's very tricky to see. Another thing is that it is way too sharp. I want this to be very, very subtle. So what I'm going to do is I'm going to then go ahead and add a blur high quality gray scale. Just type in BLU and then you can already find it. In this blur, start by setting the intensity all the way down. Then click Double click on your normal and then click once on your blur. Doing this will basically keep your normal map shown over here, but it allows you to change the settings of your blur, and then if I move my settings, here you go, see, you can see that you get this very soft effect, and I can then just make it as soft as I want to in order to get something that looks nice. So let's go for 2.5. Now in our norm map, we can also set the intensity here. So as I said, I'm going to make this very, very subtle. Okay, so we have something like that. Now, FRS, I guess I could see a few small specs. So maybe we can do something like some really small random specs. And the way that we can do this is we can grab, for example, a dirt to over here. We can add a histogram scan to this and make sure that you only select like a few of them like this. See? So just like a few very, very small specs. And then you can actually duplicate your blur, high quality gray skull and your norm map and plug this one in here. So with this one, if we set the intensity of a blur down, here we go. You just want to make this, very, very soft blur. Let's do 0.05 even. So as I said, really soft. And then what you can do is you can go into your normap and just like nicely nicely move this down. Something like this. So that's even too strong. Let's do 0.02 or something like that. So it's just going to be like some very, very subtle specs that you can barely even see, and you will only really be able to see them when the light hits it, like over here, you can see that the light hits it, and then you can start seeing it. So we have these two norm map elements over here. If we want to combine these, there's a very easy node, and if you press space, it is called normal combine. So you basically use this node, and in the technique, you set it to high quality. And then when you do that and you plug in these two norm maps, you get that these two norm maps are now combined, see? It is subtle, but they are now combined. And that's it. That's all that's to it. So for norm map, we can plug this into our final normal output so that when we export it, it will export this norm map. Now, what do we have left? We have left our base color and our roughness. In this material, most of the detail will come into the roughness. You can see it over here. Like there is some really cool detail in this roughness that we can use. And what we might also do is actually inside of UnwelEngine, we will use some cool shaded tricks to basically blend between different roughness maps to give it even more variation. So for our base color, it basically looks like a white specs thing. Let's see, um, well, actually, they are all a little bit different here, see? So it looks like white specks. And these white specks look very similar to what we have with the dirt. They look like we have. So if I go over here, it looks like we have a uniform color, and a uniform color is just a plain color. And the cool thing that you can do with uniform colors is you can color pick if you want. You can, for example, Grab over here, you can move this down and you can grab this little picker button, and then you can click and you can pick the color. Now, the color will not always be very accurate, especially not with random images like this. But based upon this, I can then, for example, tone this down a little bit, and it's a little bit yellowish. So let's go ahead and set this more in the direction of like a bluish color. Here we go. Make it nice and dark. Now, for our specs, before we want to do that, we want to add some variation to this. It's just going to be very subtle color variation. And the way that I tend to do that is I tend to press Contra C and Contra V in order to basically duplicate this piece. Then I just go into this output color and I just make it the tiniest bit stronger over here, see? All right, tiny bit lighter, not stronger, lighter. Now, if I blend these colors together using a mask, they will softly blend. So if I go ahead and add a blend note, which basically just blends two things together, I can have my foreground and my background. And now to blend these two colors together, we need to have something in the mask for which we want to have something that is quite soft. So maybe like a cloud too. Plug this in and then here, see? It's so subtle, you can barely see it, but it will actually show up. So it's just like this really nice subtlety between the colors. If you want, you can really see it by doing this, then you can see it. But yeah, it's just really nice and subtle. So I quite like that. Now, for our specs, we basically copy, once again, our uniform color and set it to be very white. And then we basically want to blend this white color. And for our specs, I think our specs are all over the place, and for the rest, they have just big and small specs. So here, yeah, you can kind of see it happening pretty much everywhere. Some are a bit rougher than others. Mm, maybe do something with those line. I'm not sure. I'll see if I if I will art something with those lines. Let's wait with that until we actually are inside of unreal. Oh, wait. Actually, over here, there are also lines. Yeah, you know what? We are going to add those lines. But first, the specs. For the specs, I'm going to grab probably a dirt one this time. A dirt one just has, like, a bunch more specs. And then if you add a histogram scan to this you can basically, poise them around, and then we get, something like this. Now, one thing I do not like is that it is if we just going into our dirt one, is that it is quite obvious where there are specks and where there are no specks. Why, I want to have it a little bit more gradual. Let's see, dirt tree over here. It's too soft, dirt five over here. Here, see dirt five works a bit better because it has more evened out specks like this. And then if I go into my HCRm scan, I do need to, like, mess around with it, see. Yeah, I think that will work. So let's start by just adding this and just see how it works. Yeah. So it does give me, these really small little specs. The taxi that might just work just fine. Let's go into a uniform color and set this even whiter like this. And what you can also do is you can also go in your HCRm scan and mess around a little bit with the contrast to basically get these specks to be a little bit more clear like this. Now, the cool thing about this blend because it's just sitting on top is we can use the opacity in our blend to basically control how many specks that we or how intense we want our specks to be. So that's pretty cool. Now, as I said before, these lines over here, they actually look quite cool where we have this flow over. So I do want to go ahead and grab something like that and just place it in here. We will only do this detail inside of a no map. And I have in mind if we go to our patterns, I think what we can just use is we can just use an inverted gradient. So it looks something like this. Let's go in and let's grab a gradient linear two or three. Gradient linear three actually works better. Set the rotation to 90 degrees. And then what you can do is if you set the position, Oh, no, sorry, not the position, add a transform to this, and a transform note allows you to basically move some stuff around and then set the offset over here to 0.5. So then we get this effect. So we get this really thin line. And if we then just place this line all the way across and we do it like twice or like two times, we will just like place this across. It will give us quite hopefully a nice effect. So we have this one. A few ways that we can scatter this across. One of them is to grab a tile generator. And this note, basically what allows you to do is input a pattern, in this case, this shape. And then in your pattern down here, it allows you to say, like, Okay, image input, and now you can see that you can scatter this across. Now, if I go ahead and make this very thin over here, what I can then later do is I can just decide exactly which one I want to use for my pattern. So if I do this, and if I then go ahead, oh, I do not have control over a mask. That's too bad. You have a checker mask over here, but that doesn't really work. That is unfortunate. In that case, I need to use the slightly larger node, which is our tile sampler node. Tile sampler might look a little bit more overwhelming, but same basic concept. You plug in a pattern, you set the pattern to a pattern input. On the Y amount, just go ahead and set this to zero. And then, by the way, go to your scaling and in your scale Y, set it to like two. What this will do is it will basically stretch it out and it will still be tilable. And once we've done that, we can go on our X amount and we can either set over here, we can set how many we want or we can, of course, scale it down. I'm just going to go ahead and set over here. So let's do like 64. For the background, because we want to have a background white that it nicely transitions, we can scroll all the way down, and over here, we will have our background color. And in our background color, just use the slider to basically change the luminosity to white. Let's see. Blending mode, I subtract. Okay, so setting the background color to white might I need to do this in a slightly different way. Basically, what I'm going to do now is I'm just going to mask out which pattern I want. In order to mask it out, you go ahead and you can grab like in pattern, just grab a Yeah, this is quite custom work, so I'm just going to do this easy. Grab a simple shape, set the X quite low like this. And then what you can do is you can basically add a transform to this and you can move this up and down. Now, the way that this works is if you plug this into your mask map input, you can use this as a mask. To activate this mask, you scroll all the way down and in your mask map threshold, turn it on. And at this point, you can use your transform to basically see. Yeah, you can almost, like, select which one you want. I'm going to go for let's see, one that's quite on the outside. See one over here. And in order to basically have this also on the other side, what we can do is we can add a mirror gray scale. And let's see, Mirror Oh, no, sorry, Mirror X axis and turn off invert. There we go, see. And now we have it exactly on the other side. So, okay, so we got these two. The only thing that I was a bit disappointed about is that the background decided to also here, see, it decided to also push this out, which I do not really like. However, the way that we can pretty much fix that is we can simply add a blend over here and plug in our same mask. And then set this to be like okay, so first of all, we need to make our shape on the X xs, a little bit wider until it covers everything. Let's see, 0.150 0.015. And sorry, use this into your opacity, not in your top, and then add a uniform color that is completely white. So you can just set this to grayscale up here and then move that slider again to completely white. And if you do that, sets to copy I think we need to invert. L et's select this line, do an invert gray scale. And the cool trick is just press D and D will basically dock it. It will just minimize it, but it will still be here. There we go. Now, I just need to, like, do some very final adjustments, 0.01, two, there we go. See. And now we only have it on two sides. I know that was quite a bit of work. But no, the setup is not too difficult. So once you have this, you just add a norm map node. Set is the OpenGL. And then what we can do here, so we can see like in the norm map, you can see that it's not perfect, but you can art a blur. Sometimes it is easier to just art a blur. Here to basically increase that than to do anything else to just quickly fix it. Another thing is that it's most likely a little bit too thin. To tick. If it is too thick, you can try to do the easy way, which is adding a simple transform and setting this to minus two, but it will most likely here, see it will most likely do this. Oh, now I think of this. It depends how we are tiling this, actually. It depends how we are tiling this, but for now, it might actually be nice if we hold shift, and shift basically allows you to copy this note like this. For now, it might actually be nice to just have one because this way, we can also just do like a minus two over here, and then we can have two that are a lot thinner, see? And this way, now that they are so thin, we can go ahead and do like a normal combine over here. Set is at high quality. And we can nice, plug these in together and maybe tone down the intensity quite a bit. Here we go. See? So that's another trick. So this one for now, you can just press the lead probably, and we can leave it like this. Okay, so now the normal map is hopefully done. Let's go ahead and actually save scene. That would be nice to do. And in our source files and taxis folder, I will create a new folder called the floor, and in here, I can just go ahead and press Save. So what we'll continue on in the next chapter, we will go ahead and we will just finalize MTO. We will work mostly on the roughness. We will open up Mom set and, like, render it. But we already got a really good process, so that's looking nice. So let's go ahead and continue with that in the next chapter. 23. 22 Creating Our Floor Material Part2: Okay, so let's go ahead and finish our floor material. So we left off with this very basic base color, but I think that actually already does the trick. As I said before, most of this detail will be in our actual roughness. So what we can do with this is we can plug this into our base color slot, and now we can start focusing on our roughness. For the roughness, when something is white, it will look dull. When something is black, it will look shiny. Keep that in mind. This time, it does not change, unlike the norm map where you can switch between direct X and OpenGL. So we are going to go ahead and I always like to do a gray scale conversion, where I plug in the very base colors over here. With this gray scale conversion, what I can then do is I can add a histogram range. And with the Hcm range, if I set my range all the way up, I can basically here. I see I can make this darker or brighter. Now, I don't know exactly, because this is a very specific here, like softness that you can see. So let's start with something like this around 0.5. Let's stay around that area, and we'll see how shiny this. It's probably way too shiny. Let's make it maybe a little bit more, but we'll see. Then what I want to do is I want to add a blend, and these specks, I want to have these specks stand out a tiny bit. So I'm going to grab my specks over here, just a mask because this is all grayscale. A roughness map is all in gray scale, so I can just grab a mask. I have no point in adding in color. And if I set this mask to be subtract, remember, black means shiny. I can just tone down the opacity of my mask and here, make it stand out a tiny bit to give it some random specs. Now at this point, we are basically going to add some general dirt and grime and everything. Let me just move this over here. Substance painter actually has really nice grime textures for stuff like this. So I'm not sure. I might actually export those because we can use those later on, and they will be very nice. Yeah, let's just do that. I will show you how to do this now. I was expected to actually show you how to do this way later, but let's go ahead and do this now. Let's open up Substance Painter this time. Okay, so here we are in substance painter. Now, I will go more in depth in this later on, but this is my layout. I have my assets and everything on the left side. I have a really large viewport in the center, and then I have my layers, text set list, and text set settings, along with my properties on the right side. All these windows, if you cannot find any of them, you can always go to Window use and in here, you can find them. So this is going to be very basic. That's why I'm not really going to do an introduction to substance painter. I'm just going to go file and new and substance painter, so it's still set to the wrong template. Just set your template to, I don't know, PBR metal roughnes. It does not matter what template you use. Basically, it needs something. Substance painter needs a three file. So what we are going to do is we are going to grab a plane over here in May and we can just go ahead and go File Export selection, and then we can go in and we can simply export this plane, and I'm going to export it into exports and just call it plane and export it as like an FBX file. Just press Export. That's all you need. It just needs a very basic plane. In which point, we can now go ahead and we can go in here. We can import the plane. So yes, select plane, document resolution, go four K, and the rest I don't really care about because I'm just going to basically rip off some of the grunge maps. The way that I tend to do this is if we go ahead and we can go in here, we can delete this layer one, and we basically want to grab a fill layer up here just by pressing this button. And then on this fill layer, you want to go ahead and you want to go down here, and you want to basically grab a black mask. Now in this black mask, what we can do is we can later on assign a grunge map. In order to assign a grunge map to an actual mask, you do need to go down here and you need to press Art fill. This basically what it does is the black mask, you can paint in the black mask, but you cannot assign textures. The fill layer is almost like using a texture slot in order to apply a texture to this mask. So why are we doing this? We are doing this because if we go up here, let's see which one they recently changed these icons, so I always need to get used to it. Oh, yeah, over here, the texture step. In a taxi stab, if you scroll down, you can see that we have a lot of textures, but we also have really cool grunge maps. So we should have really cool grunge maps in here. It Takes a second to load. So let's see where are they? A here, see? And these are the ones that I mean. They have really cool, wiping and like fingerprints and everything. And I think these can be very useful for us also to use inside of Unreal Engine five. So we are going to export this. And what we're going to do is we are going to export multiple and we will already export them so that we can use them later on inside of nalgenFV inside of our shaders. So the way that I do this is I grab my grunge map and I throw it into my fill layer over here. Now, because this is a fill layer, this means that now this mask is using this fill layer. Normally, what you can do is you can actually right click on your mask and you can press Export mask to file. And if we then go ahead and pasted in our grunge map location, we can call this grunge, underscore is underscore A, and then we will just go at the set this to be a JBC file and save. See if that worked. First of all, I want to just right click and I want to double check that it is set to four k in details, four k. And then I just want to open it up. Perfect, C. And now we have a grunge map sitting here. And that's it. Now what we're going to do is we're just going to go ahead and let's see what else do we want? Smudge is heavy. Let's also do that one. Right click Export Master File, grunge wipes underscore B, JPEC and you can see that we can do this very quickly. Okay, let's see what else? No, I don't really crunch wipe dusty. Dusty might actually look really cool also. So we're just going to try this out inside of substance designer and see whatever works. So let's export Master File. Crunch nscore dusty, JPK over here. Let's see what else do we have? So those are all a little bit too strong. So I don't want to do something that is too intense. But often, like this stuff leaks. Let's do those also just in case we can use it for something later on. Let's go ahead and export. Grunge leaks underscore A. JPEG's export. Okay, let's see. What else do we have? We have some spots. I don't really care too much about spots. We have some rust going on. I don't really care too much about rust. Here we have some critic cool leaking. Oh, yeah, here, these are ones are often quite cool also. Let's do here, let's do this one, and let's just call this Leaks too. So we can now go at an export, and this is crunch leaks underscore B. And then I saw another one, which is like these fingerprints, which I think are really cool. And I think, especially for this stuff, especially on these pods and everything, fingerprints will be perfect for us to art. So let's go in here, file export you know what? Fingerprints on square. You know what we could even do I inside of realism, we could literally give the option to paint in the fingerprints. That would be pretty cool. That I can literally paint them in in certain locations. And why that is cool is because, of course, having them all over the place would be a bit strange, but having them localized, that could give us a really nice effect. So let's keep that idea in mind. It's very easy. Vertex painting. So it's a very quick shade or setup to actually do. This one, I would just call this like dirt. So let's go ahead and export file, crunch dirt score A. And I think that's about it. Like we have some scratchy stuff and some other random stuff still here. So, of course, you can just look around, play around with it. But just in general, we now have these maps over here, and that's cool. What I can do now is I can go ahead and I can go back to designer. And now, in these maps, we want to go for something that is actually quite soft. So I'm going to go for wipes. I'm going to try those out, and I'm going to probably try out like dusty. And it's dot A let's just import all of those. And I'm just going to do Import resource. Input resource will copy and paste these maps. Import linked will mean that it will link to this location. The reason I cannot do Linked is because your location will be different when you download my files. So that's why I'm going to go for this and give the second to Import, even though it's JPEX, they are still quite big because they are in four K. That's why I cannot move my window because they are importing, and there we go. Cool. So now we have these maps. So what we can do is we can basically add a blend and we can just do like a tryout. So for all of these, what we can do is we can just plug it in here. And then set this to be art. So we want these to be dollar. Set these to be art, play around with your paste and just throw this into your roughness. And then what we will do is we will first balance everything out a little bit. And then what we can do is we can just experiment with which crunch map will work best. Just to keep everything organized, what you can do is, for example, this is your norm map. You can select all of your notes, right click and Ara frame. This will nicely frame it and allow you to move everything around and you can name it. For example, normal underscore map. You can do the same over here, art frame, name this base underscore color. And I can do the same over here. Art frame. Roughness map, and finally these three. Cool trick up here, you see these notes. If you want to have everything perfectly aligned, just press this note and it will perfectly align your pieces. And it does that with everything. Iver I do this, I can parase this one and it'll perfectly align everything horizontally. Just so I know, it's one of those things that you can still make your material without it, but it's a cool thing to know. Let's call this outputs. Okay, we are ready to export this to Mamset. So the way that we're going to do this is we are first of all going to save sin and then you want to go to your Metro floor, the one below it. And if you right click on this, you can export outputs as bitmap. Now, when you do that, it will give you a location. Our location, what I'm going to do is I'm going to create another folder that I will call final and in this foldo, I'm going to export all of my textures, and for my format, I'm going to go for TGA. I did recently learn that with rate racing, you will have a better effect on your height map if you are using PNG, just for your height map, however, but it really depends on the material. Like, yeah. So for now, we are just going to use TJ because we do not really use any extensive height maps for this project. For the rest, just leave everything same. Just turn on automatic export when outputs change. Turning this on basically what it will do is it will make sure that whenever we make a change, it will automatically export and we don't need to go to this window again. We can press Export, we can close. And now to add it to Masat, I have this scene over here, and this scene, basically what it is, is it's a sphere. Rate racing is turned on over here, and it has three lights. It has one big light coming from the right and then two small lights, one coming from the left, top and one from the left bottom. The first light is quite neutral. It's white. Second light is a little bit yellow, and the third light is a little bit blue. It will just add some contrast and some interesting changes so that I can see my roughness and everything. That's about it. This scene will be included. It's in your texture folder. If you want to know how to create a scene, you can simply go to YouTube and type in Fast Tractorials. And then you can find it in there. It's very obvious. It's called scene material creation. And yeah, so that's about it. There's a lot of free stuff there, so make sure to subscribe. But in any case, what I'm going to do is because we are going to use this for previewing all of our materials, I'm going to create a new material up here by pressing the plus sign. Click once on the name and call it floor. So our floor has a norm map, an albedo map, which is your base color map, and a roughness map. So that means that we can now go ahead and we can go in here and we can go to floor. Turn on why my scene is so slow. Final, I want to get those SSDs that have a 7,000 MB per second wide speed. I think that will really speed things up. But in any case, over here, we can now go and I'm just going to drag in these maps. So I'm going to drag in my norm map. I'm going to drag in my base color, and I'm going to drag in my roughness. What you see over here it's just your rate racing because we have rate racing turn on. I then drag this on here, and this is what we get. Now, first of all, what I tend to do is I tend to go to texture and I'm setting my tiling to two. See it makes it a little bit more manageable. Now the darkness of your scene is a tricky one, because I never know exactly how dark it is, I can go to my sky and I can set it a bit brighter here, but we kind need to decide for ourselves if our original is too dark. If I have a look over here, this is more like experience. If I have a look over here, I think what I want to do is I want to make this slightly brighter like this and make this one. Slightly brighter so over here. So I'm giving it a little bit of brightness and the rest, I will compensate in here. See how it updated. As soon as I switch to Mm set, it will just update. And then in here in my sky, if I, for example, set this to three, I can roughly, guess how I need to make this. By the way, you can also go in your texture and use your offset U to basically rotate around where those lines will be. Okay, so the first thing that I'm not really happy about is the line placement and also the light line intensity. Our roughness is pretty good. If we hold shift, we can rotate our sky around, and you can see that the roughness, slightly changes based upon that. Also, to get rid of this grain, if we go ahead and go into render, just to make sure that you have denoising turned on, and I'm going to, you know what? That grain that might just be let's just wait for this slide. I just want to make sure that this grain. Okay, yeah, so let's set the denoise strength a little bit higher. Maybe that will work a little bit better. Yeah, okay, it is a little bit better. In any case, the general glare is there. Like, that is pretty good. I still I'm not 100% sure how it will look. But let's start with the first problem. The first problem is that these lines, I think that they are too dark or they are too strong, so let's tone down the intensity. To 0.5. And I feel like that I do not want to have two of them. And what I can do is I can add a very simple blend behind it, plug in my white color at the top and then grab a shape at the bottom, which we can scale on the X axis like this and add the transform to it. This way, I can use the shape as like a very large mask. So having this, I can go ahead and go to my transform and move it down, see. So now we only have one line left that is very thin. And now if I have a look in Mm set, you'll see, we just get this very thin line, and that's more like what I wanted. I just wanted to get this subtle line that we can see running down here. I also feel like my line is a little bit too perfect. It's like perfectly straight. The way that we can fix this is we can go into our line. Let's make our box a bit larger, move this around, and we can add something called an sorry, non a multi directional blur grayscale. This one, multi deer warp yeah, multi directional warp, gray scale. Sorry. So many nodes. When you have this note, if you plug in like a noise like a purlin noise over here, a purlin noise is just like really soft shapes, and you can change the scaling to see how many shapes you want. If you plug this into your intensity input and set your mode to minimum, meaning that it will only affect the black and your directions to one, meaning that it will only have one direction, you can see that now I can mess around with my scaling, and I can also mess around with the intensity of the warping to basically warp around my line a tiny bit. Doing this, it might be sometimes a bit hard to see, so sometimes you want to set a bit more tense. But doing this, it will give you the option that your line just does not look as perfect. Yeah, here. It's probably a little bit tricky to see. Yeah, you can see it like a tiny bit, but it will work, of course, on a flat surface inside of unreal. So we got that stuff done. Now, if I look at my reflections over here, I can basically decide how strong I want everything to be. First things first is my spots. I'm going to go in. I'm going to make my spots a little bit less intense. And I want to go into these spots, and I want to add a transform note behind them and press minus two to make them a lot smaller. See? And maybe add like a few more of them. So maybe go into your Hcam scan and push up the position a little bit more so that we have a bunch more of them. There we go. That starts to look a little bit better. I think I can even go into my sky and set it to like two and then press enter to make it a bit darker. Okay, so we've done our spots. That's all looking good. We got these tiny norm map specs here and there. Maybe we can make them a little bit stronger. These nor map specs here, let's set them to 0.03. And also maybe make our larger warps a little bit stronger. Oh, see, that's too strong. Let's tone it down a little bit more. 0.64. Maybe turning down a little bit more. 0.56. Let's do 0.5. I might have just already had 0.5. Okay, so 0.5 C. You can see some very small deformation and now you can start seeing those specs. Okay, the rest is going to be focusing on our roughness. If I have a look at my roughness, I'm just going to make my specks a little bit more noticeable by going in here and making them a little bit more stand out or make them stand out a bit more like this. Yeah, it might be a bit tricky to see, but I do see it. And then I'm just going to go ahead and I'm going to work mostly on, and by the way, you can turn off your airessing if you want to have different look at things and make everything run a bit faster. I'm going to work more on the smudges over here. First of all, if I go ahead and I would like increase my opacity, I can also add a histogram scan in between here to basically push around my contrast and my position to get this to look stronger or less strong. When I do this, you should be able to see maybe if I go and grab my light and make my light, I'm just pressing E to basically rotate a bit the same. Let's see. It's a bit tricky to just see the roughness. I'm surprised by how difficult it is to see that. Yeah, I can see the ripes a little bit, but I expected them to be a lot stronger. Let's just mess around with a few. Let's plug in this one. This one is very obvious, so you will most likely here's. For this one, it is very obvious, but it actually does look quite nice. I'm just going to, first of all, drag all of them in to make sure that I know which one I want to work with. I think the vibes are just a little bit too subtle. This one is also too subtle. And finally, I have this one, which is really, really strong. Here's. You can see how much of a difference that makes. Now we are also going to go ahead and we are going to also work with this inside of unreal engine to add even more roughness on for now, I think that this one over here is the winner. So the other three, we can just delete for now, and we are going to stick with this note over here. So having that, let's go into our Hirscrm scan. I just want to play around a little bit more my position, and then I just want to tone down the roughness amount to around 0.5. Okay? That's not enough. 0.7 maybe. Oh, yeah, yeah. So yeah, you can see it like a little bit. Let's do zero point, you know what let's do 0.5, because I know that inside of unreal, it will look a lot stronger. And let's grab a base Hcrum Range, and let's make it a little bit darker, just a tiny bit. Here, see? So we get that nice shine going on over here. So we are making it a little bit shinier than it is in real life. But then for the rest, I want to just balance this out inside of Unreal engine. That's looking pretty good. We got that stuff. I think I'm going to once again go to my sky and actually set this back to one to make it a little bit darker here, that stands out a bit more. You can press E on your darker light over here just to mess around with it, and then you can really see the roughness, intensity, and all that stuff. You can play around with that. But in general, I think that is looking pretty good. I can hold Shift and once again, rotate my sky around a bit more. Just to play around to this, maybe I'm going to make my scrumrne a little bit less dark, just a tiny bit, and then maybe make my specs a little bit more obvious using the obs. Yeah, okay. I think this is a solid base. It might not look a lot like this, but this is, of course, because lighting difference over here. But I think we have a pretty close look to what I want, and then we can take it from there once we are inside of UnwelEngine. So that's it for our floor. We can save sine. We can also go ahead and we can save our substance design sine over here. And in our next chapter, what we will work on is we will start working on our metal. So let's go ahead and continue with that in our next chapter. 24. 23 Creating Our Metal Material: Okay. So now that we have our floor done, now, what we're going to focus on is just our metal, which will have a few variations. And once again, the metal within unual engine, it will get even more variations. So creating the base of the metal is actually very easy because it has almost no base color except for when we are doing this kind of stuff. And for the rest, it's all just a roughness play. This metal is so smooth, it will not have any norm map information or anything like that. This is because that's the goal of this metal. The goal is to make it very, very smooth. So let's go ahead and create a new substance graph, and let's just call this metal. And we can take it from here. We can just give it other names for the different types of metal. So for now, just press. Once again, get rid of our tree view. Let's get rid of our height. Let's get rid of our ambient occlusion. And for our normal, just press space and type in normal to get the normal color over here. So that's just like a plain normal color that we can input. Base color, our base color is going to be probably, actually, you know what gray might be fine. So it might be more towards white because then I can make the metal feel a little bit more lighter. But for the rest, that should be it. So most of our focus is going to be towards these. The first one is a metallic note. Metallic basically means saying if something is metallic or not. Now, there is sometimes a misconception about this. Something is metallic when it is pure metal, like you can see over here. However, even this stuff over here, I don't think that this stuff would even be metal, so we will, of course, have a switch between them. However, all of these actual bars, they are pure metal. As soon as something is rusted or it is painted metal, it's no longer metallic because the actual paint and the actual rust itself is, of course, not metallic. So we are going to go ahead and we are going to set this to white, and later on, I will show you how to set up something called a switch in which we can just switch between different types. So as you can see, most of our focus is going to be towards the roughness. So for roughness, because this is really shiny metal, we want to just set it completely to black. This way, it will just look like very shiny metal. And then what we can do is we can add something that will just break up this roughness. Now, I'm going to do this by adding a very simple blend to this. And remember how we created all of those grunge maps. If we just go ahead and textures grunge maps over here.'s set my icons like large. I think I'm going to try out the wipes, the leaks, and the fingerprints. I think those three are really soft because we want to go for quite soft stuff. And let's just go ahead and press input on those. Here we go. Oops, I didn't mean to do that. So I have a pretty good feeling about our fingerprints over here. So what I'm going to do is I'm going to grab my fingerprints, add a very simple histogram scan to it, I said, This is going to be very easy doing the metal. It's just the shader set up inside of unreal is going to maybe be like a bit more complex. Let's just push this down a little bit in our position and throw this into the top, and we can set this to be an art. So when we set this to art, we can, of course, work with our paste. And that way, we will hopefully get some metal and that the metal is looking nice and just like spotty and yeah, like, dirty, like you can see over here, this kind of stuff. So let's just go ahead and already export this. This is going to be the most basic metal that we have, which will be the metal for our poles and everything. So let's go ahead and press Save, first of all, we're going to save this into textures. Metal. And in here, just press Save. And then what we can do is we can right click Export outputs as Bitmap. And let's go ahead and export this. Let's create a folder called final. And in here, we can select this folder. TGA is fine turn an automatic export and just export it. Easy does it. So now if we go into the wheel, we can go ahead and we can just create a new material that I will call metal underscore A. So we will have multiple different metals. Let's go ahead and throw this on here, and let's have a look. So nomap albedo roughness metal. Yeah, that's all we need. So now if we go to our folder over here, metal and final, I will drag this over to my screen, and I'm going to drain in our base color. Our normal roughness, and now it comes as soon as I drag in the metal, which is now a white map, but technically, you can just use your slider. You can see that this will happen. So our metal, it is very, very dark right now. However, that could most likely also just be the simple brightness of our environment. If I set this to five, you can see that it is not as dark. What I'm going to do is, first of all, let's go ahead and set my color to be white just to maybe compensate a bit for that darkness. Here we go. So let's just fill white. Then if I go back, there we go, see. So now it looks a little bit better. The next thing that I'm going to do is I want to set my actual reflection a little bit down because it is not this reflective. So I can go ahead and go back to subzger and just in your base roughness, set it a little bit less black, and then you will see here see. So you will very quickly see like changes. So you can kind of, like, guess Yeah, this looks like a nice, this looks like a nice reflectiveness over here. And then the next thing would be that, of course, we have our roughness details over here, which I can see them like a little bit. So they look quite cool. Let's just see I do feel that lately the reflections don't work as well on this one as I would want. Yeah, let's just switch to my. Yeah. It's a bit tricky because now, of course, we can see vine. By the way, up here in main camera, I'm just switching between different camera modes. In any case, let's go back to adacing and, yeah, let's have a quick look let's see smudges. Let's just throw on some leaks and see if that does like maybe I'll set a bit stronger. Let's see if this makes a change. Yeah, see, you can see these really heavy leaks. So the roughness is really important with the metal. So that's leaks. How much do the smuches look if I make them stronger? Okay, so the smuches look a little bit grainy. And the last one would be like this dirt over here or like the wipes. Looks like that. Mm. You know what the leaks actually do look quite nice. What if I combine some stuff? Well, if I'm going to combine these two, so we have our leaks, and we have our smudges. Let's add a simple blend. And let's blend these two together, and let's set the blend to be let's set this to, like, a subtract. Here we go. And let's see. Then we have a position and then just tone down like opacite. I think that could look quite interesting. I know it might feel very intense, but we'll see if this is too intense when we get to unreal. It is too intense right now. So let's go in and tone down the opacity and maybe actually swap these two around so that the strong one is going to be like our leaks and set them to art. Here we go. So we can art a few small leaks in there. We're almost there, push this out a little bit more. Maybe in my blend, you set the leaks a bit stronger. So I'm just here. If I swap these around, so I have my leaks at the top, gradus at the bottom, I'm just using an art to basically art the leaks on top. And now we get something that looks a little bit better already. So let's start with just something like this. I think that will be a pretty solid start. And then with these leaks because they are a little bit strong, what I'm going to do is I'm just going to set my original color a little bit darker. So that kind of shines through a little bit more. There we go. And becomes a bit shiner. So there we go. It's a bit tricky to, of course, really see what we're doing over here. But I think this is a pretty solid base. So it's just going to be like some soft metal. Maybe for my leaks I'm going to twine like blur them like the tiniest bit. So I add like a blur, high quality grayscale on top of this. And then go ahead and go into your intensity and give it a small blur, maybe like 0.2. We need to be careful because blurring something, it can very quickly translate into looking low resolution, and we don't want that. We just want to give it like a softness to it. Something like this, this should work quite well. Okay, now what we're going to get start with is doing some variations. So we got our core metal done. Now let's go ahead and just add like these stripes over here. Now, I feel like that these stripes are actually just in the roughness. It doesn't really feel like they would be in the base color. So what we can do is we can do that here. As I said before, substance signer is very procedural. If I just go ahead and move this out. This means that I can actually have these sliders and I can very quickly turn stuff on and off. The way that we do that is like this. Let's say we add our stripes. I can go ahead and I can add a blend over here, and this one will contain our stripes. For our stripes, we can go into patterns. And if we just go ahead and there's literally one that is called stripes over here, we can just add these pieces and the stripes, all you need to do is just set the let's see the shift to yeah, let's set the shift to zero, then you can control the amount of stripes that you want. So we'll see 15 or something like that. And unfortunately, there's not a rotation. So because I want to have them going vertical, I'm just going to ter transform. And in your transform, you can also set your rotations over here. So I can set this to 90 and that will just flip it around. If I add this to my blend and set this to be art, I know that these will look a lot duller. So that's how I'm going to most likely add my stripes. But now let's say that I want to switch between these two with like a simple button. I can do this by adding a switch grayscale over here, and I can say, has stripes is equal to true. And if it is equal to false, we will use the blend before our stripes. Doing this, now if I just turn it on and off, you can see that I can very easily turn this on and off. And whatever I add on top of this, of course, it just as long as I place it in front of my switch, it will just be added. Now next to this, what you can also do is you can create a preset for this or you can expose this. The way that this works is you go down here and you go ahead and you expose a new graph input like this. With this, what you can do is you can give it a name so you can say has underscore stripes, for example. And what you want to do is you want to copy this into your identifier and your label. The identifier is basically to identify which one is a stripes, the label is just a name. Then what you can do is you can press Okay. And now if you just swap back and forth in your explorer to your metal, you will now have a parameter called has stripes. The cool thing about this is that, for example, you can go into your preview and you can literally in here as a button, you can turn it on and off. And we can do that with everything. For example, we can go ahead and we can also add a switch grayscale to a metal. And then I can, for example, add an invert grayscale over here. Because the invert of white black, so it will save some space. On the way, Ax, I'm just going to use a black collar because in black collar is slightly cheaper to use. You can see down here how cheap it is 70 milliseconds, while an invert was 1.7 milliseconds. In any case, don't worry about that stuff. Like we don't cover that stuff in district oil because we don't really need to for these materials. It's a force of habit. In any case, let's expose this switch and call this I it's metallic, for example. There we go, and then we can press okay. I knew I wrote it wrong. Sorry, If you wire it wrong, like I did, you can just switch to your metal, go to parameters, and type in I I always tend to switch these around by accident is metallic. Looks like a strange bird when you're not English. But okay, in any case, now we have these two, and now we can also turn this on and off, just like that. So let's test out our stripes, shall we? Let's save sin Let's go in here and look at that. We have our stripes. They are a little bit too intense, as you can see, but they do work. So now all we need to do is just go into, like, our blend and just tone it down. See? That looks very similar to what we have over here. So that's perfect. So just like that, we can add some stripes. If you want to, like, make your stripes a little bit softer, you can always go in and add a very small blur, high quality gray scale. Like that, just to give a tiny bit of a softness to it, which sometimes could look nice, just to make it transition a little bit better. But that's, of course, up to you. Okay, so that's the stripes one done. Now, next to this, I also want to just have control over my roughness amount, so I can change that in case I want to. The way I can do that is just like the switches, I can also expose this color. So I can go down here and I can press expose And Cl is like roughness amount, for example. And then just press Okay. This way, if I go ahead and go into my metal, I can go to the preview and I can just turn, let's say that I want this to be a little bit lighter. I can just do that and I can very quickly switch it. This is all prework for when we go ahead and balance it out inside of unreal engine. It is very easy to expose this so that we can do that kind of stuff. So that's our shiny metal, and that is our metal panels over here. The last one I have is going to be this type of metal, which is the more duller metal. For the duller metal, there's a few things that we need to do. So we have our roughness amount already, so we can just turn it on and off. That's fine. We have our metallic already, so we can turn that on and off. But maybe it would be nice that for this one, we add something into our base color and into our I don't know, probably not in our normal. Our norm map probably does not need anything, but just in our base color. Let's, for example, let's set our base color if we just duplicate these uniform colors. Let's capture, and I'm just selecting like over here. Well, that did not work. Let's move it down, and let's just do the same type of blending as I did with the floor. Oh, I don't know what happened there. Let's just copy this. So the same type of blending with the floor means that we have one light, just a tiny bit darker, and we blend between the two using a noise, for example, the clouds to noise. See? It's just like some very subtle changes. And what we can do now is we can also then plug that in here. We can add a switch, and this time, we need to switch color because these are the colors, you can see it by the yellow buttons, and we are going to go ahead and we are going to switch this around and we can call this Oh, actually, soy. Let's set this to falls like this. Expose this and call this plain metal. Actually, let's do home. Plain chrome over here, and let's press a. So if it is true, it will use the white color. If it is false, it will use the gray color. So why am I adding all of these exposures? This is because we are going to create some presets that will very quickly just be able to switch between the different materials. The way that we do this is we go down here to presets, and in your presets, what you can see is you can see all of these values. With this, what I can do is I can, for example, say, has stripes turned false. It has my base roughness, which is a little bit shinier and it is metallic and has plain grom. I can then go in and I call this preset Home, for example, and then I can press New. What this will do is it will have saved the settings into a preset that we now have a drop down of. Now, for example, now I say, I want to have my stripes. I can turn on has stripes. I can make my roughness a little bit duller, and then I can go ahead and I can call this stripes. And I can press new again. New again. Now I have me and I have stripes. If I switch between the two, you can see that the settings change, and that's basically it for presets. Just like this, we can also say not plain chrome, and it is not metallic. It does not have stripes, and our roughness amount is a little bit lower. And then what I can do is I can go ahead and I can call this dull metal and press new again. So now very quickly, it will also translate into here. So now we can see this is the dull metal, and based upon that, I can say that I want to have it a little bit lighter, for example. There we go. It has a little bit more shine. Let's do it a bit more. I can also go in and I can also expose this grunge amount over here. So I can expose this value and call this Roughness dirt, for example, and press okay. And then if I switch back to my metal, we now have a roughness dirt. And based upon that, I can, for example, look at my thumbnail and I can make this stronger. So that over here we have a more dirty metal and then finally, it just some balancing like for example, making this color a little bit darker to give it a little bit more color variation, like you can see over here. So like that, we can have dull metal. And then once that is done, you can go into your metal, press update to save your new settings. And then if we go to our stripes, we can just go ahead and in our stripes, you often need to turn on this roughness d setting and just tone it down a bit more, and it will immediately update to the stripes. Yeah, the stripes maybe make it a little bit duller, or roughness. There we go. So that's like our stripes. And finally, so press update. And finally, our comb and our comb does not need that much roughness dirt, so let's have a look at that. Yeah, there we go. Maybe make the roughness dirt a little bit less so that it is a bit more clean. And just like that, we very quickly have three dipes of metal. And the cool thing about this is when we export this to heal, we can, of course, go ahead and we can export these as separate textures. So you can right click and just call it metallic. You can go over here, right, click, frame, call this roughness. And here, right, click, frame, and call this base color. Like that. So as you can see, very small graph, but it is actually quite a powerful graph. And then at this point, I will leave it because I will need to go into reel because the metal, I need to have special shaders in order to make it look really, really cool. And based upon that, we can, of course, make changes. So the next material that we are going to work on is going to be our plastic material. So we will go ahead and we will do that in the next chapter. 25. 24 Creating Our Plastic: In this chapter, we will go over on how to create our plastic. So just like our metal, our plastic is going to be quite basic. Difference, however, between our plastic and our metal is that we are going to give control of the color of our plastic inside of a real engine because I feel like there are sometimes some different colors and it could benefit for us to just make those changes. So knowing that for the rest, the plastic is basically going to be a plain color with some color variations. You can see really clearly there's roughness smudges and everything, and for the rest, yeah, that's about it, honestly. So let's go ahead and go into subzger. I have a brand new scene over here. Let's get rid of our metal, once again, we don't need an ambient occlusion. We do not need a normal map for now. Maybe I like a tiny norm map variation later on, but for now, I don't see like we would need it. The only reason why I might change my mind is if I see that the lighting is very boring, then I might want to art like something. Let's get rid of our height. So all that we have left is a base color and a roughness. So if we go ahead and for our base color, as I said before, we are going to control this color inside of unreal. This means that we will need to keep the color gray scale in here inside of substance designer. So what I'm going to do is I'm going to go ahead and I'm going to give it like a fairly quite a white color like this because if you make your color white, it is easier to make colors darker and change the color than make them lighter while changing the color. So I'm going to make it fairly white. And then I'm going to just add another one that is like a bit darker, and this will just give me some tiny bits of color variation. Now, doing this, there is another way that you can actually do this if you want, and that is using a gradient map. So with a gradient map, you can basically map a few more colors. If we grab B&W spots two, for example, basically what the gradient map allows us to do is you plug in a gray scale, and you can map colors based upon the color in here. So that looks something like this. You press Gradient Editor. You click once in this color, and now you can see that we have three colors. With this, I can go ahead and I can change these colors, and you can see that now these colors, they slightly change based upon how I set them. I can also set it like this. And based upon how light something is in your grayscale, it will assign this color. This is nice, if you like. Want to give it a few more variations like this where we want to give it a little bit of darkness, a little bit of brightness and that kind of stuff. However, this is way too obvious. So I do need to push these colors a little bit closer together so that it's just a very subtle change, something like this, see? And this way, it's sometimes also a little bit faster. It is a bit more way, it's not more expensive, but it's just a bit faster to do. It's just that you need to then go in here if you want to change the colors, which is sometimes a bit more annoying. But this is a nice way if you just want to very quickly, add some random colors to your scene like this. Now, for our roughness, what we want to do is our roughness is going to be a simple uniform color that is a gray scale, and this color is going to it's quite shiny, actually. So let's set it to around 0.15. And then we once again are going to blend this. And you can almost see like streaks. And I can remember that we had like a grunge map that looked like streaks.This one, maybe. So let's try this one, and let's try let's try these two over here. Let's import those. Let's see if that works. And of course, we do have also some original crunches in here that we can use, but they are not like this. They are more uniform. Like the ones over here, you can see that they are a little bit more uniform. So if we go ahead and let's grab this one over here, I can now go in and see. Let's set this to be an art. And let's set this quite low, and let's give that a go already. Yeah. Wow. This one is even more simple than previously, just because we are doing all the colors and everything inside of wel. So we can save this. We can call this one plastic. Over here, save it. I can go ahead and I can export my outputs, create, once again, a folder called final, and I can already show you in Marmoset what I mean with the color overlay. So turn on automatic export and just give that an export. Now in Marmoset if we just create a new material, called a plastic, drag this one in here. Yeah, materials in environments, they don't always have to be insanely complicated. Often with even very basic materials, you can already get really far away. So I think this is like a perfect tutorial if you have never really done any, big materials to just go ahead and practice with it. And then after this, we will do, our chairs, which will have some nice substance paint to work. So over here, let's go to our plastic. I'm just doing this on my other screen, by the way. And we have our norm map, which is nothing. We will have a roughness map. And if your norm map is nothing, we will, of course, also not inside of, Unwel engine. We will, of course, make some changes. So now we have this stuff over here. So this is our plastic. I can see that now my colors are still a little bit too intense, so I'm going to go in and first of all, before I start adding color, I want to go in here and maybe, like, make this push the colors a little bit closer. It needs to be very, very subtle so that when I look at it, that's more like it. Okay, the next one, let's see, how is our roughness? Our roughness is pretty good. Maybe make it a little bit more shiny just by setting the base color back a bit. And then we have our wipes, and for our wipes, I'm going to make those a little bit more intense. There we go. So we can see that stuff. Maybe go in. Let's make this now a little bit more shiny again. Then basically the way that this will work inside of unreal engine is just like this. You would basically have a color slider, and then you would say, like, Okay, I want this to be a yellowish color. So you just set it to yellow, and then it will have a color overlay, and then instantly, it will look more like this stuff, and then you can use any color you want, so you can really like cherry pick. It is also nice to just play around with how we are going to make things look. And just like that, we have a very basic looking plastic over here. So, honestly, that's about it for our plastic now I look at it. So that was a very short chapter because the rest of the stuff we can just go ahead and mess around with in the reel. So what we will be doing in the next chapter is we will be creating our chairs. Yeah, that's the next one. So we will be doing our chairs inside of substance painted this time. This does mean that we need to already create some UVs. So let's say in the next chapter, we will do all of our UVs on all of our models in one go, just to keep it nice and condensed in one chapter. We will also already, assign the tile boom tables wherever we need, we need them. And then finally, we will do the final textures for our chairs, and then we are finally ready to already start getting the base to UnreelEngine. And once we are in UnreelEngine, we will create shaders, do the branding, and all that fancy stuff, and we will work on that. So let's go ahead and continue with doing our UVs in the next chapter. 26. 25 Uv Unwrapping Our Models Part1: We are now going to start working on our UVN wrapping. Now the UV N wrapping is very easy and forgiving inside of Maya because we are using dilable materials. So what I'm going to do is I'm going to show you the chairs, which is a little bit less forgiving. And that will basically be our main tutorial on how to do UV unwrapping. The other pieces, I will just unwrap them in real time, but I will go quite quickly because it uses the same techniques. So for our chairs, I do expect that you have a basic understanding of UVNrapping because it is still quite a complicated topic in a way. But the first thing that we want to do is we want to go ahead and select everything and just press one to go outside of our smoothing mode. Now you can find your UV tools up here in the UV, and then you find your UV editor and your UV set editor. Those are the two that I like to use. Because I'm recording on ten ATP, I tend to switch to my outliner because that way I can scale it down, and I have my UV editor sticked on here to the side, and my UV toolkit I always have over here. Within the UV toolkit, the few tabs that we need are the unfold tab and the cut and su tab. Those are the ones that I most of the time use. So let's just dive right in. If we go at isolate our model, right now you can see that UVs is completely broken. There's nothing really there. So we need to go ahead and we need to find a good way to art our UVs while having the least amount of visible seams within here. Now, one thing that is already easy is that it would be easier if we have these color panels as separate UVs. The way that we can do that is we can go ahead and we can go in here. And first of all, what I tend to do is I tend to go to UV and I tend to do like a best play and just select once. It does not really matter. All I care about is that my UVs are just one big chunk, because sometimes Maya tries to already art like some seams or they are leftover from our modeling. So right now, there are no Seams. Then I want to basically separate these pieces from the rest. I do this by double clicking on this line here in the center and just make sure that it goes other way around, and then I can just press cut up here. Doing that, it will basically place a seam in that direction and also here. If I do cut here, it will also place one over here. The reason why I do this is if I now go to Face Mode, and you can also then in face Mode select here, and I double click on my main mesh and moved out of way, you can see that now this mesh is nicely separate. Now, next thing is that this mesh goes around the corner, meaning that this is not a really nice looking mesh. Nice looking UV tile, I should say. So what I'm going to do this, I'm going to press unfold. Basically, what unfold will do is it will properly unfold everything so that it all looks really nice and you can see the difference if you press your UV checker box box over here. Your UV checker box basically just shows like a very quick checker pattern. And here you can see the difference between no unfold and with the unfold. The unfold just shows just make sure that everything is looking nicely here, see? Fold. Ta da. Then, of course, if you would rotate your model, it would look even better because then it's nice and square. So that's an easy one. That's basically what we will be doing for this entire thing. So those two are done. We can move them out of the way and we can now move on to the next piece. So let's say for the next piece, I want to go ahead and I want to do just like the backside. I feel like that we can just do that as one little UV. For this, there are multiple ways that we can actually do this. So for this one, what we could do is, let's say that I'm going to show you another technique, which we will be using, which is that we will create the UVs based upon a phase selection. So I go in my modeling toolkit and I set my UV to angle constraint, and you set it to like five degrees or something like that. Now when I select this, you can see that now I can just go ahead and I can go in here and I can just select all of these faces over here. And yeah, just make sure, let's do one more. Let's do up until this point, because these seams they are at the back, so I'm not worried about them, so we can kind of hide them. Let's go ahead and do up until probably like this point. So that's where there's a hash cutoff. So that will most likely look best. Once you have this and just make sure that you don't accidentally have anything else selected, we can go to UV Best plane and simply select on a plane that we have just unwrapped. Now, if we turn off selection constraints over here, you can see that now this piece has become its own piece. All we need to do now is do an unfold, and as you can see now it is a really nice unfolded piece, which if we show our checker box, this is also working. So this is the last thing that we have left. It let's turn it off. This is the last one that we have left. We have a side angles and these side angles. What I'm going to do is I'm actually going to go ahead and I think I want to make this piece into one U V. And then for my side angles, I'm just going to have to side angle up until, like, say, this point, do the same over here, and then all we have left is two small pieces. Doing this, we can once again go to our angle constraint. And for these pieces, we can actually just go ahead and hold Control, and that's often easier to just hold Contra and deselect because we are going around the edge over here, then to ty and select only these specific pieces. So let's say up until this point, I want to avoid placing my seams on round areas. The reason I want to avoid this is because they are often more noticeable on round areas because lighting, when something is nice and soft, the lighting often, catches it, and then you can see the seam where the textures are different and we don't want that. Next to this, make sure that old control shift just make sure that you have everything else selected because I accidentally seem to have unselected some stuff. Over here, there we go. And that should do the trick. At this point, we can just do a UV and a bass plane once again. Let's do another angle constraint. And let's do a simple unfold over here. And now this unfold, you can see that this unfold is not going really well. There's a few things that we can do to hopefully fix this. One of them is removing our history over here, and another one is freezing our transforms, which you can find over here. Now, once we've done that, let's go ahead and select this again, and let's try another unfold. That's unfortunate. In that case, there are simply too much warping going on in this area for the unfold to properly work. The way that we can fix that is just split it up into two. So I guess that doing literally this edge over here as a split up would probably be the nicest look. So we literally here in the center have an edge, and we just need to be careful that our seams are not too visible over there. So let's go ahead and just press cut. Let's try that again. So if we now have this one, unfold. You see that does give me a little bit of a better result. It does have a little bit of bending over here, but that bending it's around this area, and I'm not too worried about it. You can see that your check box is also not too stretchy or something. So I'm just going to leave it like this, and I'm fine with that. Let's move this out of the way also. Now, all we have left is we have left the top pieces and the side pieces. For this, what I'm going to do is I'm just going to hold control, and I'm just going to start by deselecting all of these side pieces over here. Let's also deselect this small one over here. Double check. Okay. And then do a simple UV and a best plane once again, and we can then unfold this. That's one side piece. Now we can select the other one. Hot Control deselect. Over here, we just want to carefully deselect that same over here. And then once again, we can do a UV, a best plane, select the side, and unfold this. Those are now is done, and then all that is left is these two pieces over here, for which we can just do a UV and a best plane at the same time because since they are not connected, they will not interfere. Then just select both of them. And oh, the only things that this one over here seems not work. Here, see, let's try it again. UV, best plane, Enter. Now it works. No, no, it does not work. This sometimes happens if there is if there's like a duplicate verts. Oh, no, wait. I think I forgot to select something. Yeah, I forgot to select something. Where does this one belong to? You belong to this piece, right? Yes. So let's try it again. UV best plane and just now I have that extra edge selected. So that's just me accidentally forgetting to select something. Okay, perfect. So now that we have a chair done, the next one that we would need to do is we need to do our vent over here. Oh, and we have also these pieces down here. These pieces, however, are very easy because they don't have a backface, you can just do a UV and a bass plane and then unfold it. See? Oh, perfect. This is a good example. This sometimes happens. If this happens, remove history, freeze your transforms. I have this button here, but just remember it's over here. And now if I do a UV and a bass plane, it should fix it. Now press unfold, see? That's it. So for these pieces, once again, UV best plane, these are very simple, so you just want to unfold them. Turn on my edge and faces. UV best plane. And then later on, what we're going to do is we are going to map everything nicely together into one large UV so that we can texture it. Over here, we probably need to do history, freeze transforms, UV, UV best plane. There we go. And first of all, we have this one, and then we have these two pieces over here like that. Okay, so over here, same thing with these, often the smaller pieces, you can just select all of them at the same time. Do a UV and a bass plane, and then just press Enter, and then it's just a matter of selecting all the pieces one by one and pressing a quick unfold. And that will often just unfold them nicely separately like this. Okay, so the last one is this piece. And for this piece, remember how this side, we are going to have like an actual grid. So I think that we can just as well do this grid inside of the texture, seeing that it will always be here. So we can just as well do that in the texture. Knowing that's what I like to do for this one, just to be safe, first of all, let's remove my history and freeze my transforms, is I like to do a UV bass plane on just this phase. So I want to keep this separate. You get this mode over here, it basically tells us that we have a problem with our UVs. For that, the way that we can often fix it is yes, to remove your history and freeze your transforms. And you can go in and do a UV and a bass plane on everything at the same time to reset your UVs. Remember how I did that in the beginning? And see, now it works fine. Okay, so we do not have a back. Knowing that we do not have a back, I'm basically going to just do this. I'm going to select this phase de select this one, UV Best planes. Then double click on them to select them one by one and just do an unfold, number one, number two, and then all that we have left is the side faces for which we can also do a best plane. Double click on it, number one, unfold, and number two, unfold. And then number two, you often see switching around because, of course, it is flipped. And now you can see Tara works totally fine. Okay. Finally, the last thing that we need to do is we need to combine all of these UVs together. Because this is going to be a unique texture. Because it is going to be a unique texture, we need to make sure that it fits within a one by one square, and this one by one square happens to be this square over here. This is actually not difficult because we are going to be quite flexible with these type of texture and everything, what we can do is we can automate this process. So the way that we can automate this is we can go to our tools, sorry, modify, and then go to your layout and press the settings bar. Now in here, you can choose your textual resolution packing. So let's do 1024 is my default, always. The packing iterations means how often you want to calculate it to pack everything together. Let's say we do this to like three pieces. Now the presell orientation, you can basically go ahead and you can set an automated rotation of your scaling. We won't need to do that. We can just leave this off. The translate shells basically means that we give it the ability to scale things up and down. However, one thing that is very important, you might have heard from it. It's called textile density. It means that every object has the equivalent scale in your two D viewpoint as it has in your three D viewpot to make sure you do not have differences in resolution between objects. So that's what this one will automatically do for us. And our rotate shells, we can give it the option how that we want to rotate this. Now, I want to keep this quite clean. So what I'm actually going to do is I'm not going to have rotate Well, I am going to have rotate shells on, but I'm going to have it at a 90 degree angle. Be what I can do over here is I can select, for example, an edge over here and I can press straighten shell. So I'm going to actually manually by hand, straighten some of these shells by just selecting the edges, and it will try to straighten the shell based upon that location. That one that's a bit strange that it's merged together when I do a straightened shell. That is unlogical. Let's go ahead and do a straightened UV. That sometimes also works. So over here we have our chairs. Let's see if that sell does it, because straighten shell should not merge things together normally. Or maybe I must have been mistaken by something. It does not really matter because then for these pieces, we can just go ahead and we can just rotate these straight. It doesn't need to be perfect. I just need to have it, very quickly straight like this, just like that. And that's about it. So now I can just go ahead and press control shift A to select everything, and we can do the rotation. So we basically say, you can rotate by 90 degrees. If we set this lower, it might result in having less space wasted within the UVs because your goal is to ty and have as little of empty space in between. I will show you what I mean with that. However, that also means that it will rotate all of these shells at a really strange angle like 36 degrees or something like that. And that does not always look very nice. So next to this, there's not much that we need to do you can set your padding over here by going to UV, and then you can set your shell padding. However, because we have a resolution here, it will do this for us. So at least at this point, just press apply, and then you can at least show what it does because I can twin and explain to you, but here you can just see it immediately. So as you can see over here, it has done a pretty good job packing everything together. Now, one thing that we can say, for example, is that now this is nicely packed together. We can select the backside and we can say, Okay, the backside you will almost never see, especially like on this area, I can even remove it if I want to. I won't do it just in case. But what I'm going to do is I'm going to scale this down. Then if I go in my layout options, I now just turn off translate shells so that it does not automatically scale the shells. This can give us a bit more resolution. Same over here. For this one, I know that this one is going to have a grid, meaning that it might need a little bit more resolution. So I can go in here and I can just scale this up a little bit like this. And when I do that, I just make sure that it has a little bit more resolution just to be able to cover this shape. At this point, go ahead and just select it and press Apply. Excuse me. It is it is not supposed. Why are you overlapping? Oh, wait. Translate means moving, not scaling. Wow, that's a rookie mistake. I mean this one. Shells pre scaling, turn it off. Sorry, for some reason, I thought translate meant scaling, but that's really stupid because translate means positioning. So turn off the pre scaling. That's the one. You must have been thinking like, Emil, what are you talking about translate? That's my fault. Select everything, press Apply. And now what you should see is that the scaling states Oh, it should stay the same. Let's try it again. So if I make this one bigger, this one smaller, let's see. I've done my translate. I've done all that stuff. Let's try it again, and else I will do it by hand, and the system is not really registering my scalings. Oh, no, now it does register. It just gives it a strange way of showing, but it does register. So that should be fine. Okay. Maybe it's fighting a little bit with your textile density or something. In any case, this is now correct. So this is good enough for me. And what I mean with wasted space is the space that you have over here. If you want, you can try and by hand, you can try fill this space. But when you actually have a lot of very large UV pieces, it's sometimes a bit tricky to do this. Because as I said before, you want to keep your text density the same. So you do not want to go in and do massive scaling of all of these pieces to get them to fit. Like you can do tiny bits of scaling, but you would then need to go in and scale everything evenly in order to get a good result. And that's sometimes a pain. So in this case, I'm just going to go ahead and leave it here. I will move, some of these pieces around a little bit just to give them a bit more spacing in between them. And for the rest, that's about it. So we got this stuff over here, because there's very little spacing in between, but that should be fine because we don't need to do any normal baking. So let's just leave it at this, and that should be totally fine. This is now done. You can look at your checker box and then what you can see, if I just like everything checker box, is that now everything has nicely the same scaling in terms of the checkers. They all look the same scale. Everything is working well. Now you can see here that this checker box is smaller because it has a lower resolution. Okay, at this point, we can close our UV editor. We can save our scene. And now, what you will also see if I just open it up again, if I now press three, see, it will keep the UVs intact. So that's the goal. It will keep the UVs intact, meaning that the resolution or I mean the texture should be still the same. However, we can now just go ahead and press three on them and we can turn these back into like a high polymsh. I don't know if that one even needed to be hy pole, but in any case, we can now do that. And now we just have a high polymsh left, but we can just texture it as a low polymsh. So this one is now all done. Let's add that one back. So in the next chapter, what we will be doing is we will just be going over the other pieces. These other pieces are a lot more forgiving because we use tylobmtals on them, so we can most of the UVs we can simply automate. So let's go ahead and continue with that in the next chapter. 27. 26 Uv Unwrapping Our Models Part2: Okay, so let's go ahead and continue with our UVN wrapping. Now, for this, what we're going to do is we need to start loading in just like a basic texture often. So let's get started with the Bwall. So the Bwall is going to be the oh, sorry, my reference is being messed up. Here we go. It's going to be like the back here, like these pieces. So what we can do is we can go ahead and we need to, first of all, start by just exporting our metal to have the different types of metal. Now, this is not too difficult because all we have to do is go into subs Ziner. And in our final folder, I just made three folders, one called stripes, DL and home. And in here, you can just basically copy your folder location. And then if you go ahead and you want to go in here, go into your preset and just set, first of all, the preset to stripes. Go to Export, right click Export, turn off automatic Export because ls it will just try to keep exporting it, and then pasting your location and just press export outputs. Now the next one that we want to do is, let's say that we do home so I can go into my parameter presets, right click Export, and throw this one into the Home folder over here, save export. And finally, we will have the dull metal, right click Export, and just throw this into your dull metal over here. That's it. So now do are exported, and we can take it from here, so we can save this and we can go ahead and close this. Okay, so for the back, what we want to do is we want to right click, go to assign favorite material and just assign a new lamb material. It doesn't need to be anything special. We just need to have something so that we can sort of see what we're doing. Now, of course, with the metals and everything and the plastics, it's even very hard to do that, but we'll see how it goes. So we got this stuff over here, and what we're going to do now is that we are going to add a color. So here in the color, just go ahead and click that. Oh, I need to change the name also. Go to file, press Open. And the one that I want to open is. So this is going to be our stripes, so I'm just going to open up our folder. And I think doing my roughness, I think for all of them, selecting your roughness, it will be easier to see. So select the roughness, click back on your model and just call this metal underscore stripes. And in order to see it, just press this little button over here, which means the textured view. And then we can see the metal, and then you can also see that, of course, yeah, it's looking really bad. Now, for this, to make my life a bit easier, I'm just going to do a angle constraint, and these angles over here, I'm just going to nuke all of this stuff out because you can never see it anyway, not at least how we are going to create this. And once we've done that, we can go ahead and we can have a look. So yeah, maybe on the inside, we can also leave that stripes. Okay, so we have this one. Now, as I said before, we can do this very easy way easier than previously. For this one, you can choose two things. One of them because they are stripes, we might need to go a little bit more specific, but what we can do is we can go to UV and we can actually just set on an automatic UV. What this will do is it will try to project our shape from every single angle as you can see over here. So from top, left, right, up, down and everything. And then it will just basically map this UV together like this. So that is a way that we can do it. If we then go ahead and we go over here and we go into our UV toolkit, go to transform and rotate this all 90 degrees like this. It could fit in quite nicely, and we could do these stripes. Now for the stripes, I actually want to keep everything into one UV. I will also have the other pieces into this one UV because I rather have tiling on my materials than scaling it up in here. What I mean with that is if I want to get these stripes to be looking correct, I would need to scale this up. See, and then we get the stripes like this. However, I personally prefer to have this as RUV. So what I'm going to do is I'm going to grab, for example, these pieces, hold J, and just quickly rotate them so that they are in the correct angle. I think actually all of these need to be. Yeah, I think only these three are in the right location. For these, go add RJ and Jen Rote, these are in the correct angle, and for now, we can just leave it like this. If you want to go ahead and you want to edit your actual texture to already have some tiling just for previewing purposes, you can go to your attribute editor. Go down to your metal stripes, click on your color. And then if you scroll down to UV coordinates and click on that setting, I know it's quite a bit, but in here, you can just set, Oh, God. I messed up. Here we go. In here, you can set your repeat UV, and if you set this to, I believe, five by five, for example, that should be pretty decent. We can tile, for example, this texture by five. So this one is already fine. Now, the reason why I want to keep all of this in one UV is because later on, we are going to most likely create a mask, and this mask will be like a general dirt mask. It will have some functions like adding some little bits of dirt, some leakage, adding some roughness variation and other things like that. So that's why I want to do this. I'm basically going to go in and just now, for example, press height. Now, over here we have these top bas. These are going to be plain metal. So I can right click assign favorite material Lambert, call this plane. Metal. And this metal will most likely at, I might not be as shiny as home, but we will see. And for the plain metal, we can go ahead and for now, I think it's better if we just out the checker box because yeah, I don't know. I guess I can try the roughness, but it might be a bit difficult to even see what we're doing. So here, if we go home, roughness, suppose open. Yeah, okay, maybe we are just able to. I just need to see the shape to make sure that I don't atently mess something up. For all of these pieces, just go ahead and press one to go back into our normal view. And what we can do first is just remove our history and freeze our transforms just in case we ever have any problems. And then we can just start doing UVs and do automatics. On these pieces, it's very easy for us to just do automatic UV. And the reason for this is because yeah, I don't care too much even about SEMs. I just need to get the basics in here. Let's see all of this chrome. I just need to have a look at my door to see. So my door has a center metal that is slightly different. However, we might be able to just do that in our mask, actually, and else we can just add a different material to this later on. That does not matter for UVs. These strips does also not matter for UVs, that's just going to be different material. So I'm going to go ahead and all of this stuff over here. Actually, you know what? Everything. Select everything. Hold Canton, and then deselect the black strips. And for now, for all of these pieces, I can already assign existing material and assign your plain metal over here, and then just do a UV and immediately do like an automatic unwrap. Here, Oh, looks like that the automatic unwrap did not work. In that case, we need to do it one by one, UV automatic unwrap. Here we go. And then later on, we can, of course, if needed, we can change the seams. For example, for this asset, what can happen is that it will try to add a seam here see. I will try to split these pieces up. However, they do not need to be split up. So then you will want to inspect it, and often you can just do like a best plane and if you then do like an unfold over here, that, of course, creates a much better UV than previously. But for some pieces, it just takes really long to do UVs and it's not really worth it. Like, these pieces, you just kind of like double check and just make sure where the white lines are. And if the white lines are not literally in the center over here, oh, I'm I think, these ones still need to be able UV automatic. Yeah, as long as the white lines are not exactly in the center, you could try and merge this stuff together, but I'm not too worried about it now. I'm more when it comes to stuff like this. What I do is I tend to just do automatic unwraps like this. And then inside of unreal engine, if I see a problem, then I will fix it. But if I don't see a problem, then it would have just been wasted time for me. At least, yeah, okay, it will look a bit cleaner, but that's about it. So here, all the stuff, I just do like automatic unwraps to keep it very easy, and then I'll take it from there. For example, this one, this one is quite bad with your automatic unwrap. So you might want to clean it up, but for now, it does not matter too much. This one, also, it will probably not look like the best with an automatic unwrap. But we will see. And so what I will do is I will do automatic unwrap pass. And then after this, what I'm going to do is I'm just going to very quickly go in, and I'm just going to see if there's some quick changes that I can make just to make it a bit cleaner. And then that should be fine. But the door is most likely the one, like this one. Door is most likely the one with the most unwrapping that we need to do. So let's unfold that. So rotate this back into straight. There we go. These pieces over here, we can make rubber. So right click Assign favorite material Lambert. Just call this rubber. Maybe, click on the color and just make the color like a bit darker just to indicate. And once again, we can just go UV. Oh, sorry, not UV Bs plane, UV automatic. And also here UV automatic. Let's say that now we have these pieces over here, and now if we press Show All, so display show, I should have had this in my toolbar. There we go. Show A. Now, they technically just have a base UV. As I said before, here for the checker box, I don't really like the look of the checker box. So I am actually going to go in, select it, and I'm going to change this. If I just go ahead and I go on second, let's right click on this. Come on. Right click. It's to break connection. So now we are resetting it, and now we can just add like a checker box. And then if we go into our UV coordinates, we can also set this one to be let's do seven by seven or something like that. Maybe 15 by 15, actually. There we go. I just give us a smaller checker box. And then I can have a quick look at this, for example, this one, this one does not need any split, so I can just go ahead and I can select all of it, do a best plane, and unfold it. And then later on what we will, of course, do is we will just pack everything together. This one, I'm going to leave. It's too small for me to really worry about that. These ones also look fine. Just have a look at like a checker box. Maybe the door I want to, like, add a new fix just to make sure that everything is correct. Before I do that, here this one might also see here this one is a good one. We over here, having a seam down here, it might not look very nice. So what we can do instead is we can go ahead and just for the pieces that look warm, which are these ones over here, turn off angles select, by the way. Oh, no, wit, you know what? Let's leave angles select on. So let's see. These pieces, just to have it go all the way around like this. Let's do a UV and a bass plane. And let's unfold this and give that a look. So see, that already looks like a lot better. So now it does not have any seams. And for these pieces, I just want to make sure that they have not, for example, here, see, that's won. If they do stuff like this with the bolts, that's really bad. So for those, we can just do like a bass plain and we can just unfold it because there's no reason for the bolts to be any more than one UVtile. So we can just go ahead and keep doing that. Might look a little bit silly for now. But at least then it's done. Here we go. And once this is done, I think I might actually time laps the rest just because we've now covered these techniques, so the rest will just be a simple time laps because else this can take about an hour, maybe a little bit more to get everything done. So let's just finish all of this off, and then we can just time maps the rest, which will have the exact same workflow. You can see that this actually will take a long time if I do it this way everywhere. Sometimes it might also be nice to just keep the bolts then separate if we want to try and save some time. But, let's say that we have this one, and now for the back, if you want, you can select the back and you can most likely if you just deselect this piece over here. Yeah, we should be able to immediately do like a best plane just for good measure to also have this one correct. But yeah, that's up to you because then you can just sell unwrap it by hand. So, if I have a look at this one, what I will do is I will go ahead and this piece. What you can try to do at this point, is you can try to go into your tool settings and reset your pivot for this piece and simply now do another mirror. So the mirror will actually leave your UVs intact. So if you set this to the X at the plus, Merge threshold is 0.01, for example, and just press W. You should be able to select this piece. Move it exactly into the same position over here. And let's press height for now, press H. And then we have this piece over here, which we can select and just delete. Now if we just show, that one is back. It does have these bolts over here, which I can delete because I have the same bolts over here that are already unwrapped. The only thing is that it might be that your UVs are flipped. So you might then want to go in and just very quickly do like an unfold to make sure that everything looks correct. Same over here. Just do like an unfold, and then you can see that they change. And this is because often mirrors flip your UVs around. So you just want to fix that stuff. But, okay, so that's like a quick one for that. So now the last one that we would have is we would have this door over here. And the reason why I want to fix this door here, let's turn off texture view because it's a bit annoying right now to see. You can also go in here and turn off your texture view like that. Just by pressing the one button. So yeah, the reason I want to do the door is because the door can pretty much just be like a flat shape. If we go to our top, and it's going to isolate mode. Do we still have angle constraints on? No. If we literally just select half of the top over here and just do a UV and do a bass plane on this, most of the time, we can literally just do relax and get all of this done. Maybe we want to separate the window from the rest. But here, if I unfold this, see, you can see that this actually works really nicely. And then you can just select the other side, UV best plane. That's when automatics automatic unwrap is quite lacking. Automatic unwrap in general in Maya is not the best one, but it can sometimes save a bit of time. Yeah, okay, at this point, if we now turn on texts fw again, we now have all of these pieces and they are unwrapped. What we want to do now is we just want to go ahead and want to start by combining this all together into one solid piece, except for this cylinder, which does not belong there. Doing this, the only one that I'm a bit worried about is over here these pieces. Let's go ahead and just temporarily move those out of the way because I know that if I'm going to do an automatic unwrap with so many tiny pieces, it will cause problems because it will go very slow. However, if I now go ahead and select everything, I select all of these meshes except for those extra pieces over there, and I go to modify, layout we still have the same settings as before, set the preserved three ratio in the pre scaling, and this time in your rotation steps, you can rotate. Actually, no, what? Not for this one because we have stripes. In other pieces, you can go ahead and you can set the rotation to ten or 20 in order to get a better result. But in this case, it does not really matter, and I don't really want to do any rotation because I'm not sure how I'm going to use all of this. So, once again, select everything and just go ahead and press apply at this point. Now, because it will only or bake down the selected or do the layout for only the selected pieces, those other pieces we can then manually place, and that will save us actually quite a bit of processing time. You see? So now we can see like, Okay, so this is now all placed together. All I need to do now is I need to double check that my stripes are still in the right direction, which they are. So that's the only thing I need to double check. I'm not too worried about this side because you cannot really see it anyway, but it looks like that it is still in the correct location anyway. Now I can just grab these very small pieces over here and I can scale them. This is a time saver, of course. It does mean that the result is not as nice, but honestly, you often won't really notice. So I move this one, let's say over here, and I then hold Shift and these piece over here. And these last ones over here. There we go. I should already do the trick. Because if I need to do a real unwrap on this, it would this piece alone, it would take me like 15 minutes or 10 minutes or something. And then I would still need to, like, redo a bunch of modeling and everything, and I'm just not really in the mood for that. So it's like a strategic time saver. In any case, this piece is now done. So it is all nicely placed in one location. We don't need to worry so much about rotation because the metal, it can rotate in any other way you want, because it is tilable. However, these pieces, because they have some specific patron on it, that's the only reason we need to do rotations. I'm not going to save my scene. In the next chapter, I will kick in the time labs, and for our time labs, I will basically just do the unwrapping for all of these pieces roughly in the same methods as that we've used now. Maybe for some of these pieces, I decide to do like a manual unwrap. It just depends what I think is faster. And for these pieces, what I can do is I can, for example, delete these sites because you most likely won't be able to see that. So let's go ahead and continue to our next chapter where we will kick in the time labs and we do the rest of our unwrapping. Once again, this time maps will also be included in real time in a specific folder. 28. 27 Uv Unwrapping Our Models Part3 Timelapse: A oh Do. Do Mm I. 29. 28 Preparing For Export: Okay, so I on purpose did not do all of the UVN wrapping because there are a few things that I still need to do. One of them is that all of these little small pieces over here that we have. Oh, sorry, not the window cover. But like all these small locks and the speakers and everything, I want to combine those. Reason for that is because I want to just create a unique texture for them because they have slightly different colors and lights and all that kind of stuff, and it is just easier to make unique texture. But I do not want to go in and needing to make four or five different substance painted projects for such small assets. Instead, I have my small Light B, small lock and all of these things, and I'm just going to go ahead and select all of them. I'm going to get started by creating a new material that I will call small dons underscore A. And then in here, all we really need to do is we just need to select it, go to our UV layout and just press Apply with the default settings that we've already had. There we go. So that should pretty much do the trick. So that we'll have done an even spacing, although this one feels no, wait, sorry, the spacing is not even. We need to go ahead and because these are way too big, remove history and freeze your transforms and try again because it looks like the spacing is not here. See, that makes more sense in terms of spacing. Okay, so now that we got those pieces done and out of the way, yeah, that should do a better trick. I'm not sure if you want to, like, maybe maybe, like, move this rotation around like this. And then maybe like, Yeah, let's do that. Let's rotate it round. Do one more apply. There we go. Okay. So those are those pieces. Just keep that in mind. What we will do is when we export these two substance painter later on, we will quickly just move them apart and do it that way. So those are the ones that I've done. Now, for the sign cover over here, did I already add plastic to that? I don't think so. So let's right click Assign existing, and this is just going to be a simple plastic material that you have. So now I'm just going to do a few little bits of material assignment. And the one here in the back, don't worry about that because with our branding, when we create our branding, we will just use planes for that. We are not going to add our branding to our actual mesh. We got all of these pieces down. Now, for our sealing, I think I just need to go ahead and I need to also go in and assign existing and just call this ceiling is going to be plastic, so assign the plastic. Oh, by the way, one thing I want to do is before I move on, turn on tree again for all of the pieces that need to have the smoothening. Here we go because I turn it off for some pieces. So I just want to go through the process of seeing them and just making sure that all of them are turned on again. Since I turned them off here like this one, I turned off, so let's turn it back on the speaker. I need to turn back on let's see, ceiling one over here. Let's just press three to turn that back on. Now for the ceiling, there's actually another thing. So the ceiling is modular in terms of that it needs to be repetitive going on and on and on. I think Actually, in this case, the ceiling does not matter, but it is something that's good to remember that we want to go ahead and try and get these edges to line up perfectly. And the way that we want to do that is we want to go ahead and we want to grab this phase. If you go into your UV toolkit and you go to transforms, set your pivot to the bottom, and then turn on grid snapping because grid snapping also works within this shape. Once you've done the grid snapping, mostly what we just want to do is we want to first of all snap it to grid, then go to our vertex mode, select these vertices over here, actually, you know these one work as well. Maybe we can flatten this. Let's do UV shell. Let's go down to straighten UVs. And let's see if that works. It does not always work, but sometimes it will nicely straighten things down. I don't know why it takes so long for it to do it because it's not that difficult of a shape. Oh, please don't say we froze. Go. So we did not freeze. But now with the straightened shell, looks like that it does not look as nice as I wanted to. Yeah, so, okay, if the straightened shell doesn't work as the way that we wanted to, then what we can do with this is we can go ahead and we can just try and get it as close as possible. So we basically want to go in and let's go to our UV shell again and let's just do a quick unfold to unfold it again a little bit better. And for this shape, just try and get it basically close enough to the ages by scaling them, and then we will see in real if we need to do a better job in this. So for now, I'm just going to keep it like this over here, and we will see if we see the seams. I'm not too worried about this one. However, for the other ones, I am a little bit more worried. So let's have a look. Ceiling, we assigned our material. Floor, I did not assign my floor materials yet. So what I want to do over here is I'm just going to go ahead and I say, press three, right here. Press three on your ceiling. Now, for your floor, we want to create a new material. So assigned favorite material Lambert and CarlasFloor. Go into the color file. And what we can do is then we can open up the location and just simply grab our floor material over here. So that one is no problem. So we got that one. And then what I want to do is, again, this is one of those pieces that are tiilable. So we might need to make this a little bit more specific, but we will see how that goes. First of all, I'm going to go in and I'm going to double click on this shape over here, yes, press control shift I. And then on all of these side shapes over here, I'm just going to go ahead and assign our plain metal material like that. So that's how that one will look. Now if we now go ahead and turn off the floor, let's go floor A. Same one again, assign existing material, plain metal. By the way, did I press three again on the floor? No, I did not. You can see that the texture is pretty much changed the same within us changing the smoothening. Okay, so this is floor number three. Once again, I'm just going to go ahead and select this piece, Ctlshift I. So this one is going to be plain metal and actually control shift I again, this one is going to be our floor metal. There we go. And this one we do have a problem. When we press three, you can see that we do officially get a problem over here. This sometimes happens. If this happens, you just need to place an edge very close together. This is just because we do not have any buffers anymore that it accidentally just pushes the shape out too far. But if I do this, Okay, so let's see if we can. I think we want to separate this. We're going to go ahead and just press cut. You don't need to do anything else, just press cut and see. Okay, so that's interesting that it still keeps that shape on over there. That is actually interesting because I've never had this bad happening. So let's have a look. So if we place a cut over there and we go for, like, a tree, I guess we don't really need smoothing, but let's try and now place another segment in here. See, that does not seem to work, unfortunately. And at this segment, we cannot really push it back. In that case, what I'm going to do is I'm going to separate the two. I'm going to go ahead and I'm going to select basically this shape, and I'm going to press Shift click and extract the faces, so that now I only press smooth on this one, and it should still transition just fine, see? So that is done another way. It just means that now we have two objects. So let's re art this to our floor and you do the trick. So that should now be all good. So for our back wall, our back wall does not need anything very special. We have everything already setting here, and we also have our materials here. So that is fine. Our pools, we don't need to do anything special, our top advertisement. I still need to turn this into C, because it's a top, one of them is going to be lights, advertisement, and then metal. So let's do, first of all, assigning existing interior plain metal. And then here at the top, let's select these pieces. And also, let's go ahead and select the bottom pieces, which is set angle constrained over here, contro shift. So we want to select the bottom pieces. Right click Assign favorite material, Lambert and call this Light if you want, you can make it like a yellow color or something just to indicate that these are lights. And then for this center bit, I'm actually going to leave it metal because I know that I'm going to have another advertisement sitting on top of it as a separate mesh. So let's see, so that one is now also done almost at least this one, assign light. There we go. That's better. And we can press three again, make sure that everything works with three. Okay. And of course, once we see problems inside of unreal, then we can just go ahead and fix them. This one is again one of those tricky ones where the transition pieces, sometimes you want to make sure that the transition is perfect, but of course, we have that metal bit from our door, so we should not need to worry about it. So this UV is correct. If you want to know more about that, you can have a look at some of my other course, or you can have a look at some of the modular workflows on my YouTube channel that go much more in depth in why we need to do this, why we sometimes need to be careful with our UVs. So our window should be fine. Our door should also be fine, yes. And that's about it. Okay, so this might look very messy, what we're doing now with all our UVs and there's lots of little rules going on and everything. But honestly, you don't have to be that strict about it. I'm trying to just explain to you multiple ways, but in the end, yeah, it doesn't need to be this specific. I think the last thing that I am going to do is I'm going to go ahead and actually, you know what I'll do that later. I want to change my back wild a little bit to basically add the stripes to some specific areas. But in any case, I think now at this point, like, I can keep talking, but maybe it's better if we just simply jump into Unreal engine five and we actually start by just setting these messes up, and then we can really nit picky, go, change our UVs a little bit, change our materials a little bit, add some more shader work, all that stuff. So we will just finalize these assets one by one until they look perfect. So knowing that, for these kind of pieces, now there's one thing that we do want to do, and I'm just going to go through the export process, and I will also still do that in this video. So first of all, we need to flip around this door. So over here we have a door, and now that the unwrap is working just fine, we can now reuse this unwrap or reuse this door over here and also place it on the other side. So it's just a matter of selecting these pieces over here. Sometimes it's good to just wiggle this around to make sure that it all works. And then what you can do is sometimes easier to just press combine. Do make sure that you re add it back to your door layer. And then go ahead and just duplicate it and rotate it 180 degrees, like this. We've been over this before. Here we go. Then later on we will also just add some screws and everything, and I will go ahead and I will show you that as soon as we get into in real. So let's say that we have this asset. Let's go ahead and go through the process of basically just finalizing every single asset completely. So we will export the asset, we will finalize it, and then we will move on to the next asset, except for the branding. The branding is going to be its own little chapter. So I'm going to go ahead and save my scene. Over here, I want to go to file and I want to go to Export Selection because I'm now going to export this mesh to Unreal Engine. We, of course, still need to create a project for Unreal Engine, but don't worry about that. For now, we can go into our source files, go into the Export folder, and then there is a folder called two underscore Unreal. We want to go ahead and want to export this as an FBX. As I'm saying this, I do know that I forgot something, but let's just continue the process. Let's call this Door underscore A and just press Export. Now the thing that I forgot about is that some of these measures, we need to press three on them, and then we also need to go at and we need to actually export it with this smoothening along with it. So let's turn over our textures. Let's see which ones did we have to press three? This one, this one. These ones, we need to press three over here. Did we need to do that for this one? No, I don't think I don't see anything like for this one, we did need to do that. And for this side, then probably also. Okay, so now we have press three, so we've done, like, all the smoothening for all of them, as far as I can see. So that should be all good now. So now at this point, because when we are exporting it, we need to basically turn the mess into hypol forever. This means that I first of all, I want to do a save, and I want to do a save scenes, and I'm going to call this as final underscore Metro underscore backup underscore 01, and I want to save this. And then we do need to go in and we just need to reopen our original again. Oh, wait, I believe you could have also just done like a saves copy. Oh, no, wait. Oh, in three Max, you have a saves copy. But in any case, the reason we need to do is because if we export this now, while we have pressed T on, it will not actually export the high poly. The way that we can do that is we can go ahead and we can go into create, into modify, convert, and then smooth mesh preview to polygons. What this will do is it will turn our mesh into actual polygons. But as you can see, once we've done that, the problem is that we cannot really go back with this kind of stuff. That's why I wanted to create a backup just in case it is needed. So we might be needing to switch back and forth. So modify, convert smooth mesh preview to Bolis and it will also be a lot more to manage whenever these are converted. Modify, convert. You know what? I'm just going to add this to my here see, I'm just going to artist to my layer because then I can just very quickly press this button. Over here. And then these ones are last ones where we had to do that. I believe that is it. So now we have all of our original high pulleys ready to go, as you can see. So these are the ones why we need nanite because we now are rocking 63 635,000 pulleys. So you can guess that, yeah, you definitely want to use nanite with this kind of stuff. So at this point, I'm going to go ahead and I'm going to save my scene. And we can now get started by exporting this once more. Select everything and export it. It might take a bit longer this time to export because, of course, now it needs to export all of this geometry. But there we go. In the next chapter, we will go ahead and we will set up our nungin project. We will import this mesh, we will import our materials, and we can get started by turning this mesh into a final. 30. 29 Setting Up Our Unreal Engine 5 Project: Okay, so let's go ahead and get started. Now, just so you know, Unreel Engine five at the time of making this tutorial course is still in early access. This means that if you want to get it, you need to just open up your UnreelEngine lounger, go to Unreal Engine and just type in and just take the Unreal Engine five tab over here. And here you can download the early access. So everyone can download this and you can just go ahead and use it and read up on it. But if you're watching this tutorial, I do assume that you probably already know about it. Now, once you've done that, you can go ahead and you can open it up by going into library, and in here, you can just go ahead UnLengine five and number five, press Lounge. Then what it will do is it will just launch the system. Now I will pass the video until this is done. I have some graphical box over here, which is a bit strange, but okay. In any case, I'll pause the video. Okay, here we go. So Una Engine five has started up. And basically, if you click on games, you get a few things. So first of all, you can choose what kind of project you want. We're just going to go for blank. You can import first person and third person shooters and everything, but I'm just here about making art. Project location. You can go at and you can just open it up and you can select whatever fol you want. I will go ahead and place this project into a simple unwel folder over here inside of your source files. So you can, of course, have this project. And then for your blueprint, this is if you want to choose between what coding model. So we're just going to do blueprint, target platform, desktop, quality preset maximum. We do not need rate racing most likely. We can turn it on if we want later but I don't think I need rate raising for this. I think the lumen system, it would be cool if we just use the brand new system for this. And then you can call it something. So Metro Unscre Interior, for example. Oh, there's a length to parts, so Mtonscoe It in my case, and then I can just go ahead and press Create. And then it will go ahead and go through the process of creating your project. Shouldn't take too long, but I will still pass the video again until this is done. Alright, here, it's actually really fast, so I probably don't need to pass the project after all. So, Okay, once we have our project loaded up, we will just quickly go ahead and go over some of the basics. Here we go. So UnreelEngine five. If you are used to Unreel engine four, you can see that the UI looks a little bit different, but it still feels quite familiar, and I don't need to update. So what do we have here? We have a viewport over here which you can still use WASD to fly around it with your right mouse button. Most of the content creation is up here. Like here, you can create all of your lights and everything. This used to be a separate window. Over here we have some more content stuff like the marketplace and Quicksaw Bridge, and then we have some blueprints and cinematic stuff. Over here, we have stuff like rain editing, foliage editing, vertex painting, even fracture generation, and all that fancy stuff. And then on the right side, we have our world outliner. I personally have my details and my world settings below it. All of these windows, you can move around wherever you want, so don't worry about that. And we have a content browser down here, which also already has this button, which there is a way to turn it on. So I forgot. So a content browser is normally floating. So you will probably start up with this. So here you have a content browser, but you can press Doc in layout over here to basically show it. So in any case, so this is our default that we have over here. Now, what we're going to do is we first of all need to create a folder structure in order to nicely organize our environment. Let's go ahead and right click and create a new folder, call it Metro Underscore interior over here. And then in this folder, I always like to create a few things. One of them is a folder called assets for our three models. One of them called materials for our materials. One of them called textures for textures. Another one called saves for our save files and our scene files and everything, and that should be it for now. Okay, so what I want to do is because we are going to go ahead and we are going to import our door, so that will be the first asset that we import, I first of all, just want to get a basic scene. Now, the scene we have over here is actually quite good. So what we can do is we can go file and just do a safe current level S. And we want to save this in our saves folder, and we can just call this metro underscore interior. Over here and just press Save. There we go. So now our scene file is saved. If you want to go ahead and open up this scene file, whenever you open up Unreal Engine, at least whenever you open up this project, you can go to your settings down here. You can go to project settings, and we won't be spending too much time in this tab. But in this tap, if you go to maps and modes, it will ask you like the Editor startup map, which you can now set to Metro Interior. This way, whenever we close down Unreal Engine and we open it up again, it will just showcase this scene over here. Now we have a bunch of stuff in this scene that I don't need like audio. I don't need this floor I don't need and don't need these assets. I will keep this floor over here. Let's see. We have a skylight and a light that is fine for now. We don't need to play a start. I'm just looking at my world outliner. Reflection capture is fine. The atmospheric fork is fine. Yeah. Okay, so let's leave it at this. I only need one reflection capture, by the way. There we go. So I only need one. All we are left with is some lighting, a floor, and a reflection capture. Now for this floor, we can go ahead and we can just scale it up a little bit. Yeah, just have a metal floor or you can give it like a different material, whatever you want. In any case, it's just that we have something that we can play stuff on. And now what we can do is we can once again save a scene. I tend to go into the content browser and press Save AL and then it will save your scene and whatever you have imported. And we can get start by importing our mesh. So if we go ahead and we can go into our source files, exports and to unreal, in order to import this mesh, this is actually quite easy like there isn't much to it. We simply want to drag in the FBX into our *** folder, and then we get this setting. So there's a few things that we need to do that is different. One of them that is the most important one is that we need to press build Nanite Because we are going to use nanite basically what this will do is it will calculate our tire mesh and it will build a Nanite mesh for that. Generate missing collision, I tend to leave it on, but it is basically there if you happen to have a first person controllers that you are able to walk straight through it. Another important one is to go down here and press combine meshes. This will just make sure that all of our meshes are combined and that we do not accidentally import 50 different assets. And for the rest, that's about it. You can turn on generate lighten PVs if you want, but we are going to go for real time lighting, so we don't really need it, to be honest. So I'm just going to turn it off. And the scaling, this is also an important one. We first of all need to figure out the scale before we can set it. So having this stuff, just go ahead and press Import and just import your base mesh. Generating the nanite that's what often takes a little bit longer. So that's why it is a little bit slow with importing compared to unreal engine, but it should not be too bad. Just like that. Here we go. Okay. Now we have a mesh. Before we can do something with this mesh, I need to go to create, and then I need to go to a empty character, I believe. Yes, empty character. The reason I want to do this is because this character is the same height as a character in unweel. Technically, a character in unwel is a little bit higher, but we can base our environment based upon this specific character in terms of the scaling because remember how we like to set the scaling a little bit different. By the way, over here, you can turn on the snapping, so you can snap to grid, rotate and scaling. I want to turn it off so that I can do a proper scaling like this. So to keep it easy, just simply grab your door and drag it in here. Now, what you can see is if we turn on snapping on our rotation and rotate this, we can see that this door is way too small. However, it is not dead insanely bad, so we can go and double click on the door. And you know that Nanite works when it says 2000 triangles and 1,600 verts, because it will always say that for Nanite meshes. If you, for example, try to go to your wireframe, you can see that nothing shows up. So you know that the Nanite is working, or it just says Nanite enable. I guess that you can also look at that. In any case, it's already looking quite nice, just because everything is nice and hypol. What we need to do is we need to scroll all the way down in this mesh, and we need to go to transform under our import settings. In here, we can set basic care settings. If I set this to 1.3, for example, or, I think I only one point maybe 1.1, to be honest, and then press reimport base mesh. What it will do is it will just scale up our mesh a little bit because it just re inputs based upon the scale. And then later on, it will also save this setting for all of the other assets that we want to import. So of course, it takes a little bit longer this time because we have a Nanite mesh in order to input this. Now you can see now it's a little bit bigger, and that's actually looking quite well. So if our heights around here, this is looking pretty good. So we can now close this mesh, we can get rid of this actor, and now we know that this is going to be our scale, 1.1. You can see that everything now is nice and hypol see? It is looking great. And if you want to test out your nanite here I like that. That's always looking nice. If you want to test out your nanite to make sure that it is working, I tend to go to IT, nanite visualization and triangles. You can see the Nanithart at work. So from a distance, it does not need a lot of triangles for those really large pieces. But if we go nice and up close, you can see that over here. It has a bunch of really smart triangles, and especially like over here in these areas. But it is still nice and optimized, and we are running at 120 FBS right now, and we are probably running even higher normally, but I can hit 2300, but I'm recording. I have a bunch of programs open, so then of course, it's not really fair judgment. But in any case, that's looking great. So we have this stuff here ready to go. So we have our very first mesh. Now what we're going to do is we are going to focus the next few chapters on taking this completely to vinyl except for the branding. What we're going to start with is we're going to start with importing our textures. So if I go ahead and go in our text folder, let's move this over here. Let's just already import everything. Right click and Ata folder that we call floor, right click a folder, that we'll call plastic and another one that we'll call metal. And within the metal, we need to have stripes. Chrome and Dull. There we go. Now, importing this stuff is just as easy or easier even than importing our mesh. We simply want to grab our taxi maps over here. And just simply drag it in to our floor. One thing that we need to keep in mind is, we have been working in OpenGL. However, unwelEengine reads in direct X. So all you need to do is you need to open up your norm map every time, go down to the texture and to the drop down and simply press flip green channel. That's it. Then you can press Save. And that's all you need to do. Then it will just flip the green channel, and now it is DirectX. So we can now go ahead and we can go in and start doing this for all of them. So I will have this on my other screen just to make it easier. So metal chrome. And for our chrome, whenever we have a plain color, like you can see over here, do not import it. So we have actually one, only importing norm map on. But the reason why we don't need these is because in our shader we can simply set a value, and then it's cheaper, basically than importing an entire texture. So we will have a normp and our roughness. B a normap is plain, it will not do anything whenever we invert the green channel, so we can just leave it. And then over here we have a dull so for that one, if we go to Dull, we can use the base color, normal or sorry, the base color and the roughness. They are the only two that we can use for this. And then finally, we will have our stripes. And for the stripes, we will need, once again, only the roughness. So you can see that the metal does not require a lot. All those extra maps were more for, like, mamset. And then finally for our plastic let's go ahead and oops too far. Oh, no, wait, not too far. Let's go plastic, final. And let's just use our No, sorry, the plastic also does not have normal. So only use the base color and the roughness. That's it. Very little textures, but it will do the trick. Now, I will finish this part off by creating a very basic material or, for example, our metal so that we can already just see how the metal looks. And then in our next chapter, we will go in, like more advanced shader work and all that stuff. So if we go into materials, we want to right click and create a material that we'll call um Scene underscore master. So this material basically every single texture will use this material because you can just drag in the textures whenever you want. Let's open up this material, and let's just assign it over here. And then you get this note base. It looks very similar to substance designer. Now, what do we need? So let's go for the comb. Yeah, because the comb is being dded on this. What we can do is we can import our metal normal and our metal roughness and we can plug it in here. So for our normal, you can simply drag and plug this into your normal. This should feel very familiar to you. And for your roughness, you can plug this into your roughness. As you can see, now it immediately already has an color. Now, for our base color, we can right click. This time, you need to press right click in sell space and type in constant so that you can get a constant three vector. It's just a fancy word for saying plain color. It's the same as like a uniform color. Now, at this point, we are going to expose some values. Exposing you can once again, it's similar to when you expose something in substance designer, you expose it so that later on you can change it inside of your editor instead of needing to go in this window. The way that we do this is converting things to parameters. You can do this by right clicking and pressing Convert to perimeter, and call this, for example, base, color, plane. Now in here, you will have your default value in which we are going to set it to white, and then you can simply drag this into your base color for now. We can basically just keep building upon this scene until we get exactly what you want. For roughness, let's say that we want to have a little bit more control about our roughness. We can do this by adding a multiply node, and we can multiply our roughness using a scalar parameter. You can type in scalar and find it, or you can press S and click once, and that is like a shortcut. Call it roughness score amount. And now what will happen is this value, I believe that we need to set this to one by default. This value will now basically give us control over how much of a roughness map we want to show because we are multiplying this value by this color. And this value, you can see as a gray scale. If I multiply it by two, this will become, for example, lighter. If I multiply it by 0.5, it will become darker. It's not exactly a multiply, but it's close. And then over here, yeah, okay, we have a norm map. Whenever we have a taxi map, you do need to right click and convert this to parameter and just call this roughness underscore map. And the same over here, converts to parameter and just call this normal underscore map. Now, the reason why we do that is so that we can also drag in these textures. Let's say we have this. It is super basic. The only thing that we need is a metallic, and for metallic, we can simply add a scalar parameter. Call it metallic, by default, I want to set it to zero. But then later on we can set this to one, and as soon as we set this to, for example, one, you can see that it becomes metallic. So we can now save our scene and we can go back into our metro interior. The way that you can see these exposed values is by right clicking on it and pressing create material instance and call it Com for example. As soon as you do that and you, for example, drag this on your metal over here, you click on it, you can now go ahead and you can now see all of these values. Here, I'm just dragging this window down. So we can take it on and then we can, for example, change these values if we want. Let's say we want to set our metallic to one. Now it is metallic, as you can see. Let's say that we want to control our roughness. See, I can just very easily control my roughness amount in here also. And just like that, we can basically mess around with this. Now, without lighting, it's a little bit tricky to see the full scope of this environment and everything over here. So that's always a bit tricky. So whenever we have lighting, of course, the reflections will work a bit better. Let's keep our roughness to one for now. You can see like we have a little bit of roughness variation. There's one last thing I want to add, and that is I want to give us control over the tiling amount of our roughness. We can do this by adding a scalar perimeter. Remember as click and call this tiling. Set the D for the one and you want to add something called a concentry vector texture coordinate. The taxi coordinate will basically control your tiling, but because you cannot convert a texture coordinate to a parameter, you need to multiply it with a value. If we set this by two, we will multiply our taxi coordinate by two. And then if we plug this in here, we can automatically control the tiling amount. Simply by saving our scene, or sorry, saving our material. And now if we go in here, you can see tiling, and if I set this to, for example, five, you can see that now the tiling has changed. It's really, really shiny right now. As you can see, it also really depends on the quality and everything. But that's something that we can, of course, work on later on. Do keep your metal at one. Metallic, basically, it is there or it's not there. If it is at zero, it will not be metallic. If it is at one, it will be. You cannot go 0.5. That would not be logical because then it is technically not metallic anymore. The only reason when we can set this lower is if we are dirt. Roughness amount. Let's set my roughness amount to 1.3 just to make it a bit duller. And what you can do, I will go over this way later on when we do our lighting, but you can go in your global post process volume. And in this volume, you can basically have control over a bunch of different settings. I will go over this later on, but for now, in your reflections, you can set the quality higher. And that's just basically, if you set the quality to two in your reflections, it will give us slightly better quality. In here, we can also, for example, go like screen space and you can see how different it looks when we do stuff like screen space compared to Lumen. In any case, for now, this is like our base. What we're going to do is we're now going to mostly work more on our materials to art the rest of our maps. And then what we can do is we can go ahead and we can start just making it look more like final. So let's go ahead and I've just saved all of my scene and let's continue with this in our next chapter. 31. 30 Exporting All Of Our Assets: Okay, so let's go ahead and continue. So off camera, I had a little think about this. And I feel like because this environment is so incredibly reflective, I don't think it would be good if we already try to make our materials while it is like this because with the reflections, I just don't know what's going on. You can see it like I didn't think it was that bad, but when I think about it, compared to this stuff over here, it is quite bad. Now, that does not mean that we are wasting time renting. Instead, what we're going to do is we are going to set up our base materials, and then we will simply already place our environment in the place. Setting up this environment will only take probably like one chapter, pretty much. So like 20 30 minutes. That's all it will take to set all of this up because there are very few pieces. And once we have got everything set up, then what we can do is we can just start by going piece by piece and trying to improve it. So for now, the focus will be just to quickly set up some base materials. So over here we have our chrome. Let's duplicate it and call this metal underscore stripes. And in this material, you just want to go ahead and double click it and it's scale up. And we basically just change out the roughness. That's all we are going to do for this one. Then what we have is, let's duplicate this again, metal underscore dull. Let's open it up. It's a bit annoying that it always opens up in the large area over there. But for now, here we have our metal doll. Let's go ahead and add our roughness. And this time, we need a base color. So for the base color, if we do not have a base color yet, which we don't, we are going to simply direct this in here, and we basically are going to create a switch almost between these two. So you also have switches inside of unreal. So what I can do is I can, first of all, convert this base color. Base color map, I will call it. I will convert this into just a parameter. And then I want to add a static switch parameter, which we will call has base color. Then if it is true, we use our map, and if it is false, we use our color. See? And it's just like in substance, it's just a simple switch. So we can go ahead and we can save this and give that second. There we go. Okay. And now that that is done, we can go ahead and we can go into our doll. We can turn on has base color. Of course, we already have our color assigned and set the metallicness this time to zero, and maybe set the roughness back to one. There we go. That's like our doll metal also ready to go. Now, if we go in and we are going to add our plastic. So for that, let's just duplicate actually, let's duplicate our metal doll and call this plastic. Underscore yellow for now. Let's open that one up over here. I'm going to plug it in here. And for this one, what we need is we need to have well, first of all, we need to assign our maps. So we have a base color map and a roughness map. And then what we need to do is we need to give control over the color of our base color map. The way that we do this is very similar. In here is that we control these type of roughness variations. Only this time we are going to add a constant vector, and we can right click convert this to parameter and call this base color base color map overlay, something like that, and just keep it white. And we are just going to multiply this. And then what you can do is you can change the color. That's why we wanted to keep the actual base color quite bright so that because it is a multiply, white means nothing in multiply while black means that it will actually overlay. So I'm going to go ahead and I'm going to save that, and then we over here, we have control now over our base color plastic. And finally, we can go ahead and go into our plastic yellow, duplicate it once more and call it floor. And let's just do floor underscore A. And open that one up, and floor number A will have its own base color, normal roughness map. There we go. So those are our base materials. Now what we're going to do is we are just going to move this into the corner, and we will go ahead and we will start by just exporting all of our text texts, all of our models that we have in here. And then we can slowly just start by assembling them and then setting them up. So I'm going to go ahead and I'm going to actually, you know what? Let's keep this very nice and clean. And that's get started by just adding, if you go to assets, just throw on like your here, just throw on all your plain metal. Let's throw on your plain metal so that everything will always be white. This will make it easier later on for our assembly, and just keep that in mind that we are doing this. So we got a door. Our window over here. Let's see. It does not have No, it does not have smoothening on this, I believe. Oh, no, wait, it does need smoothening on this. So we do have Do we have supporting loops? We don't exactly have supporting loops, but smoothing does work. I'm just wondering if it will make a difference. Now, see, it does not make a difference. So let's not do smoothing on there. These pieces do have smoothing, so let's press three. Then as soon as we press three, we are just going to go ahead and we're going to immediately press, modify, convert and convert it to a smooth mesh preview. This one, three, I forgot that I have it saved in here. The convert, three convert. This one. Yeah, this one also just press three and convert. There we go. So that one is now also ready to go. So with this piece, we can also go ahead and we can go File Export selection, and this one I will call Window underscore A. And it will always save your setting, so you can just wide way press Export. Let's see. Then we have our chairs, our chairs. We can convert this one. We can convert this piece and these pieces. And don't worry. So the chairs, we are going to go ahead and we are going to texture those a little bit later on. For now, let's just already export it and place it into position because texturing does not really have to do much with our model. Chairs underscore. Double. Let's call it that. So, so we can just texture it later on, and then we can just assign the textures inside of unreal. Right now, focus my main focus is going to be to simply get these models into in real, set them up, and then we have a better look at all of our materials. And I feel like that would be a bit easier. Like, sorry, let me just add FT underscore A. Oh, no, underscore module on score A. So basically what I'm talking about is that I can go ahead and I could do them all separately and I can get pretty close to the effect. But this is because I would know what to do out of my head. And I feel like that would not be very fair for you guys, because I don't know what your experience level is. So so you could just as well have it like that you are quite a new beginner. And then it would be pretty mean for me to go in and I can think to go in and just, like, guess do guesswork, basically. And I don't want to do that. So this is often a better way for beginners to just preview everything. It just means that we need to split everything up in a few bits, which is, of course, no problem. Let's go ahead and here and just need to turn all of these. Into film measures. And very quickly, our scene is starting to, of course, also become a lot more heavy because we are now getting all of the real geometry in here because this was not considered real geometry yet until we really start converting this to real geometry. But the UVs are holding up really nicely, so that's looking good. So I'm not too worried about that. If we see any problems, we should be able to still fix them even with the high poly geometry. So I can go ahead and call this export selection, and Metal poles underscore. A? Oh, sorry, metal handles. Handles underscore A to that one. Here we go. And then we have a metal center pole, which I believe is just like a single pressing tree, and then converting it. Export selection, metal center pole, export. Okay, so we got that one BwallO back wall has this one needs to be converted. This door needs to be converted. Pretty much everything, actually, I think needs to be converted for this. The top bit this bit over here, these bits, even the small bits over here also need to be converted. Yeah, the bolts, we will leave. So I think that's it. Yeah. Yeah, that should be it. So we can select all of this. Export selection. Back will. Yeah, let's just do BwL so that I do not get confused. Okay. Later on, we also need to place like all of our class, but all of that stuff will come in time. These ones, I know that we already turned them by pressing three. So I just need to select this site and just convert it. And this is going to be export selection. Window score floor, and the other one is going to be door floor. We have this one and this one. If we just press three, convert, this one is going to be our door score floor. There we go. These ones go with the doors and the other ones with the windows. Sealing, we can just convert this file export selection, sealing underscore A. Then we also know by the way if all of the pieces fit together properly. The speakers. Yeah, we can also convert those already. The only thing is that probably we need to go into our backup for our texturing to texture it. Although I'm not sure. We probably don't have to actually. I think substance painter can handle this amount of geometry, but we'll see. This is going to be speaker underscore A. And then we have a small light, which we can also convert Export selection, small light underscore A. Cover this one. Export selection, small o underscore A. And then I think at the end of I do remember there are a few more pieces that I want to create, but I will do that at the very end of the toil, and I will just be like a little bonus thing. Just like those handles that you hold and everything. Export, this is going to be small underscore. Log underscore B. So let's export that one. We're almost there. This one is going to be our window cover, something. Export window underscore sign, underscore cover. There we go. And finally, we have our small light B. Here we go. Tiny one. Small light B. Okay. Perfect. So those are now all imported. That's great. Now, we know that our scaling is going to be 1.1, all we need to do now is we need to go ahead and go into our folder over here and go into our exports to in real, and we're basically going to select everything except for my door A because we already have those imported, and we're going to drag it in here. This will take a wider input, but basically all the settings will stay the same because we have already set them. The only thing we want to do is set the input scale to 1.1, and then we can just go ahead and press Import A. Now, Import A sometimes it still pops up the window, so we'll see how it goes. But it looks like so far, it is actually doing pretty well. I will pass the video until this is done because this can take a while. So let me just pass the video. Here we go, so that is now all done. Great. Okay. So now that we have all of these pieces, we can go ahead and we can start by just importing all of this in here. So all of these pieces should have our rate tracing turn on, and we will know soon enough because if we just go ahead and drag these in here just to make sure that they all look correct, then what I'm going to do is I'm going to go ahead and assign, like a base material to them. But, yeah, we will know soon enough when we look at our FPS, if it goes down greatly. I shouldn't say that because I'm recording, so this is not really an accurate or an accurate look for it, but oh, well, we'll see. See move this one down here. Yeah, this should be totally fine. I think they're all correct. We have our ceiling over there also. Door floor over here. We are going to nicely place this. I just need to drag it in here just to make sure that everything is working correctly. And then I can just go ahead and, like, change the material. So that is all looking good. I think I'm just going to go in my door over here. And in our window floor, let's see. Let's open that one up. You just want to go ahead and let's open up a few of them. So our window floor, our door A, our door floor, and just anything that has, like, a strange looking texture on it. And then when you have everything, you can click, for example, on Dull metal and then just go into your window floor and press this little arrow key. What it will do is it will basically assign whatever we have selected in our browser, which now happens to be this plain material, this dull metal material. So I just need to make it white. That's all I care about for now. And then I can go at and I can close these pieces. I can save my mask material, and now you can see everything is nice and white, but it is also nice and hypol and just for the fun of it, because I like looking at it, let's look at our triangles. There we go. Yeah, that's doing a great job. So even with really small piece over here. And it's quite interesting. I'm surprised how well it holds up with these type of assets because these assets are, of course, hard surface. So it's not like a rock. A rock always seems to be an easier thing to optimize, but this seems to be doing quite well. So having all of these pieces, now what we're going to do is in the next chapter, we are going to actually start by building our level. So I will leave it off here. We have our pieces ready to go. So in next chapter, let's start by building our level, and then what we can do is we can start to incrementally improve all of our meshes. So let's go ahead and continue with that. 32. 31 Building Our Level Part1: Okay, what we're going to do in this chapter is we are going to get started by building our environment to get something that looks fairly similar to what we have over here. Now, one thing I quickly did off camera because it was a little bit time consuming is that I went ahead and I did not like the metric setting it to 1.1. So I just set it back to one because I felt like 1.1 was actually too big. So the original was fine after all. That's just me being a little bit picky. You can try 1.1. However, do keep in mind that because we did not really take into account setting it to 1.1, you might have a little bit of trouble with, like, the snapping sometimes, but it just depends on your models and how big they were originally. So for now, it doesn't really matter. So this is still the same scene that we were in. However, I removed all of the objects, and I was not thinking about doing that during the recording. So I just removed everything, so we have a clean slate. We still have all of our lighting in here. Everything is in here, except that I removed all of the objects, and this is the scene that we are going to be using. Now, this isn't anything special. We're going to do this, and it's going to be quite simple because we paid a lot of attention during the modeling to make it simple for us now. What we're going to get started with is we are going to get started by just simply dragging in our door. Reason I want to do this is I need to have a starting point, and I feel like having the center door over here is like a starting point, it would be great. Now with this door, what you want to do is because it is a starting point, we want to go down here to the transforms, and we just want to press this little arrow button, which will snap it to zero, zero, zero, then yeah, it's just a nice point for us to get started with. Now, as you can see, I think what I'm going to do is I'm going to make it three doors long. So door, window, door, window, door. And then we will have the back door and then another back door on the other side. So what we're going to do is we're first of all going to go ahead and we're just going to build the basis of this. So for this, what you can do is up here we have our snapping tools, remember. We're just going to go ahead and turn on snapping and you can turn on the grid snapping here and you can set this to whatever you want. Now, for example, let's say that we set it to, like, a grid snapping of ten, and we will see if that works. And then when you're happy with that, you basically just want to press Contra C Contra V, and then and then you will duplicate your wall over here and you just snap it to the grid like this. Now this wall, the reason why I'm duplicating my actual door over here is because the nice thing about unreal is that you can simply scroll down into your assets and go to, for example, your window A, and you can simply drag it into your static mesh over here, and then it will replace it. So now we have a window and our door next to each other. Okay, and look at that. I also immediately found a little problem that we need to fix later on. So that's pretty much it for this. So we have a door window, then we can go ahead and we can have another door over here. And we want to have another window down here. And because the snapping works, we can just go ahead and do the snapping. There we go. And now we immediately already have a wall ready to go. Okay, so now that you have this, now, I think it's good if we just go ahead and do some floor modules. So for the window floors, let's just drag it in, and we want to go ahead and let's just maybe it's easier if I just rotate this 180 degrees most likely. Now, the cool thing about this, another little trick that you can do is you can go ahead and you can copy the actual position of your window, so you can right click on your location over here and just press copy and you can paste it in here. So if I then press paste, I know that my grid points will be on the window here, too. And then, of course, because I flipped it around, I will need to just go ahead and move it like this. But just like that, we can very easily copy this floor and place it here. And then what I can do is I can duplicate this floor. And because snapping still works, I can turn this into my door floor, and that should give us a perfect snapping. Yeah, see, that looks pretty much correct. And this maybe like a tiny bit over here that we want to maybe move it down a little bit, but Oh, yeah, and we probably want to, give it a proper end. But that's the stuff that we are working on now. We just need to go ahead and we need to figure everything out. So this one we can go ahead and do another snap and just flip this one to be your window floor and one more over here to be your door floor. See? And just like that, we can just very quickly do like all of our snapping. Okay, so we've done this one. Now we're going to go ahead and we're going to focus on our advertisements. So these ones, in terms of snapping, they're going to be a bit more interesting because I can remember that we did not really have a specific metric for it in mind. So here we have our advert module. I'm going to go ahead and I'm going to move it up, but I don't think that I will be able to snip it to the grid, because I think what I want to do is, like, push it further back by going off grid. Like, I don't know. Let's see. If we push it a bit further back over here, and then a little bit down actually so that it maybe hangs across it. I think that will look nice. Now, I think that we can still snap to the grid if we just keep it on one axis. So if we now just move it to this axis here, we can still snap on the grid, so that should be fine. Because as far as I can remember, we do have a grid snapping. Although one thing that I do now also remember is that it means that we will have a double bar On the way here, there is actually a double bar also in real life. So there's no problem. And else it would just mean removing one of them. Okay, so over here, we see the first prom that we are snapping too large. We can twinted of snapping to grid to five. To see if that works, but I think that it's still overlaying. So there is another trick that you can ty. I don't know if it will work for this, but a cool thing inside of Unreal is if you press V, you can also snap to ertzs then you can, twin snap it to a vertzi. However, in this case, it does not work, but it felt like this was the only time that I could actually show you this tool. So if you hold V, and you would move this, you would be able to, like, snap this to a ertzi if you want. This case, that does not work. So in this case, what it's going to do is we're going to do some manual placement simply by moving it by hand, which should not be too difficult because it has quite a nice closure over here. So you just want to kind of clip it in a tiny bit and then leave it like that. Like that. And yeah, so I think that should be actually, we need to have a look at the front and the back if we want to know exactly where we need to place these because, of course, the transition at the end is a little bit different. So knowing that, it might be better if we first of all, go ahead and grab our back wall over here, rotate it 90 degrees. And let's see how we're actually going to place this one. Okay, so yeah, we can place this one at the very end. So that should not actually matter anything with our snap. Now that I'm here, I can just as well do it because then I immediately have a nice endpoint. And I'm trying to basically get this to be at the right location. I think something like that should work, and then just push it out something over here, and m, it feels like that we are missing something. So this is one that we definitely need to adjust in order to get it to work. However, for now, I can go ahead and I can just First of all, start by moving these pieces. So that's a bit of a shame that this one does not snap as well. I do often just click away from it, and the only reason I'm doing this here, you can see out of the Nantes at work when it starts to clip. The reason I do this is because of that yellow line because else I cannot be sure that it is not clipping. Later on, we will make our entire pack environment black, so you will not be able to see through it, but that also means that you can sometimes see black lines if you have any holes in your environment. So we kind of want to just avoid having holes in our environment. So we have this one over here, and I believe that that one reach then. So it looks like the scale is correct. We just no, wait here, see, we overshot the scale. That is a bit of a shame that we did that, or that I did that. Sorry. So for this, there is a way that we can fix this. It's not a pretty way, but it's basically by scaling things down a little bit, little bit by bit. It's basically this. So we go ahead and we go, for example, to this one, and we make sure that in our scale that our scale lock is not turned on so that we can scale the individual pieces. If I then set the red axis, which is the X axis, you can see it by the red color to, for example, 0.98. You can see that it kind of shoot everything up a little bit. Might even be too much. 0.99. Then go ahead and we can go in here. We can move this close together. And luckily we only need to do this once because Elsa ls I would go into Maya and, like, fix it up, but 0.9. I went ahead and very quickly time laps this because just in a little bit later, we find out that because of the back wall, we need to redo this anyway. So this was kind of like wasted work, but I did not just want to cut it out because else it would have a mismatch later on. So, yeah, it was like over here because the back wall is thicker on the other side, we needed to create a new piece. So over here, what I'm doing is I'm just placing these pieces and just messing around with the scale until everything is correct. And once that is done, I was moving onto the back wall, and that's where I noticed. So yeah, that's why T naps is because else you would need to sit through to me making my mistake for the next few minutes. And that would not be very fun. So yeah, but that's about it. The T nap is almost over. It's just about scaling. Just make sure that you if you use this technique, I use it quite often. Don't scale it too much, and then your UVs not stretch too much, and that's about it. So let's kick in the real time again. One. There we go. So from a distance, you will never be able to notice the difference between these small scalings. If you would only scale this one, you will notice the difference, but we need to be careful because we are going to have text on this and stuff like that. So I do not want to accidentally stretch it so far that you can notice it. Okay, so our back mall is completely wong. Not wong, but we definitely need to work on it a lot more. If we go ahead and have a look now, I think what we can do is we can, first of all, just rotate this to the other side. And yeah, there's multiple ways that you can do it. So I'm just going to go ahead and I'm going to use my grid snapping. I'm just going to rotate this 180, and I'm just going to redo the same work as that we've done before. And this time, I'm just snapping this one to this point over here in the grid. Let's see, I accidentally went down. Looks like that I'm a little bit off. I am at 000 white. Yes, I am, which means if I'm a little bit off, I need to go off grid snapping. Push this back a little bit. It's okay to push this back a little bit, because we can still gridsnap on one point on the most important point. Turn on grid snapping again. Duplicate switch this to a window, duplicate the door again, duplicate the window again, and duplicate the door again. Let's see. Okay, so that should all fit fairly well. See a little hole here. This means that we also need to fill up this a little bit better so that we can not look through that. So yeah, the only thing that we really went in the wrong is the back wall, which is interesting. So I don't know where exactly I went wrong. It's not that big of a deal, so we can just work with this. So now we have two things. One of them is we have over here a problem with this panel. However, this panel, we can just separate it and we can place it manually. That should not really be that big a problem. And we have problem that we need to extend this out and we just need to in general place this in a correct place. I'm going to get started by quickly grabbing my window floor and moving this out. Because this is the easiest floor to just quickly duplicate so that we can now work from this. For the rest, these pieces over here, we can go ahead and we can also place them here, but I want to wait because I first of all need to see how I'm going to solve this problem over here. Okay, let's see. If I move this into the center, I think the easiest way to solve this problem is to actually scale it out from the center. Which should not mess with UVs too much. The only thing that I'm a bit worried about is that over here, it will most likely break some stuff. Let's go ahead and go into Maya. Another thing is that now we are in the hypol range. So if I now go to, for example, my back wall over here, it's not as easy for me to just go ahead and grab this site and scale it. One way that we can do it is we can go ahead and go to Vertex mode, grab these vertices over here, and you can just do it in small increments. What you can do is you can go ahead and you can go to your tool settings, soft selection and turn on soft select. And basically, that will give us a soft selection like this, which means that if I move this, everything kind of moves with it, and it's like, very small variations because we do not have very large changes, I think this might be the safest way. So if I, for example, do this, I can then go ahead and export it again. And this way I can balance it out without needing to go in because the second thing that we might need to do 1 second Bewle the second thing that we might need to do is we would need to go into our backup file. We would need to rechange that, then we need to convert it back to the hypol then we need to add it to this scene and other stuff. Although it does not take very long, it does take long to do in a tutorial because I need to talk about every single thing. But in any case, now that we have reexpoted, we can right click and press reimport on our back wall. Give it a second to reimport everything. And once that is done over here, you can see that now it has pushed out. And it has pushed out quite nicely to a point where I'm confident that we don't have any problems. Maybe I'm going to turn off my snapping, and I'm just going to very carefully. Move this forward a tiny bit. Then we will just have some clipping that is no problem. And then over here, I wonder if the clipping is bad enough over here for us that we can just go ahead and do like 1.05, folks, now's why much 1.005. I wonder if the clipping is bad enough for us to just be able to do this, that we just basically clip it into the wall and you won't really be able to see it. I'm hoping that that should be fine because it would save us a lot of pain and effort, but it's something we'll have to see. Okay, so if we have that wall ready to go and this one is in the center, this door. So that should be all fine. Then we just need to push this wall out and then we do need to adjust all of these pieces again because we will also have it on the other side. So let's go ahead and continue with this. So let's first of all, grab this side over here. Oh, wait. Let's first of all, grab this side over here. Push it out. And small changes like this, just like the scaling, you rarely will notice it in your UVs. And if you really do, we will just go ahead and edit the UVs. So it doesn't really matter too much. This one is a little bit larger, but we'll see how it goes. So let's go ahead and try out something in that direction. Don't forget to, like, move this a bit more in the center over here, and let's see if this works better. So pot selection. This is going to be our back wall. Over here. Okay, we can export that. Can go in here, right click and press reimport. Okay, and that's now done. So as you can see, wow, that's pretty spot on, to be honest. Okay, so I'm not too worried about that. It has a nice transition going on. Over here, yes, it has a tiny bit of clipping, but as long as it will not harm anything, then it should be fine. So let's say we now have this piece and it is ready to go. We can go ahead and we can duplicate it and rotate it 180. And in your rotation, maybe try to turn on snapping. Let's see if the snapping still sort of works. Does it sort of work? Not completely. But basically, what I need to do is I need to make sure that it lines up correctly, like this. And now we're just going to places on the other side. The other side is a little bit more forgiving because we most likely will not take any screenshots from this side. However, I still need to make everything just working logically. So I'm going to move this over here to this side. I'm going to push this once again, back in until it's clipping a little bit. I'm going to go ahead and grab my window floor, and I'm going to duplicate this over just to bridge that small little piece over there. And now what we need to do is over here, yeah, we have a little bit of a problem. So what I'm going to do is I'm going to go ahead and I'm going to delete this. And what I will also do is I will time lapse that previous part where we did all this fiddling around because there's no reason if we need to redo it now for you to sit through 5 minutes of me messing around with that. So I'm going to go ahead and turn off my grid snap. Actually, shall I leave it on? No, I'm gonna turn it off. I'm gonna so I place this very close together like this. And now we just need to kind of see if we can make it work again, and we'll see how far we get. Hopefully, it will not be the center because I did not take into account these back walls adding so much extra space, at least on this side. So because I did not really think about that, I have no idea how this is going to end up. If this ends up being in the center, it means that we just need to create an extra little module, and that module is just being cut in the center and it'll just have a smaller advertisement. It's not that big of a deal because it means that we can do some custom made stuff, and we don't need to fiddle around with scaling, but it is, of course, more work, most likely. Okay, so let's see how far yikes. Yeah, see? I'm way too close together. So what I'm going to do for now is I'm going to move this over here and I'm going to just quickly duplicate this over to the other side. All of them. So duplicate, rotate them 180. Move them over to this side, just by simply moving them like this. And then in the next chapter, we will go ahead and we will complete this work and we will fix those small little problems that we have. So let's do this and let's move this out. Oh, wait. Looks like that. I need to actually have a look over here have a quick look and just try and get it already to be placed. Correctly, like that. There we go. Okay, so what we're going to do is we're just going to create a small piece, and then we'll continue with like a ceiling and all of the beams and everything. For now, just make sure that you save your scene, and let's go ahead and continue with this in the next chapter. 33. 32 Building Our Level Part2: Okay, so let's go ahead and continue with just our general level building. We're going to get started by just creating a smaller version of this advert sign. And the way that we're going to do that, it is pretty simple. And that is that we're going to go into Maya, and we're going to go to our Ad top advertisement A. And this is why I say underscore A often because what I can do with this is I can go ahead and I can press like a you know what? I'm going to reuse this in a specific way. I think that will save us time. Let's go ahead and press CFD to duplicate it, create a new layer and add it to it and call it top Atisement under scope B. Now, what I mean with a specific way? What I could be doing is I could technically go ahead and scale this in like this. Oh, turn off advertisement day. Scale this in, change the UVs and all that stuff. However, what I can also do is I can just because I want to, of course, create the same UVs and probably also create like a mask for this to have dirt and grime and everything. I want to be able to reuse all of my masks and dirt and everything from my top advertisement. The only thing that I'm going to change is that the branding will be smaller. In order to do this, what I can do in this case is I can go ahead and I can simply cut away parts of the mesh and do it that way. So I can say, for example, that over here, I'm going to make a simple cut. Let's say this one. Like this. Then I also need to go ahead and I need to this is one solid mesh. This is not one solid mesh. I'm basically going to go ahead and I'm just going to only leave over this backside. If I go to my front view over here, I'm going to select probably up until let's say this point because this is the straightest piece. Hold Control, deselect this and press, cut. Then what we can do is we can select over here these few faces, and we can also straighten them out. That should be fine with UVs. But I think what you're going to I think you know what I'm going at. So I'm going to go ahead and I'm just going to link them together with those. Now, over here we have a cylinder. Honestly, often you can just place like a simple loop over here and another simple loop over here, and then just get rid of all of this backside stuff. And I think I feel like I've also cut away extently that. That's Undo that. Yeah, you see. I also need to create a loop over here and delete that. There we go. Now, just double click and just make sure that you just Oh, God. Double click, yes. Do not have it loop around over here. So hold Console. There we go. And then flatten this out so that now if we go in, we can make this perfectly flat like this, there we go. Now we have this little extra piece, and then for the recipe, we can just do some small scaling. I can go ahead and I can move this in here. It looks like I messed up. I already messed up my cylinders. Can I press Undo by any chance? Because I'm really not in the mood to mess it up. Um, No, it looks like that I already messed them up. No problem. In that case, I'm just going to redo it, and then I will just cleaned up. So that's me accidentally deleting my part of my cylinder. But that is no problem because I can go ahead and I can move this here. And then we would like me to do some small merging there. And it just means that for these pieces, let's go ahead and let's select these cylinders, all of them. See now it is getting really annoying to just select because you don't know what's going on with all of these edges. Select them. Let's do an extract pass on them. Shift click extract faces. So what we can do with those is we can go ahead and we can merge them. Let's also go here and doing extract pass on these. Here, extract faces, okay. And then I'm going to reset my pivot. I'm going to go ahead and duplicate this. And you know what? I'm actually going to get rid of these cylinders because if I'm duplicating this, I can well do that. I can just as well grab these pieces, place them sort of in location like this. You can zoom in and you can just make sure that they really are close enough so that when we do a weld everything will weld together. And then you basically just go in here and you just place like a loop in the center where you can no longer see anything and then just delete everything else. Fine, Maya. If you want to do it that way, I will play ball and I will also work like that. There we go. Once again, just go to the font. I know it's a bit of a mess. And this mess really comes with working with hypoly meshes like pure hypoly like this. But for now, I think it's still easier for me to do this than needing to go in and, like, go into my backup. But now you can hopefully's why it is so good that we have made that backup in the first place. So now what we can do is we have all these pieces. We can go ahead and select them and we can press combine Same over here, press combine, and all of your IU Vs are still intact because technically, we did not scale anything, so it will not have anything broken. And now it's just a matter of, for example, selecting this, and we can go ahead and do a shift click, merge ftcs at a low level. Try 0.01. Yeah, there we go. Perfect. Let's hope that the other ones are going just as easy. So over here, select this, apply. Yeah, also good. Select this one. Apply. All good. Okay. And then finally, all we have left is this piece over here where we did the merging along this line. So if we go ahead and press Apply, Okay, for this one, we need to have a merging a bit higher. So 0.05 press apply. So that did the trick for some of them, 0.08 maybe, press apply. I don't want to go too high because CD will try to merge together the wong pieces. So let's do this. And then just isolate it, and now we can just quickly by hand, just to make sure that everything is correct. We can just merge this by hand like this using our target belt and here you can see, like, Okay, we have a double loop, and that's because over here. Let's Undo our merge. No, actually, you know what the double loop does not really matter because we cannot see it. So never mind. Let's just isolate this let's just merge these verts together over here. Now I'm doing it won again. I need to go this direction. Sorry about that. Here, this direction because this one that is just hanging out here randomly for no reason. I don't really want to merge them, because if I merge them, it will mess up my UVs. But if they are just hidden like this, it will not mess up my UVs. Same over here, it started to merge it down, but we should not be able to really see it. So it's more like one of those things that I'm a little bit too lazy to do properly. So I'm just going to, like, cut corners and just quickly leave it off there. In the end of the day, it doesn't really matter. And you will learn if you work in game industry, you will learn to cut corners to just get stuff done quickly because you don't have time to make every single thing absolutely perfect. So at this point, just right click and make sure that everything is added to this layer, and then we can do an expert selection, call it Ad fort Module B. And export it. And finally, we can go ahead and we can go inside of Unreal, and I'm just going to navigate to my Export folder. At food Module B and just drag it in here and just make sure that your uniform scale is set back to one. Everything else seems to be totally fine, so go ahead and press Import. Over here. Okay. Now all you need to do is you just need to quickly drag it in here. And now you can see that it is smaller and you can see that it is small enough for us and now just go in. So it's like 0.9, eight, for example, maybe a little bit less, seven, six, 55. Here, 0.955. That's my no weight, a little bit bigger. 0.6 maybe. 0.6 is 0.96 is my final result. Just quickly drag that on. It does not really matter. So knowing that, we can now go ahead and go in here. Okay, so that one is correct. That means that I need to use this one for my AdVT module B. I already forgot the value, 0.96, go in here, 0.96, now it's just a matter of moving this one, and I will just make it fit on this end. There we go. Ah, that's too bad. Let's move it out in a little bit more. Over here, it's correct, right? Yeah, over here it is correct. If I move it out a little bit more, it's, like, the tiniest, slimmer, so 0.62. I don't know. 0.62. 0.961 maybe, actually. Things open 961 should do the trick. Okay, finally, so that one is now also ready to go, so we don't really need to worry about that stuff anymore. That's nice thing about small environs like this, we only need to place it once. If this was for a big video game, of course, you would need to spend a bit more time making sure that everything fits perfectly together. I'm going to go ahead and I'm going to get started first of all, by just adding our metal bars over here. And doing the metal bars, I'm going to let's start by just like the metal handles, and I'm just having a look. So they are in between the ends of doors. So if I drag one of these in, oh, wait. I have no idea about the height. I need to add my ceiling first if I want to know exactly. Like I can already place this one here in location, and I can guess that it is somewhere here, but it will most likely actually need to be moved forward. In that case, let's just quickly grab our ceiling over here. And for our ceiling, what we can do is, I'm going to grab like this transform, press Copy. Grab my ceiling, which I cannot do over here. Right click. 1 second, I miss clicked This transform, right click copy, quit my sealing, right click paste. And now I can get started by just moving it using my snapping. First of all, move it up and then move it out. Turn off snapping to make sure that I can merge this in because I can remember that I was not sure where I want to do my snapping. And my ceiling, I need to go a bit further. It's a bit hard to see. We can turn off the back facing of this, but doing that, it would make it even more annoying if I just want to look inside of it. And we then need to replace all of our materials. So for now, I can make it so that you cannot see through on this side, but we will do that later on because right now, if I do that, it's a bit of a pain, and it would be like wasted setup for something that we are going to replace anyway. I feel like let's just go for, like, the center. Pretty much is in. Okay, so when we have that, we can now go ahead and just push this back in, and it's okay if it just pushes back in over there. And I'm just going to look at it from this side and just duplicate it. And snapping should still work totally fine. So we should be able to just snap this like normal, and it will just run across the entire rain bit like this. There we go. We have a ceiling. It's starting to get a little bit dark here. If you want, you can go from lit mode to unlit mode. But that does not work. Of course, it does not work because we do not have any lighting in here. Teta lighting also doesn't work. Okay, in that case, if you really want to, you can go ahead and go to create lights and just throw in a point light. Just throw it in here. And the only reason why it's here is just so that we can see. See? Just do this. Duplicate it three times. And don't worry about any settings or anything like that. It's just that I know where I need to actually place all of my stuff. Okay, so we have this one placing this version is going to be a little bit messy. I need to because it's such a large asset, so it's a bit annoying for me to make sure that I place there at this place correctly, and no over here. Let's see if it would be in the center over here. It means that we would need to go forward to start with but it would also mean that it will probably not look as nice. We will see here, the transition will not look as nice. Maybe it's better if I first of all just place some chairs. Two, four, five, six, seven, eight chairs. If I first of all place my chairs over here and just place them against the back. I think I'm just gonna clip it in there. I don't really care about it too much. Let's see. So we will have one chair sitting over here. Let's turn on my snapping. Do the chairs snap by any chance? No, they do not. Don't worry about it. Just move it over here. One, two. Yeah, the snapping. It's not going as well as I was hoping for, but at least you know the general concept. So I hope you did a better job than I did. Okay, so we got this stuff over here. Four chairs. Let's move them exactly in the center like this. And then it looks like that, yes, we have a little bit of space over here, and we will have a little bit of space over here. What if I make the metal bars a little bit longer? That could work. So let's go in Maya, and these are the bars. Oh, they are hypoly. That's unfortunate. Doesn't matter too much. Means that I need to go in and maybe it's handier if I just select from the angle. I need to make these metal bars because these are the ones, white. Let's see, yeah, at the door. So at both sides, at the door, we need to go ahead and we need to make them a bit longer. So let's go in here and do a soft selection carefully. This soft selection needs to be a lot softer. Like this and just push this out a little bit on this side and also push it out a little bit more over here on the other side. There we go. That should do the trick like this. Also, I did lose a tiny bit of recording footage, and I don't think that I've had it back. In any case, the only thing that I lost is that I picked over here Wall advert these metal panels, and I just removed it from my door and I just placed it in the center here so that we can export this as its own piece. So knowing that I can grab this piece over here, this is our WL adft so I can go File Export Selection, and I think I already exported it also here, WL AdVtA. That's all I did. I just moved it around. I don't know what happened to the recording. I only noticed it a little bit later. So unfortunately, I'm already way too far along to fix that. But in any case, we can also go Export Selection and we can export a Door A properly like this. And now if we go ahead and go in here, we can go door A, right click reimport and give that a go. Okay, let's see how that works. Okay, this one is just within the range and this one also just within the range. So that's perfect. And we have all of our seating over here. So that's looking pretty good. And we have also this one on the height. Okay, so that the difficult part. So that one is now done. And what we're going to do is we're going to save a scene and the next chapter, we will go ahead and continue on with building our level. 34. 33 Building Our Level Part3: Okay, so we now can go ahead and continue, and all we will need to do is now select all of our chairs and these metal bars over here. And then we can just go ahead and copy this over to the other side. And the only thing we need to focus on is that the bar is in the center. Like over here, and then it should also work. So I messed up. I do that a lot, but luckily I only mess up with small bits like this. There we go. So we got that one done, then we can go ahead and duplicate this again. Rotated this exactly 180, and this time, we need to do two functions. First of all, move the chairs in the correct place, and then we also first of all, need to move this back wall correctly like this. And then I just about moving it back like this. Double check both sides. Perfect. And now just one more point of doing this, and then it is done. Correct? No, not correct. Then moved a little bit more to the site over here. Because a small centimeter over there, by the time that we get to this point, it can actually be quite a bit. Did I did accidentally deselect that, but I think I did this. Here, see? I did that won let's try it again. Alright, look at that. There's like is it just me or is there a weird movement thing? Or or is just this chair incorrect? So that one is correct. That one is correct. This one is incorrect, so the chair is not sitting correctly. Let me just quickly move this. See, does that matter? No, it does not matter on those sides. But of course, I do not want to have these chairs clipping in when I spend this much effort getting like a nice little bevel in between them. So let's just move them out like that. Ah. Interesting that I missed that. Et's try it again. There we go. Okay, so that should do the twig. And then for these ones, we can just go ahead and we can select them over here. See already nice moments like this, you can see the quality is already starting to get there, even though we have no lighting yet, no materials yet. All of the shadows are wong. Everything is still wong. But because we only care about placement, that is okay. Let's push it back a little bit more. Like that? I think that does a trick. Yeah. Okay. Awesome. So, cool. It's already time to come together. So for our metal bars, let me just quickly grab them for you. Let's see. So we have them two in the center of every place. So if we go center metal bar over here, we have really funky lighting now, I know. A. That is interesting. The scaling is correct, right? Let's see. One. Yeah. Okay. Okay, then that is curious that the scaling is not perfect. But in any case, what I'm going to do is I have over here my grid, and I can set this to the center here and I'm going to set this to the center roughly over here. There we go. And then at this point, I'm just going to scale it down. So I'm going to turn on the lock on my scale to scale it in all axes. And if I set this to 0.9, you can see that it scales down. So if I do 0.99, 0.98 50.98, 0.75. There we go. 0.77. That's it. 0.977. And then we have one here. And if I look at my grid, I'm just going to see one grid point beyond the door. I can then duplicate this and I can go down here and I can say also one grid beyond the door, which means roughly over here. And having these two, we can go ahead and duplicate them and do the same thing down here. So one grid beyond the door. Oh, yeah, at this point, it starts to actually break down a little bit. But that's no problem. Like, I'm not too picky. Let's just do it in the center roughly of the end seat. And then it should be fine. You will never be able to really notice the difference. Okay, so we have those poles also done. Let's see what else is left. So At ford Modules back walls are all looking good ceiling chairs, we have those things. We have our little small bits, but let's first of all, actually sort out some of the lighting before we add all of these really small fiddly bits. We have our window sign cover. That one is quite large. So let's go ahead and move that one. I just want to go ahead and move this in here. There we go, see. And we can just, like, nicely cover this on top. Make sure that it's all looks good. There we go. So that's also working. And yeah, so as I said before, so the small bits, like the speakers and everything, if you want, you can already, like, place a few of them like this. But it's a little bit like small filly work. I will only do the speakers for a good measure. Let's have one here. And let's have one Let's say over here, maybe. Yeah, let's just go ahead and duplicate this. We might move it again later on. So it just kind of depends because I, of course, want to have the speaker quite close my camera angles so that when I'm rendering it, it looks a bit cool. So maybe we add even a few more speakers than you would normally have. Just that when we have these camera angles, we can see the speakers a little bit, and the speakers will probably need to be a little bit bigger. But in any case, for now, we have a decent start. Let me say like that. So what I'm going to do at this point is we can go ahead and we can start with doing some basic materials and everything, and we want to just work on our outside environment. Because what you can see right now is that the shadows are all over the place. If we go into our world Outliner, we can get started by just selecting all of our models except for those three lights over here, and then pressing the folder icon up here. This will add it to a folder that we'll call assets. And there we go. Now it's all nicely organized in a folder. So we know that we do not need a light source. Yes, we do not need a skylight. We do not need an atmospheric fog and we do not need the sky sphere. We just want to have a pitch black on the outside over here. Now, one thing to keep in mind is that Nanite unfortunately, on this outside that you can see through it, Nanid does not yet support double sided materials. I don't know if they will ever support it. So this is something, however, that I only learned after I've done the modeling. But in our case, it should not really matter because we are just making this one environment. And if you would make a larger environment, you would often also just create the outside casing. So for now, this should not matter. As long as that we just have pitch black on the outside. Yeah, you can see, lighting, it does just work fine right now. So yeah, just keep that in mind. And it's always fun that when you go up close, that I can just see that this is actual geometry and everything. Okay, so now that we have this stuff ready to go, I think what we can get started with is we can get started by doing some very basic lighting, and then we can start with our materials. So in the next chapter, let's go ahead and do a lighting and material pass. 35. 34 Doing Our First Lighting Pass: Okay, so in this chapter, we are going to focus on a very basic lighting setup and a very basic material setup. Because that's the thing with environments. They are not often linear in terms of the workflow. It's not like you first do all the modeling, then you do all the texturing, then you do all the materials. Now, in order to get a good picture of it, you sometimes need to jump back and forth. So I'm going to get started, and I know that these lights over here are going to be our actual lights. We might also like something more interesting at the base or something like a light in here and in there, just to bring out a bit more light, but we will see. In any case, what we first need is we need to turn this into a emissive material, which basically means a material that glows. Can do this. So for this one, we do not want to use our master. I think it's easier if we just create a new one. So let's call it a missive underscore master. And then in here, we don't need a lot for this. All we need is a constant three vector which we've already covered, convert it to Su Brema and call this color, and just set this color to be a bit of like a yellowish light color. Let's see. Something like this, I think will work fine over here. And then I want to duplicate this, and we will call this one ight underscore color, and duplicating is just CtraZ Contra V. Now, the color goes into the base color, and you candy see over here see in the missive color slot. The only thing we want to do next to this is we want to add a scalar premter with SClick and call this light intensity. And you said this to like one. And then I want to right click and want to multiply to multiply our color with the intensity, giving us control over how strong we want this light to be. So we throw this into our Missive color and we press save, and that's it. That is our emissive material. Now, the materials, I do not just want to drag them on. I've been doing that before, but that's just because it's a gray scale. What I want to do is I want to go in here, and I want to absolutely, have them in here. Let's open both of them. I want to have them added on in here, as you can see. So first of all, we need to figure out, okay, which material is our light? We can do this simply by pressing isolate. Oh, isolate does not seem to work. Maybe it doesn't work because of the Nanite. The Nanite does close off some features without removing it. So that might be it, but I think it is like the second one. And then what we can do is we can go into our materials, right click on our missive Master and just make material instance that we'll call Light underscore A. And with that one selected, we can just use this arrow key to basically add it. So it's safe. And also over here, that's pre safe. And this will instantly add some light as you can see over here. Now, at this point, we are going to go ahead and start working on liv lumen and everything and just do some basic lighting. I'm going to get started by just getting rid of my entire lights over here, so now we have a very dark scene. But you can already see that these pieces over here light up. What I'm going to do is there's a few things that I need to first of all, do. I always like to go ahead and go into my settings and project settings and just double check all of your settings to make sure that they are correct. Most settings that I want to double check are down here. So I want to see text streaming is fine. We don't need virtual textures right now. Global animation, just make sure that it is set to lumen, because that is what we will be using. Reflections lumen, reflections capture resolution. I'm going to set this really high to 512 because I feel like that if we are going to have such a metallic environment like this, I just want to get the highest quality I can ever get. Detail tracing is fine. Shadow, virtual shadow maps is fine. That's again, a new feature. It will basically give us more crisp shadows. It does mean that they sometimes look a bit jagged, but we have a console command that we can use to remove that. Hardware rate racing, we do not use rate racing right now. Mesh distance fields is fine. Foxl density, see, larger values can consume larger values. Yeah, so I need to I probably want to set this to 0.5, just to give it or 0.4, just to give it a little bit more accurate shadows because we have such a small environment, I want to give it more accurate shadows so that, in turn, this environment will look a bit better. It will ask us to restart, but honestly, I'm not really in the mood to restart right now. And for the rest, all of these settings are fine. So, okay, so that's just to make sure that that is all good. Over here, we have our global post process volume, but when it went over that, if you go down, yeah, your lumen should all be set on and your amidoclusion, Actually, sorry, lumen replaces amen cluson. I still need to get used to that. Global emon is also lumen, and yeah, let's set this one to two in our global imation. At this point, I'm just going to go ahead and I'm going to save my scene. And why not? Let's just press restart. Here we go. So we've done a restart. Okay, so at this point, we can pretty much get started by adding some basic lights. You can go into unlit mode if you want to be able to see something, but, of course, it will not be too useful because we don't have any materials yet. Okay, if we go ahead and the lights that we want to use, because these are quite square lights, is we are going to use rectangle lights that we'll place here to basically push out the lighting and just make it look really interesting. Now, I'm having a think if I should place two of them. I think I will want to place two of them. It will be a bit more expensive because, of course, we have more lights. But in turn, we get this really specific glow here. While if I just place one that is sideways like this, it might not give me the exact same effect. We can find this by going to create lights, and then here we have a few lights. Directional, you can see as a sun. The point light you've just seen, it will just shine light from outside. Spotlight will just shine light from a specific direction. Rectangle light is the one that we are going to use, and a skylight if you have exterior environment. So let's start with our rectangular light. The nice thing about rectangular light is that it is literally a rectangle, which happens to be exactly what we have over here. What you can do is you can basically rotate this light around and you can control the rectangle size. So what I can do is I can go ahead and oh, wait, over here. This is because I drag it on by hand, just add this. I can go ahead and I can move this light over here and see you can see the specific look that we have. And then I have a source width and a source height. Based upon this, I can make my light a lot thicker or a lot thinner, see? And then I also have my barn door length, which is basically those outer sides. What you want to do is you want to set those quite low, and they basically just decide on the fall of your light. So on set it quite low, and then you want to set the angle. Actually, no set the angle quite flat. Set it at like, pretty much at like 90 because this is a flat light. So we then basically move this over here. We maybe set the height a little bit lower and maybe set the barn door length a little bit lower. Let's move down a tiny bit, and now we got this light. Now, you can also go ahead and you can set the width higher. However, there is a point where the width outweighs the light, and you can see that the ff starts to act strange. Now, I need to just see because this is a small environment. So maybe we can actually reach a point where we can do this entire environment without it. But basically, the problem that we have with this will be that the light will be stronger at the center and not at the sides. But I think that only happens when we get way later into the environment. So we might be able to literally place one entire light along here, which would be nice and cheap. Oh, wow, that's a little bit too long. So let's do doing it this way does mean that the placement is a bit annoying, but it makes it really easy faster than just make some general changes. It's a tiny bit more over here so that we get that light in the corner. And then over here, if it's like clipping through. Oh, no, here, perfect. Also in the corner there. Okay, at this point, I'm going to go ahead and I can change a few settings. I can change my intensity, which I do want to do. So I'm going to set it probably a bit lower to, like, five, and I can change my color, which is great because I want to kind of color match a bit more of the warmer yellow tone. So you can do the color match or what you can do is you can use the temperature. And using the temperature basically allows us to very easily use a specified temperature of the color. This is a little bit more accurate. So for interior lights, this might actually be nicer because these are the temperatures that you also literally get when here, look how cold it looks. These are the temperatures that you also get, for example, when you buy a light, I don't know, at Ike whatever, you will often see that it says like Kelvin or it will say, like a temperature, and that's where this comes from. So let's go for like 4,000 maybe, maybe a bit higher, 4,500. Like that Du started with because we don't have that many lights, we can just duplicate this and we can later on just change this round. So let's do 90 degrees. Let's move this over here. I see a few shadow problems here and there. However, I think those shadow problems will not be that bad because I have a feeling that as soon as we art our materials that they will go away. You can see, so we only have two lights and already starts to light up our scene. Let's go ahead and duplicate this. Rotate this 180 degrees over here, and we can go ahead and we can now just move this on this side. Like that. And just like that, like a few scenes, we already have quite an interesting lighting. Some of the shadows are not looking very nice, but for the rest, we already get at least some basics in here. Now, there's a few more things that I want to do. The first one is reflection captures. These are very important for our scene, and they are those spheres that I showed you before. Reflect sphere reflection capture. Where are you? There you are. Just press G. If you cannot see your icons, press G because G basically goes into game mode. And with these reflection captures, I want to have a few of them in this scene. What they basically do is they will capture the reflections within specific radius and display them on here. You can also find these in create visual effects, sphere reflection capture. The reason I want to have a few of them is because if I only have one of them sitting here that covers the entire environment, it can happen that when you are looking at reflections here, you will see the reflections being warped because the center point is here. Of course, this is not very nice. So let's set the radius to around 300. Over here. Let's just press duplicate and I'm just going to have a few of them. Don't worry. You can just overlap. That is no problem. So, let's do this one here. Is one bit more. There we go, see. And just do make sure that they are overlapping. If they do not overlap, then we might get a problem. Okay, so we already got some very basic lighting in our scene. We have a bit of, like, shadow arrows. Now, I wonder if those shadow arrows can be minimized by setting the barn door angle a bit lower. And does not look like it. In that case, we will go ahead and we will work on that a little bit later on. But we have already some general lighting over here. It looks a little bit grim, which I think is actually quite cool. Yeah, you know what? I think I will probably leave my lighting at this. The only thing that I will most likely do is I will quickly grab this light, duplicate it, and set the width way lower like this and set the bando angle a bit lower because what I can do is I can use this light to, like, What are you? I need my lights to movable. That's probably it. 1 second. I will show you what I mean with that. Just place this light over here, rotate it, and let's just see if we can get, maybe, like, a cool light that we later on will place. In this area. Then for now, it will just be a fake light, as you can see over here. Set the light a bit lower intensity, sent to two or something, maybe even one, just to make it like a small light. What I mean with movable is I need to tell the system that these are real time lights. If you select lights, you have static, stationary and movable. If you do static, they will be included in light baking, which is something that we will not be doing for this environment. If you said to movable, you can see what it says, totally dynamic. It will mean slower rendering, but it will be completely dynamic lighting. For this light, every light has a radius, as you can see over here. This radius, you sometimes might want to just lower it down in order to get a desired effect. So I'm, for example, lowering down the radius of this light, and then I'm duplicating it and also placing it over here on this side. She can see. Now, for these lights, it might be nice for me to just go ahead and right click and because for some reason, renaming does not work. Let's try it again. Click click Hold. There we go. Now, it works. Call the Back Light underscore A. And this one I want to call Blight underscore B. And the reason I do that is because it makes it easier for me to select them. Back light scope B. Because now let's say that I want to select all these four lights, I can multi select them and I can change all of the settings at the same time. For example, I can change the radius settings to 500, and as you can see, it will just push out the radius. Now, there's not one that I want to do, but what I might want to do is I might want to play around my temperature instead to like 5,000, and then you can see that the scene actually changes quite a bit here. We do 6,000, so it can go from warm to cold. Let's do 5,000. I quite like that look. There we go. And then all we have left is we need to fix those problems over here, which, if I'm very honest, I have no idea what they are because they are new. It looks like when I see the tracing, it looks like a nanite problem because one abet it if I go to nanite that it shows the same type of triangles as you can see. So the nana is working well. It's just I also still need to get used to working with it and making sure that everything is working correctly. And I'm sure I can figure out stuff like that. Okay, perfect. Let's save our scene, and let's call our basic lighting over here, done, and just say like, Okay, this is going to be our first lighting pass. Now, what we'll be doing in next chapter is we will go ahead and we will do our first material pass where we will go in and set up most of our materials, do some balancing, and then later on if we have time, we will also go back and forth a little bit and just our general improvements to our model. Because right now, yeah, we have some nasty improvements. There's one thing over here. I see some grain. It could be that this grain is in a post process volume. Let's go down here and go to image effects. Oh, no, it's not. In that case, this is probably like an artifact from the real time lighting, which I'm sure that it will go away most likely when we create our materials. In any case, save your scene and let's continue to next chapter. 36. 35 Doing Our Material Pass Part1: Okay, so now let's go ahead and get started by adding our materials. Now, I do feel like that the entire environment can be a little bit lighter, for now the way that I'm going to do that is I'm going to go ahead and go into my volumes. And in your global post process volume, there is something called exposure, and in here, you have a minimum and maximum brightness. I'm just going to temporarily set this to like 1.5 or maybe like one. Here we're going. We'll just make everything a little bit brighter, just because this scene is also very bright. And of course, it's hard to get lighting when we don't have any materials, but it's just like the basics. Okay, so we're going to get started with our materials. Now, we already have a floor over here, and for our floor, if we just go ahead and open up our door floor and our window floor over here, we can get started by adding these pieces. Okay. My view. Okay, there we go. My view froze for some reason. In any case, let's go into your materials. And because we already created our floor A, we should be able to go in here and that's highlight. Okay? Yeah, as I said before, does not work. In that case, we just need to guess and we guess correctly. So this is floor A. Let's save a scene and then over here. You'll see this time I guessed incorrectly. This will be floor B over here. Okay, as you can see, the norm map is quite strong and we need to increase our tiling and all the bunch of stuff, but that's all part of the balancing. Now, next to this, we also want to go you'll see, oh, the reflections are looking really solid. That looks very similar to what we have over here. But in any case, next to this, also for the sites we're going to go for home. So select your home and go ahead and just add this over here and just press save. And same over here, save. There we go see, so then we get our chrome. Our chrome is a little bit dark, so that's something that we also need to work on. But it's just to get the basics. Okay, so that is our floors. We still need to do these pieces. Let's just go ahead and just add our chob to our metal handles and our poles. Now we still need to also go do masks. There's a bunch of stuff you need to do, basically. That's the general idea always with the viamins. There's still a bunch of stuff you need to do, but slowly it will come together. So here, for example, I'm going to art on my home, and now you can see that the home, it looks pretty good, like it has some nice reflections, and you can see over here that it has some dullness in the reflections. So all that stuff is pretty good. Now it's just a matter of later on, making sure that it is light enough and that it all just looks correct. We are gonna Wow, I don't know what came out of my mouth. We are gonna go ahead and let's do the advertisement modules, which already have the light. And I just want to make like I think I'm just going to make it home, but I might turn and make this shiny metal. Oh, by the way, I need to change those stops to be dull metal. I completely forgot, right now, it's just home. So this one, go to materials, click on home, and for now we can just go ahead and add this. And then, of course, we will have advertisements on it later on. But once we have these materials, we are going to go ahead and balance them a bit. And then the cool thing is that we can then properly, do some lighting and then at the end, we can just slap on our advertisements and everything really liquical. I still need to add, like windows and stuff like that. Back while the back wall will most likely have a few materials that are not correct yet, so I need to have a look. Oh, at this point, it's really annoying that I cannot just isolate that. I'm sure that that is a bug. Like, I'm sure Oh, no, wait, I guess it makes sense because Nanite turns this into one big chunk of mesh, so I guess it makes sense that you cannot isolate that. It just really annoying because now I need to find out. I guess if you just drag in a material that is very obvious, you will be able to know which material that is. So this one is home. I don't know why these are separate. For now, just drag it on, but we will change that later on. The next one, this one is also home, yes. And then we have rubber, which we have not created yet, and we have plastic, which we are going to go ahead and just add on this. That is interesting. Okay, so this is the one where we need to start working on a few things because right now it's not looking very good. It is a nice shot to see how the home works. Ooh. See that? That is Nant at work. That is not too good. I'm gonna look in my settings for that stuff. Okay, in any case, we need to go into Maya, and we need to change some things. Let's go into our back wall. First things first. So over here is our back wall, and I wish I did like the material selection before this. If I have look. So I'm going to make back wall probably like stripes. I think it will look cool if we just do that as stripes. So I'm going to make these side stripes. This and this will just be home. This one and this one will be plastic, and then the top will also be plastic. So if that is the plan, we are going to go ahead and start by just right click Assign existing material, and this one is just going to be metal stripes on this one. Assign existing material, metal stripes on this one. So these few bits will stay home. I'm just going to temporarily press height on all of these pieces, and the reason I'm doing that is so that I can quickly select all of the bottom bolts, and I can also go ahead and go in here and just make those Home. Where are you? Plain metal, I think I called it. Oh, and I can just press combine. That will make it easier for later on. How is the handle doing? I'm going to make the handle Dull metal. Let's go over here, assign existing material, dull metal. This one is going to be plastic. This one and this one is also plastic. So let's just double select. Assign existing material, plastic. Let's show, and now all we need to do is we need to go in here. And if we just select, not by soft select, but select by angle, it should make things a bit easier. If I go in here and I do select my angle of five, double check my work that works, Yeah, it does. And then, actually do I need to go? No, no, that's fine. Yes, by five, and this is all going to be metal. So existing material that's going to be plastic. It should be added, and maybe else we need to separate it. I am always mistaken how Maya export it. So inside of Mx, you can just add multiple materials onto one mesh. However, I can vaguely remember me doing this, and I can vaguely remember that in Maya, it does not work this way, and I might just be confused, but we'll see soon enough because we're going to export this. Because maybe the problem is because it is Nanite that it does not read it or something like that, I don't know. We'll see soon enough. Let's just right click reimport our Bwill and then we will see how it works. You still need to change the plastic color and everything. Just press Reset to FBX. Oh, no, see? Yeah, so that does work totally fine. Let's open it up. And now let's see what we can add to this. So the first one, if I just drag it in. Okay, that's home. That's correct. The second one is set to rubber. I still I will need to make a rubber, but oh, no, wait. Actually, I can use the plastic. I can duplicate the plastic and call it a rubber. And then I can just go in here and I can make the base color. I can make it quite dark. And then in your roughness amount, just set your roughness dollar, see? And then it instantly just feels like rubber. So if we set it to, like, two, there we go. Now, we have rubber because that was the plan after all. So we have some rubber, which is only being used like the tiny bit here, which you cannot even see, but again, we have our metal strips. I keep trying to press late because I'm so used to that. Metal stripes over here. We need to rotate our UVs for that. However, because we are Oh, no, wait, we can do that. We can just rotate the unwrap and redo that. And else we can always rotate in here if we need it. We have our yellow plastic and we have a dull metal over here. Okay, so those are the bases. Now, as I said before, this material over here, we need to rotate and we need to make sure that it is perfectly straight. So if we go in here and just select everything, try it again, select everything. So yeah, for this one, over here, strike that one out, and we have this one over here. Let's strike that one out also. I'm going to get started by doing an angle select, and then in my UV toke, I'm going to press cut. Oh, sorry, not cut. I'm going to press Create UV shell. And what that will do is it will just separate it into its own UV shell because I'm hoping that everything will look a little bit more straight. If I'm doing that. There we go. Create UV shell. I'm hoping that if I then relax this, that it will be a little bit more straight. So if I now press unfold, not as straight as I was hoping. That is a little bit of a tricky one, like how there are multiple ways that we can approach this stuff. One of them is cutting this up into smaller little pieces. Another one is by using a world space material to make sure that they are always straight, but then we get problems with our mask. I think in this case, if I have this, I think I'm just going to cut it up into smaller pieces. Let's turn off the selection constraint. Let's say that we just double click on this line and we press cut. Let's see if this piece, if I now press unfold on it, here, this now becomes a really straight piece that I can use. And if I press unfold on this one, that is straight enough. Let's do this trick. Let's also place a cut here. There we go. And then it's just a matter of us here. So unfold and also here, unfold. Now, having that done, these pieces they don't need to have very specific orientation. I'm going to go ahead and select these and I'm going to go to modify and press orient shells to make sure that they are straight. And then if I go to transform, I'm going to press 90 degrees on this one. This one is, this one also needs to be 90 degrees. This one they should all need to be 90 degrees, actually. There we go. And now we just need to kind of place this all together again. So what I'm going to do is I'm going to go ahead and I'm just doing some manual UVN wrapping over here. Go to place that piece over there. These pieces are the most important, so let's go ahead and place one here. Place another one here. We might need to later on duplicate our material because the tiling will be different than the striped tiling on our door, which is no problem at all. It's a no biggie. We have this one. Wait, let's first of all, just grab these larger pieces. Let's see. You fit in here. Everything should technically still fit together. Just depends how I'm saving this. This one I can rotate 90 degrees and then just rotate it a tiny bit more, okay? We got those. And now if we go ahead and let's go ahead and let's go UV shell selection. Select all of these UV shells and just kind of move them down over here. And then if I move this up, scale it down a little bit just so that it fits in here. Just try to do it as little as possible. There we go. UVs. Done. Okay. Go back to object mode. Save scene. Anything else while I'm here? No, I don't think so. The home is way too intense, but that's something we can work on. File Export Selection back wall over here. There we go. Okay, so that's exported. And now we can go ahead and we can just do reimport and I'll pass the video. Perfect. Okay, we got some stripes, people. Only thing is that over here, we have a mismatch, which is because we undid that selecting. That mismatch, we can just go ahead and manually by hand, we can fix that. And we can do that by going here, quickly going back into our UVNwp see it was over here, right? Which means that this face. Okay, so the face on this side and on that side need to be closer together. The easiest way I guess for this is to move this temporarily out of the way, this one also, and to instead move this over here because I don't think I want to merge, we can try and merge it together again by selecting, for example, these shapes over here. Oh, I need to do manual selection on this, but yeah, I'm not I'm a bit worried about that, that it will flow over strangely. So if I go ahead and if I select this, the annoying thing is that then what it will try to do is also try to select those pieces. So just hold Contol and the select these areas over here. Go into our UV toolkit, and you can use the Zu option over here. I probably say that one. But if I do that, oh, that's A&B This one over here. Come on, people, stitch together, then. There we go, stitch together. That was the one. And then it will have created a little bit of like a problem over here. But the reason why I need to be so careful is because I want to keep these pieces straight. So maybe only unfold these few faces over here so that the problem is gone. Yeah. So this transition, we will unfold, and hopefully that will keep everything straight enough so that I don't need to worry about this so much. Let's go back to UV shell selection and just place this in here. Let's go ahead and place this one probably like here in the corner. Over here. Maybe it actually might be easier if I place this one here. I know about that. Don't worry. Let's move this over here, and then this one can maybe just if I scale down a little bit, just fit in here. Which means we can then move this one down, place this one here, and that should do the trick. Okay, so that should give me hopefully a better result. We'll see if it looks warped. We can technically also look in here because I think I import it. So if I go to my shapes, yeah, here, that looks straight enough for me, so I'm not too worried about that. Okay. Final export, hopefully. Back while safe. Okay. And in wel just press reimport. Yeah, that's basically what we're going to do. We're just going to fiddle around with things. We might later on just change some of the materials again, but for now it's just about doing this kind of stuff. So the next one would be our ceiling, and our ceiling is just going to be plastic. So for now, I'm just going to assign my yellow plastic, and I might later on make a specific material. I know for sure I will later make a specific material, by the way. But for now I just need something in here. Chairs, I cannot do yet. The door the door is also quite a big one. So let's go ahead and have a look. And let's see. So the first one is set to dull metal. I'm sorry if you heard that sound. That was station. I accidentally still had it open. It looks like that this actually needs to be plastic. And then this one needs to be probably home. Yeah, home. And then that one is going to be a rubber. There we go. So for now, that is fine. Yeah, we definitely need to work on the home because it's a bit too shiny. But I know, it does look sort of cool. So that's our door. Sorry, the floor we've already done, and the floor is actually quite spot on. It's just that the tiling is really bad, but that's about it. Those pieces, the small assets, we don't have anything yet, so all we have left is our window A and our Window A sign cover. So Window A seems to be a mix of let's see. So what's the mix of? One of them is rubber. That one is correct. One of them is going to be dull metal, which is the top one, and the other one is going to be yellow plastic or plastic yellow, which is that one. And then the window cover is for now just going to be plastic, and then later on we will have advertisements in there. There we go. So yeah, the dull metal, as you can see, that often just works a little bit better with these kind of pieces. I can see over here that this is not hypol. So that's something that I'm also going to quickly fix. So if I go to my window A, I must have just forgotten, if I just turn on my wire frame, yeah, here. So if I press three and then convert this, three, convert. So yeah, you can see quite a big difference between the two now. I think that's it. I think we can now go ahead and Oh, whoops, those bolts, you guys need to go to the back wall over here. And on these pieces, we can go ahead and export, and this is going to be Window A over here. And then we can just go ahead and reimport this in here. And it should almost be done. There we go. Okay. And now that feels nice and hypoly. Perfect. So we got our very bases done over here. What we're going to do in the next chapter is we can, first of all, like, balance some teals. One of the obvious ones is setting a yellow plastic to actually be like a bit more yellow, like you can see over here, so something like that. We're going to fix tiling problems and just like work on the chrome and everything, all that kind of stuff. I think our lighting for now is pretty good to just get started with. We might want to just make it a bit more intense by going into light A and setting the intensity to like five or something, or maybe like three that will just blow it out a bit. And then, of course, we do need to do a post effect pass, and we need to create all of these other extra materials. But for now, it's a solid start. Let's say it like that. So let's save your scene, and let's continue with those other things later on. 37. 36 Doing Our Material Pass Part2: Okay, so let's go ahead and continue. What I want to do in this chapter is I want to just focus on getting the materials to look a lot better with the scene that we have right now. We're just going to take it one by one. So I'm going to get started, for example, with the floor over here. And for the floor, I actually think. So the prom that we have now, the reflections are nice. Those are good, but I feel like the tiling, you can see here that it is repetitive a lot, and I don't really like that. So what I'm going to do is okay, substance. I'm going to open up substance designer, and we need to change the tiling inside of our scene. So, let me just go ahead and open up our metro floor over here. Here we go. Turns out I opened up to one substance version. So let's see. The problems that we have right now are that the normap is too repetitive, and I feel like it's also like my roughness dirt is being too repellitive right now. And these bits over here, they are too large. So we need to try and balance this out. If I have a look at my floor, Okay, tiling is set to five. If I set my tiling to two, or maybe sorry, that's three to two over here. And if I then make these dots a little bit smaller, I think that will give me a better effect here or see. So that's already a better effect. So if we do that and now if we go ahead and we go in here and let's see. So first for on this one. Can I maybe I can of course, make this one bigger. The only problem that we have with this if we want to make it bigger by, for example, adding a transform to D and setting it to X two, is it breaks the tiling. But don't worry about that. You can always go in and you can add something called and make it tile photo gray scale over here, which will basically make it automatically tile. However, I think it works better if we do it before we add it to our H Scrum scan like this. So basically have this. Let's go ahead and go into you might want to just play around with your setting to make your warping look a little bit better. Here see, you can see, if you play around with your mask precision, you can just make it big or small. And I think that I just now need to introduce a few more pieces like this. Here, I think that will work. And then we had our roughness for which we have this piece over here. And if I just go ahead and let's copy the transform and make a tile photo grayscale also over here. That's the only way that we can really make something large. So we can do something like this. It's also a bit more uniform because yeah, scaling stuff up, it will often just break your tiling. So let's go ahead and try something like this. Okay? Automatic exports is still turned on. So now if we go back to real, go to floor, we can just select our floor piece or a floor or textures, right click and press reimport. So that's already wanting. So that's pretty good. Looks like that we do have over here like our lines, but our lines are not continuing, and this is just a UVanra problem. Before I do that, however, I just want to make those little dots a little bit smaller. So if we go ahead and go in here into our dart five and set the scale to two, it should make everything a lot smaller. And if I re import this again, Okay, so let's go tea. So getting this scene fixed is actually quite annoying, but I know a very easy way that we can do it. A way that works creative we just have flat areas like this. It will not work as well for, like, the walls and everything, but it's basically by using something called screen space UVs or world space UVs. Sometimes you also call it like that. Basically what it means is we can give an option in our material to not technically use the UVs that we have created. We do need to use UVs because we need them to actually later on, create dirt masks and everything. But basically what we can say is, Okay, for our base color, normal and roughness, I only want you to use a screen space UV, and that will mean that it will just basically project the map on here. I think it's easier if I show you. The nice thing about that is because the UV is basically projected over the entire world, meaning that it does not see sems like this. The way that we can do this is we can go into our materials. If we just go into our scene master, over here we have our UV. Now, there is what was it called World aligned World align texture and world align normal. Let's just open that up over here. And then it does require a few things over here. So with this, we can do this almost like a switch. The first thing that it requires is a texture object. Right now, these are parameters to these. To turn these into texture objects, it does mean that we cannot actually control the UV, but we can do it in here. By the way, if we cannot control the UV, then in that case, we most likely need to yeah, because I don't think there's a way that I can switch this around. So then I would need to duplicate my material. I think I need to create a new material, people, just because a texture object, it will basically not allow you to add these UVs. I was thinking of just using, like, a switch to turn it on and off, but I do not think that I can specifically do that. Now, I have no idea why it's so slow to just save one material, but okay. Finally, it's done. Okay, so just duplicate your scene master this time and just call it S master underscore world UV. And let's open this one up. Okay, so it does mean that we probably need to do some copy pasting sometimes. But basically with this one, if we add a world aligned texture for our textures and a world aligned normal for our normal map. This basically oh, wait, this one also. This basically how it works. You have your parameter. You need to right click and you need to go ahead and oh, I don't think I think we need to re input this. 1 second. We need to re input these texts because else they cannot read because we need to do a very specific function. So if we go to our floor, input our base floor over here, so you have your bare texture. You then right click and you convert this to a texture object. See? This mode was away when we first imported. Once you've converted this to texture object, then you can go ahead and convert this to parameter and call it like base color to base underscore color over here. You basically throw this into your texture. I don't know why the name has changed. That is weird. There must be a little bag or something, that the name changes as soon as you copy paste, but it should not make a difference. Okay, so we have a texture, and then you want to basically plug in your XYZ texture back into whatever slot you want. And the only one that we are focused on is the texacise later on. And for text sise we are going to use our original tiling. So over here, I cannot convert No, I cannot convert these, so I need to just quickly redirect those in here. So we have a norm map, and we have our roughness map. So right click, convert the texture object, right click, convert the perimeter, Roughness map. And there is a little back right now that when you do that, for some reason, it does not always assign the correct material. I will show you how to fix that after this. So right click texture object, right, click parameter, normal underscore map. So yeah, the way that you can fix this is simply select your roughness map. Go in here and select your roughness and press the arrow button. That just comes with narangive. It's an early access, so there are still small problems like that. But so far, most of the problems they are like work rounds and easy fixes. Now for our tiling, the tiling of this is a lot smaller because it's over the entire world. So it would most likely be something like 0.05 to get started with, you simply want to drag this into your texture size over here. So the cool thing is that not everything has to abide by this waterline texture. So later on when we add our mask functions, we can use our original UVs for our masks. So for now, we can go ahead and this is XYZ, and this one is also the XYZ texture into our normal. So that should do the trick. Double check, do not forget anything? No, I don't think so. So let's go ahead and save this. And the way that we can replace this is we can simply go to our floor. And then if we just make it a bit smaller, we can go in and just drag in at the very bottom our floor master or scene master world UV like this. And now it should give us a proper UV. Here we go. It's way too small, but we can go ahead and we can go in our tiling and set it back to 0.05. One, two? Oh, no, sorry, we need to go in the opposite direction. So 100. There we go, see? Now the tiling is working a lot better. The only thing is that line. I cannot find the line. Let's do 150. No, where's my nor map line. I like that one. First of all, let's focus on tiling. 100? 80 maybe. 50 then? Oh, what am I doing? I need to go bigger, 300. So I keep forgetting that I need to go bigger instead of smaller. So 300, maybe 250 seems to be working quite wide. Now that no map line, it should show up. So I'm not sure I cannot find it anymore. I'm not sure exactly where it is. So let's just try and find it. Okay, so no map it uses my tiling. That's no problem. Yeah, we should not need to, like, input any of these nodes. So that seems fine. You can also go into your norm map and you can check it. One thing that we can do is we can just increase it to see if that is working. The way that you can control the strength of your norm map is by adding a node that's called a flatten normal node. And in this note, you can plug in your normal and then plug this into the normal slot, and then you can press SClick to add the scale parameter that you will call normal unscore strength, and just leave this at zero by default and just set this to flatness. So doing this way, we can basically control this value to change the strength of our normal. This can actually be a handy feature also the art to our other scene. So if we now open up our floor again, we can give this go, so we have normal strength. Often, we need to go into minus in order to get that strength. And I can see that it doesn't seem to add any nor map detail in here. You have to do five or minus five, see, nothing changes. So that tells me that there is no proper nor map going on for some reason. Now, personally, I'm not sure why, so what I will need to do because this should work totally fine texture size. Yeah, so I'm going to have a look online to see if I can find the problem because this is a little bit strange. Okay, so I found the fix. So now if I go, for example, to my normal and I set it lower, you can see that now we start to get a nop. It was a bit of a strange fix. It looks like it's a bug within Unreal engine five or, like, something that's not working completely fine. The way I fix it is I will redo it. I added a static bool over here, and I set it to True. And I plugged this into worldspace. So that's the one thing I did. And then I went into my material note. I went down to material to this little drop down over here that you can see under your material and then turn off your tangent space normal. So it will be turned on. Just turn it off, and that seems to do the trick. I'm not exactly sure why, but then it adds a norm map. It does also me that now we can see over here our nor map line, and our nor map is a little bit strong, but that's because I said it to -16. So now, the only problem that we have is that this line, it is not in the right direction. Now, for something like this, we could go in and I could make a very complicated shader. But because I know that all of our materials are vertical, what I can also do technically is I can literally just go into my world Outliner, select everything, and simply go ahead and with rotation just rotate it nine degrees. E. So it's like, do you where you want to spend the effort of creating all of the text orself when you can literally just do this and be done with it. So we have this. Now we can also see that our line is a little bit too thick and well, our norm map is also a bit too strong. So all I'm going to do now is I'm just going to go into my floor A over here. I'm going to get started by setting this norm map a whole lot less strong. So let's start by zero. Maybe like minus one would be nice, just to make it a bit stronger. And then my tiling, I'm going to set it back to 200 maybe. Actually, you can actually go in here. You can fix your tiling. And based upon how you set your tiling, this will also, of course, control where your line is. And now you can, by the way, also see remember how we did the imperfections in the lines that is not perfectly straight. Now you can see the power of it. So let's just leave it like something like this to get started with. I think at this point, we are pretty good with our floor. The only thing I would maybe do is just make my base color a little bit more intense over here and then reexput this. And then if we go back, just reimport our floor. Here, I will just show those white spots a little bit better, which I think will look a bit nicer. And then for, what we can do is we can go into our floor and we can just do some general changes to our roughness map to see if we can maybe add some to improve it a bit. So I feel like setting my roughness maybe a little bit stronger and then going in my final texture, and then in here, toning down this roughness map. So yeah, this was our guessing work when we were in Mama's heat. So now we can really see how it is behaving and we got quite close to it to it. I can't speak anymore. I will take a break after this because I always get it when I tugged along here. So my roughness is now a little bit less strong, but it's still there, definitely. And now I can just play around with my roughness amount to get roughly the same effect. It's 0.75, the same effects that we have on our reference over here, see? So we got that glare, and now we kind of get the same glare over here. Okay, that's perfect. It took a little bit long, but at least we now have a nice looking floor. You can go ahead and you can, like, once again, just mess around with, like, normal map a bit more because the tiling is still quite strong, so you might want to go in here. Like maybe tone down the position a little bit more. And just in general, set the transform maybe to X two again, just to make everything a little bit smaller, all that kind of stuff. And we will go ahead and just do another revision of this a little bit later. But here you can see that already, improves it a little bit. And maybe go in here and maybe set your non map a little bit less strong. So let's do like 0.2, something like that. Reimport. And this is just norm for these bits C. There you go. Okay, so that's already looking quite nice. Now, what we'll do is in the next chapter, because we spent a bit long on this, I will go ahead and I will start working on the home because the home is, for example, looking nice here, but it's not looking nice over here. So that's something that we can work on in the next chapter. 38. 37 Polishing Our Materials Part2: Okay, so now that our floor is pretty much spot on, we're now going to go ahead and start working on, let's say, a door. So over here, we do have the home down here, and I think this would actually be the best default home. So if we have a look, we can see that it's a little bit lighter and a little bit more dull. So what I want to do is I want to set my default home material to basically match this stuff over here. So if we have a look at our home. Okay, let's see. Of course, lighting does change a lot, but if I'm going to go ahead and let's say let set my roughness mount a bit duller, Oh, does that even do anything? Oh, yeah, there we go. There it does something. Okay, let's turn it back, back up until I got, like, bits of shine. Let's do 1.4 or 1.5. Let's do 1.5. Okay. Now, it does feel a little bit dark. You might be tempted to just tone down your metallic because it makes things a little bit lighter, but do not do that because then it would not be PBR acrid, because something is metallic or it's not metallic, like I said before. Let's see, tiling. If I set my tiling to one, will that work with my roughness? One, two, three, maybe even ten. Now, I only looking at this part over here. Okay. Let's say I think around two should be fine. Sometimes there is a seam here. This is because we cannot get around that seam, but what you can always do is just rotate it so that it's not in the way of the camera. Okay, so we have that set to two. Let's see. What else can we do? So we will add some roughnes but we will add that in our actual scene. Oh, yeah, we were going to go ahead and, like, separate the tops and probably also the bottoms from the actual pole. And tax you out quite a bit. Let's open up Maya because we need to also change this material anyway, so we need to be in Maya anyway. Okay, here we go. I open up Maya. So we were going to go ahead and go into our metal handles. Yeah, let's do this one first. And I was just going to set most of this to dull metal. Things easier if I just select it by hand. So these ones, not the actual bolts. I think I want to make I want to keep the bolts shiny, but I'm not sure yet, depends on how it looks because technically, it would not be logical for the bolts to still be home, while the rest of it is dull metal, but we will see. Sometimes I am willing to forgo logic because it looks cooler. So assign existing material dull metal. And also over here, for this one, we need to go ahead and we need to select. If you have trouble seeing what you're doing, you can always go and show and you can all the way down turn of selection highlighting. This way it is sort of easier, I guess, to see what you're doing. I can also see that there's, like, a little bit of, like, warping going on, which most likely has to do with like UVs. So that's something to keep in mind. And else we just need to press a relax again after we've done a hypol. That's pretty much the only way to solve it. The only thing is that it's a pain to do cresc shifte by the way, because your system is a lot slower when working with hypoly measures. Darn metal. There we go. Okay, so let's try that out. So we got this one over here. Let's turn on selection highlighting again because else I'm not 100% sure that I have it selected. I export selection, and for some reason, it does not remember my file. There we go. Export. Tune reel. FBX, metal handle. No, sorry, metal handle metal center pole. There we go. And this one is going to be the metal handles. There we go. That should do the trick. So let's get started with that one because it will most likely complain to us and want to us to reset the materials. So let's go ahead and select both of them. Right click and press reimport. Just give it a second. Shouldn't take too long. And then what it will tell us is we need to. There we go. Reset to FBX. Okay. And then just open it up and just throw in a dull metal. Over here, and over here. Perfect. So now we have our dull metal and we have our actual Oh, it looks like it also forgot that I was home. So let's just quickly. I did not expect that. I thought that it would still remember the old one. There we go. Home with dull metal. In a really strong shadow, which happens to be in an annoying location. But for the rest, that looks pretty good. So what we can do now is we can folks and have a look at these, and we're going to go for more of like a look like this. And if I look at that one, go to my metal doll. I can go in here and I can, like, mess around a bit with my roughness or maybe. Yeah, no, I don't want to set this metallic because then I will break my own rule. I think I'm going to go ahead and change the base color later on. So for now, let's set the roughness to 1.5 maybe just to make it a little bit more duller even. And I I'm going to make my base color a little bit lighter later on so that I can over here control the color. So let's keep that in mind. For the rest, I guess, the rest will come down to lighting when it comes to, like, this home in terms of, like, making it look lighter and everything. There is a lightness, although it does not very often work, but in your reflection captures, if you select them, you do have a brightness over here. And if you set that to two, this time, once again, it does not work. Sometimes, at least in previous versions, when you do this, this will brighten up your scene, but it looks like this is not the case right now. In that case, we just need to rely on a bunch of other things which we'll do during our lighting scene. Now, for our door over here, so our door, we're going to add a specific b to it that is a little bit duller. We have these types, and then I want to go in here first. Go to my door A. Oh, so these are metal stripes. So I must have just given it a warm material that I gave the plastic material because I was not thinking because this is supposed to be metal stripes material. There we go. Yeah, that's more what I wanted. Okay, so having that, our metal stripes are the same everywhere. So what I can do is I can already edit the bare metal stripes material over here and let's have a look. If I go to my roughness, so the shine is pretty intense. The shine is also pretty intense in here, to be honest. But, of course, I need to game a fight a little bit. I cannot make it so intense that you cannot see what you're doing anymore. So let's set it to 1.2 in my roughness amount for the tiling, three, four, I think four for the tiling. So we make it a little bit larger and should be good because I don't think we need to do anything on a base color. Or base color will make it a little bit darker. And I can see that it is a little bit darker in here compared to the rest of our chrome metal. So let's set it to like this. And then what we'll do is we will make a special duplicate or a home and just call it home underscore door. Underscore A because we will later on just have a mask on this. So we will later need to add specific materials to everything, most likely. But if I have a look, so in our door, you can see that your door metal lifting. It's a xy. It almost feels like it has multiple metals. Let's so it feels like the door says like a brushed metal. Look, we like the center. That's pretty good. And then this still has the home look. So let's do that. Let's make some changes to this. I'm gonna get started. So those are all home, that is correct. And up here, they will also be home. So this is home door. I can already go ahead and just art this and then just balance this out. So home door and then if I double click on it, all I want to do with this one is I just want to make my roughness to 1.8 to make it a little bit duller. There we go. So it's just that this is not too intense. The brush metal, of course, we need to create the brush metal. And then inside of that, we will have a lighter plane bare metal or dull metal, sorry, I should say. So if we go in here, our focus is going to be on these, so let's just press isolate.'s don of our textured view. I'm going to get started by turning the entire thing to actually, let's see what I need to see what is easier for me to select the inside here or for me to select the outside. I think it's easier for me to select the outside. So I'm just going to go ahead and I'm going to turn the entire thing except for, of course, the rubber and assign existing material and just make it dull metal because those edges are a little bit more annoying to select over here, right click, assign existing material dull metal. And now what I want to do is I want to go in here. Let's turn on selection constraints on angle of five and let's see, does this nicely guide other way around? It does. That is my lucky day, but it needs to start at the center point. So let's do 15 in the angle. And now carefully go in, and I need to select all of this stuff. I know it's a bit of pain. That's the thing with working with high poly meshes, but luckily we have angle select. So we're going to select all of this stuff nicely, and then this will all be brushed metal for which we are just going to create it inside the substance because it's not that special, just a dull metal with like a brushed pattern on it. And then we just move the roughness a little bit around to get exactly what you want. Let's go ahead and go to show in turn of our selection highlights because sometimes in these cases, that's a little bit easier for us to see. Okay, so I'm fine with that. No, just go ahead and Also, of course, do same over here. Press F because it did not allow me to properly rotate. Now, I know that I duplicated my door over. I guess that I could do that again to save a little bit of time compared to doing this to the exact exactly same to the other door. Let's first just make sure that this all works. Okay, great. So free one right click, assign favorite material Lambert and just go ahead and call Brushed underscore metal. And now we will see because most likely with brushed metal, I need to have a specific direction, so what you will see is that we will most likely need to change our UVs again. But for now, so we got this. I just want to make sure, turn off my text for you. So this door. Okay, so this door is duplicate of that, so that's fine. And I can already see that the UVs are not correct. But don't worry about it. All I care about now is to go in and I'm going to go ahead and I'm going to just duplicate this. Let's just press reset and turn off my angle constraints. Rotate this 180, move this exactly back into this other one's position. We can probably go and turn on selection highlighting now. Maybe zoom in a little bit to do a bit more precise work. There we go. And now press height, H, delete the old one, and then go ahead and so I have this bag, remember that I need to re audit and press Show. And now if we go outside of isolation mode, that should do the twig. So let's go ahead and export all of this. Door A. There we go. Starting to look pretty good, hopefully. Once we've done that stuff, yeah, I think that will look quite nice because this material over here already looks really nice. The home actually worked out really well. So I just This is the most important thing. The materials might be simple, but they need to be spot on when we are working on them. So everything needs to be accurate. The lighting needs to be realistic from real life and everything just to make sure that also the material responses are exactly the same. And yeah, for lighting, we still need to work on it. But for now, let's open it up. Let's have a look. So we have our metal stripes. That one worked. We have our plain metal, which will most likely be our chrome. Yeah, that one worked. We have our rubber, which is a rubber. Then we have our dull metal, which is like our metal dull, but it will need to be adjusted, and then we have our brushed metal. So let's for now save sin and let's go at an open up substance designer. And here we are inside of the metal. And then the first thing that we're going to do is for our dull metal, this is basically the control for the color for doll metal. Let's add a prepasin art HSL node, which basically allows us to just push the lightness up quite a bit like this. So that is it for our doll metal and for our brushed metal, we can go ahead and we can add a switch grayscull in here, set this default to false, expose this graph and just call it like brushed underscore metal. Copy this into your label, set it to false by default, and press okay. And your brush metal, it will basically just be this. It will be a blend. That has the blend of the switch, and then it has an endostropic noise, which happens to be exactly like the brush metal. And then if you turn on Y amount by resolution, it will make it a lot thinner. And then you can choose basically how often you want your brush metal to happen on your X amount. If you set it slower, you get this effect. So we are going to go for quite a strong one. Let's go for eight. There we go. And you basically throw that into the top. You can choose or you can do a copy with an obesity, or you can maybe try like a multiply or like an art. I want to probably go for like an art, so I'm going to set the opacity quite low, and I plug this into the top. Now at this point, the first thing I'm going to do is I'm going to set my preset. Input PemtersPreset. Let's go to our dull metal preset over here. And with our dull metal preset, let's double click on here because else I might get confused. Let's see. Dull metal preset, yes, that's fine. Let's export this. Oh, it happens to already be in our dull metal, so that's good. So let's export. And then what I'm going to do is brushed metal will be like chrome. So let's click on Chrome. Let's call this brushed metal and press new. And this one basically has our brushed metal turned to true. Roughness dirt, we can, like, control how much you want. I don't want too much. And then my roughness amount, I want to set this a little bit lighter so that it's not as intense. Yeah, we can, play around to the roughness dirt and everything to just get everything looking nice. And then once that's done, press update. Export export it to a new folder that we'll call brushed. And in here, we can select this folder, and we can go ahead and we can export this, and it should do the trick ready. As I said, very quick. So let's go textures. We're going to get started with our dull metal and just re import our base color. There we go. So that works. So then our default dull metal that shadow is really annoying. It's really weird. I'm going to fix it later on. Like, here, it's fine because it's not as intense. But in any case, I'm going to go ahead and I'm going to go to my base metal. And in my color, I'm going to give this, like, a little bit of probably, like, a bluish tint and then just tone this down. Maybe like a greenish tint. Now, let's do blue. Blue green, something in this direction, like a baby blue tint, and then tone it down in here, something like that that it feels a little bit off, but in a good way. Maybe set my roughness back to let's do 1.2 for my roughness. And then what we're going to do is we're going to duplicate this and call it metal dull underscore door. And this one, it will basically contain the metal dull door. So if we open up our door mesh, metal dull door goes into metal dull. For now, let's just drag it on here. And then what I can do is with this one, I can have a look at my reference, which you can see over here, you can see it's a little bit more shiny and it is a lot lighter. So and then later on what we can do is we can go ahead and we can make it look even better. So the roughness is quite a bit more shiny over here. Because I do want to make it look like metal as to 0.4. Let's see. So, this is quite metallic. I don't know. This one is not considered metallic. If I set one, yeah, see, this one is not considered metallic. So for now, let's do that and then first import our brushed metal. So if we go at an art brushed to our scene, and I'm just navigating it on my other screen. So for the brush metal, we only need our roughness to change. Yes, only our roughness. So it's just a roughness change. Double click on it. Okay? So the brush pattern is there, sometimes a bit hards. And then it is basically a chrome door Brush nc metal, nscoed door. Let's try that. And then if we go out and open up a door, there's more materials than that. Then I can click on the brush metal door and just assign that one finally in here. Here you can see also the metals in a more neutral lighting. So you can see that then it is working quite well. So if we now go ahead and open up our brush metal door, material, I mean, open up the material. Let's assign our brushed metal roughness to this. Okay, then we can see that this one is correct, but you can see that there are two problems. One, turning this into a hypols warped it, which we really cannot have for this one. And two is that, yeah, it does not look very nice. And what you can do is then it's up to you to choose like we can just use the same technique as the floor, or we can go ahead and, like, fix it inside of UVs. In this case, I think maybe it would be cool if I just show you how to fix it in UVs. And then for the rest of the environment, I can be lazy and just use the material trick without feeling bad about it. But in any case, so we have this press floor. So if we now with our roughness, try to get it more direction of that, which is like two maybe. Let's make it a little bit more shiny. 2.2. Our base color is pretty good. Maybe tone it down a little bit, make it a bit darker. Yeah, something like that, for example, and it's still metallic. So to fix this in our UVs, because we can still do it now. The only thing is that these doors do reuse the UVs. So if I go ahead to select everything, the select this one door, it should try it again with my UV window actually open or does that. I almost feel like it has room for the door yeah, it does have room for the door. So maybe we can just make the doors separate. Let's just go ahead and select everything. And if we have these pieces, let's go into UV shell and just quickly drag out our UV shells over here. We don't really need to worry about the inside. So the only thing that we need to do for this in order to fix it unless, of course, there needs to be very specific stuff done like we had with the stripes. But in any case, for this, just go ahead and press unfold. And then what you can see is that it takes a lot longer because the unfold on a hypol it just takes a lot longer. Now, I'm actually surprised how that it is still quite quick, but I can assume that especially on all the hardware, this might take very, very long. Now, I know that we need to orient these shells. These two are already oriented pretty well, so we can modify oriented shells just make sure that they are straight. These ones, however, we just need to rotate and then we can modify orient shells again, like this. And now I guess that it might be easier if we just do a manual placement. So we are still in UV shell mode. So let's just move this over here. And let's see. Oh, wow, we do not have a lot of placement, now. Let's go ahead and let's make the placement focus on the door. So we're going to drag all of this stuff out temporarily over here. Then we can go ahead and we can move our doors in and let's move them down here and try to place them quite closely together. The rotation does not really matter. Just make sure that they are pretty car scale. Although, it looks like that because they are tapering off a little bit, if we rotate this 180, that might actually make it fit a little bit closer like that. You know, let's do the same over here, so rotate 180. You can see that you can see that I am working a little bit slower in my UV. This is just my PC being slower. And I am quite surprised because it should not be this slow, I guess, for moving around. In any case, so we got this one. Now, the long pieces are not really problem. This one over here is a problem. So this is our actual metal. So this one is actually very important. What I'm going to do is I'm just going to scale this down and I'm going to use my tiling and set it up a little bit later on. And then what I can do for this one. So we have What is this? This piece. I have no idea what this piece even is. What are you? Turn off selection highlights. Are you on the inside or I have no idea what this is. Because I cannot see it, so I'm tempted. Oh, wait. You are on the ins? Okay, fair enough. Yeah. So you are on the very inside there. But because you are on the very inside there, I know that no one will ever really see you. Even if the door would be open, it would be very difficult to even see what's going on there because it will be very dark. So what I'm going to do is I'm just going to scale this down because we don't need as many UV space for something that we cannot see. And then all of these pieces, it's just a matter of placing it all here. Nicely in the corner. Oh, wow, we are way overtime. Sorry about that. For these pieces, you can choose where you want them. You can, for example, rotate them and just drop them in between the doors, which is one thing that often the automated system, it cannot really see these gaps as easily. These small gaps compared to, of course, human eyes. Let's move this one here, and then we have a few more pieces like this, which we can rotate and all move over here or we can place it where our door is. Let's see. Let's place this one. Okay, that's a pain. Let's move this one here, in that case. Let's place this one over here because we have like one long piece. And this long piece, I'm going to go ahead and God, let's see. See if I can move it here. Try and move it back very closely, and then just, like, grab this stuff over here. Maybe scale down tiny bit just so that it fits because it's quite an annoying piece to work with. And then this really long piece over here, just move it down even more. Yeah, this one we can scale. I think this is like a messy leftover from something near the rubber door, so I don't care too much about it because we have another one over here. Look at that. It's like, insanely long, but there is almost no UV. But it doesn't matter because this is just a leftover from automated UV, but it's not the most important one because else it would not be this thin. And then finally, we have this one over here for which I can go ahead and I know, just throw it in here or something like that, scale it down a bit. Like that. Okay, finally. So that is done. So I'm going to go ahead and do one final export. Oh, and save my scene. A. There we go. Let's reimport that and let's see how that all looks. And once that is done, we will close off this chapter. And the next chapter, it will just be continuing with probably the window or something like that. But for now, let's reimport this and just see how this looks because it should give us a pretty good look. Maybe we want to make the bottom home by the way. Like the bottom steps. Okay, so it still has some warping going on. That is a little bit unfortunate. In that case, we might want to go ahead and turn on the window because I don't think there is any warping here. No, it's always perfect. Okay, in that case, it's just hypol. You could do it by just cutting out these windows, for example, and then relaxing them again. But that will cast a seam here, so then I can just as well just do, like the world align stuff. But at least now you know what we need to do. So that's basically the techniques that we are going to use for all of them, just so you know. And I will go ahead and turn this bottom piece over here back to home. So let's continue with that. 39. 38 Polishing Our Materials Part3: Okay, so let's continue. We left off with trying to do the UVs over here, and I told you that you can fix it most likely by just placing a cut because right now everything is one UV. However, another way that we can fix it is by going into our home, sorry, brushed metal door in here and then to replace our material, our seen master material with the seen master world UV material, and then setting the tiling to 200 or something. There we go, see. And that pretty much does the same trick. It also as some of that really small norm map, but that's because we most likely have not exposed it. So, okay, so 200 actually is pretty good. So let's leave it at 200 and looks like it, we just need to go into our world master UV, blah blah blah, and I need to go in here, and I need to convert this to parameter called this normal map. And you can see what happened here. I accidentally converted it back to color, so keep that in mind, and this one is a parameter, roughness. And here convert to Oh, you are a perempt or base color. Oh, the base color doesn't show up because we, of course, have a switch set to false. I forgot about that. So let's go ahead and not save that. I mean, let's go ahead and actually replace my material. That is my fault. Oh, God, now I need to wait for this. Like I said before, I will make you a promise. If this tutorial course does well, I will buy one of those really expensive SSD cards that write at 5,000 be per second. They cost like 400 euros per card. But when I have done that, loading and this type of writing everything, it will be super, super fast. So it will all be instant because right now I'm still rocking. This project currently is saved on like an old HDD. So not even the new one. Okay, so basically we assigned this. So yeah, the wide speeds are simply very slow, and then even though my PC might be fast, you can see that this stuff then happens to be slow. You can speed this up if you want to go by just placing the actual project files on your SSD card. Unfortunately, my card, because I'm also recording and my recording files are hundreds of gigabytes, I don't have space. So I can unfortunately not really do that. Without or making everything a mess, but I think my C drive is the only No, wait, I have two SSD cards, but my C drive is already at 20 gigabytes left out of a terabyte. In any case, what I was going to do here is I was going to change this stuff. Let's turn on selection constraints. Oops, I opened the door. Ah. That is a bit. Why are you not homing? Or are you like brush steel? That is strange, but it's also a pain for me to Okay, fine. Let's go to my side view because it's a bit of a pain for me to select this because it has an angled slope. So let's do this. Hold control and double click on your rubber. Let's see. So I now need to go in here, and I think I will end it at that point, because, of course, now that it is in hipoly it's a bit tricky to see exactly where the end is going to be so this is why you hear me signing because it is boring to do small selections like this, and it's just a bit annoying. Ah, yeah, okay, let's do one low. You probably won't even notice it, but I feel better if I just make sure that it is correct, because this environment is not so much about the difficulty in modeling or the difficulty in how the materials look, but it's just about making everything feel perfect. A sign brush metal, dull metal, plain metal. That's what we call it. I should have called it home but age. And then for this one, yeah, okay, I guess I can read on a weight, I cannot. I can no longer just duplicate my door. And the reason for this is because we have made changes to it. I did just try to do, like, a more precise selection over here, which almost worked. Only over here on the other side, I think it worked, but on this side, I'm just going to go ahead and do this. So, we can now no longer just duplicate the door over, so we will need to do double the work if we want to make changes to our door, unfortunately. But that double the work is often just a few minutes of extra work. So it's not like the end of the world. Let's assign an existing material, plain metal. There we go. That should hopefully be the last export for a door. So export selection, door A. Thank you, export. Ising good. How is this metal over here going with our door? It might be a little bit light I would not mind it being a little bit lighter, but let's focus on that a little bit later. Because, for example, so we have really shiny chrome this chrome over here, you can see that it's a bit lighter, but that's because the entire environment is a little bit lighter. So I think that will happen too. Although over here, you can see that they used like a duller metal, which is pretty cool. So yeah, well, you can see the difference between, like, shiny metal and, like, duller metal. So there's quite a bit of stuff going on. I think for our home on our door, we want to go for, like, really dead look. Are you still so you must be home then. And I must be blind. It must be like a lighting thing. If I go ahead and, like, move my door over here, no. That is strange. We can test it out by going to metal. And if, for example, place our metal doll. Huh. That is strange. Okay, then we are going to force it. The way that we are going to force it is by going back to face selection, which of course, it does not remember our selection. That's a little bit of a shame. This one also or not. We can force it by just basically detaching this stuff. So then it just turns out if I select this and go to my attributes editor, Here, brush metal and dull metal. So I don't think for some reason, it cannot see our material selection, which is a little bit strange. Now, another trick that we can do to see if we can maybe select this a little bit faster is to select it in our UV. So if we go in here, drag this, then hold Control and drag it like this. I can often be a bit quicker to select this stuff. You can see over here. I should have thought of that first time, but I was too busy talking about SSD, sorry about that. So we can do this one. And then if we just also do the other side. And then for the other side, it looks like that, I need to actually do some old shift and just do some manual work because it's not perfectly straight. But luckily we can do two at the same time, so it does not take too long, like this. And then what we can do in here, don't know why those are not selected. Okay, that's all looking at. Shift click extract the faces. If they are separate objects, they must be like, then they will be force. If I go in now assigning system material and set this to plain metal, if it is still not force, then I would be very surprised because this is like, yeah, we're just simply forcing the system to say, Okay, you need to spit this material up. It is no longer part of the phases. So we want you to 100%, make sure that it is its own material. And most of the time that works. But I'm sure that now that I'm recording it out of the hundreds and hundreds of times that it worked, now that I'm recording it, it does not work. We'll see. We will see that's just how it goes. Whenever you try to explain something, that's when things break. I'm justkidding, of course. I'm just kidding. Okay. Shift click Extract Pass. Done. Turn off the editor. And I want you also to be dull metal. Where are you? Come on, plain metal. And just for good measure, if I select this one, let's remove my history so that I don't have so much stuff. I can go to my brush metal and I can just make it like a bit of a bluish color to make sure, see? If it still reads as different materials, then it's an unreal thing because at this point it most definitely is not different materials. D A, that's call an expert. Because we didn't extract phases, we do need to re art all of our meshes back to our layer also and save yours just in case. Assets, door reimport. It should not give us any material warnings. It should just reimport and unbelievable. That is interesting. If we go to Dora, this, as you know, it should be a different material. I did my re input Base mesh plus LDs. I don't know. That should not make a difference, but we'll see. Now, Okay, fair enough. So now it did register. Strange. There must be some kind of like a weird bug or something like that. I honestly don't know. It should not behave like that. In any case, our door is now pretty much done. If I ever look at this metal, I think I'm going to make it a little bit duller, which is going to be our door home over here. So let's open it up. Let's make it a little bit duller just to match real life a bit more. Let's do 2.2, something like that. There we go. It also, of course, depends really on the lighting. But now what we can do is we can finally move on to our Let's make the rubber a little bit light, sorry, I know, but at this point, it doesn't matter. Oh, no, wait. Actually, the rubber is quite dark, so let's leave it. Okay, so let's move on to our window. So for our window, we have our dull metal over here. Which I assigned to this, and now if I have a look at my I had one reference image that I used for the window that was quite close to it. So for the plastic, you can see that the plastic is quite shiny. Wait, windows are down here, aren't they? A over here. So it's like a lighter, but let's do this one. Okay? So it's still a little bit yellowish, but it is quite dull and the roughness is a little bit rougher. So let's go in and let's start by going into our plastic yellow. And what I want to do with this one is I want to go ahead and let's see. So our base color is set to like yellow. Let's see if we can match it a little bit more with our main reference over here. So it's going to be a little bit more like a deeper, yellow, orange color. To make it also stand out a little bit more. Let's see. So, it's just more yellow like this. I don't know, can I do a checker? Oh, yeah, here, I can do like a checker, but it doesn't really work as well. You can do a checker box and you can move it to this window, but it doesn't seem to work. So let's actually grab this one. It's a bit more neutral in terms of colors, in that case. Let's tone this down. Let's see. Let's make this a little bit lighter. Et's actually make this quite a bit lighter. Tone down the yellow a bit more. See, more towards yellow, more towards orange, no more towards yellow. Like this, press G to go into game mode that I can sort of see what I'm doing. Let's make it a little bit whiter. Okay, I think that does it. I end up with FFF to the CFF in my hex SRGB, just in case that you want to use it. Yeah, see here. That does give me a better feel. And now, what I'm going to do is I'm going to set my roughness amount and probably make it a little bit shinier. See. So let's do 0.9, just like a little bit. There we go. That we add some shine. Only over here, we can see quite a bit of tiling, but that's something we can fix later on. Now, for our door, I'm going to go door. For our window, the rubber is fine. Yeah, okay, I might make my rubber a little bit lighter after all, just as a personal preference because else, it stands out too much. And then for my door, I'm going to go in metal doll. Actually, let's do metal doll door and duplicate it. And call this metal doll window. And if we just go ahead and open up our window as we can go back to materials, select our metal doll window, and assign this over here. Press save. We can, by the way, close a few of these things over here. There we go. Oh, yeah, here, that's already adds quite a bit so that we can see it a bit better. And now, if we just open up a metal doll window, I'm going to give this Oh, wait. This one I'm going to make home. This panel just to break it up, I'm going to make home. I'm going to give this one a little bit of a yellowish color. Most of this window, we will go ahead and work with, like, our mask to make it look a little bit better. For now, just give the tiniest bit of like a yellowishlar, like that. And let's set in our roughness amount maybe to like 0.8. Make a bit shinier and maybe make the color also a little bit darker, just in general. Over here. Hey, thank for the rest. We need to go ahead and we need to use our masks to make this look more interesting. So we got that one. And now what I'm going to do is I'm going to have a very dull chrome on these pieces and probably also on my locks it just to break it up a little bit more. So let's do Window A, and let's just select this piece and these pieces. And since we did not use home yet in this model, we can just assign existing material and just call plain metal. There we go. And now we can go ahead and we can export this Window A, here we go. Assets, Window A, reimport. Just give that a second. Press reset AVX. It's always the easiest one because else we need to do some manual work. The thing that we just need to redragon our materials, but that's okay. So what do we have here? We have dull metal window, plastic yellow, rubber. And then this one is going to well, for now, it will be chrome door A, most likely, because that one is a little bit duller. Yeah, see. That makes it already look a little bit more interesting. Then we can take it from here because right now this feels way too boring and plain, so we'll take it from here. I don't know if maybe doing the brushed look might work somehow. So let's do metal dull window for the fun of it. Let's see if a brushed look works a bit better. Metal doll window. I don't see something. Let's say ten. I'm not sure if I don't think it really does anything. Although I'm a little bit suspicious about, let's just know this. I am a little bit suspicious about the tiling because it doesn't show me any tiling. So what I might want to do is I might want to just very quickly make sure that if I go to my UV and select this that it does show the window correctly. See, I knew it, and that is why I check because it does not show my window correctly. So if I go over here, for some reason, this is my window, and I'm not a big fan of that. So this one is fine. This one is fine, which surprisingly, so the ones that I was looking at, I is correct. But the other ones, it didn't behave the way I expected it to behave. So what I can do here is I can just quickly scale this up. No idea why maybe I've got to reset my history or my transforms, and that's why it kind of messed up. But in any case, Window A, you can go ahead and save this. Done. Go back in here. Just do a quick reimport. Here we go. And that should avoid us having more problems later on. And now we can already see a little bit of that roughness going on. Okay, so this metal panel, if I just press G. Okay. So that gives me a little trim, which you can see over here also, like that effect. So quite like that. It's like the small details. Okay, so those are walls, of course, without any masks, but for now, those are the walls. Ceiling, ceiling, ceiling. How do you look? You look pretty plain. The only thing is that it does not have an ambient occlusion in here. I can add this ambient occlusion in my mask, so I'm not too worried about it now. For the rest, yeah, it might it is quite shiny, but it's not that shiny. This is the one that I was going to use. So I'm going to go ahead and materials. Where are you? Plastic yellow duplicate. And just call the plastic yellow underscore ceiling. And then for the plastic yellow ceiling, we just need to go ahead and add it to our actual ceiling over here. And then it's just like some balancing. So this one should not take too long to Let's see. Let's set our roughness amount. Let's set our tiling amount to like one so that it is softer tiling and set our roughness amount to 1.1 sorry, 1.2 maybe, something like that. And then what we can also do is maybe we can give it like a slightly different color just to break up our scene a little bit and to give it a little bit more colorful pieces in our scene. So let's make this one. Like a little bit more maybe like a little darker and then just a little bit more orange. Yeah, and very subtle changes like that can add quite a bit to your scene, as you can see. Okay, so we've got that one also done. Now what we would need to do is we need to work on, like, a back wall, and then we also just need to once again do another lighting pass that is a little bit more proper. Let's do the Bwall in the next chapter. Let's already do like the texturing for this, which will give us a better overview of substance painter. And once we've done all the texturing, you also then know how to do all your masks, which we can do after that. And then we need to work on the lighting because right now it still just does not look as nice, the lighting and everything. Like we're getting there, but it's not there yet. So let's save our scene, and let's continue with that in our next chapter. 40. 39 Polishing Our Materials Part4: Okay, so let's go ahead and continue. I just wanted to have a look like the back door over here. I want to make this metal. Let's see. What else do I want to do? I'm going to change the chrome to be also like the brush steel. That's another one and just like, change the door in the same way. Our stripes are pretty good, so I'm not too worried about that. Let's do that stuff. Let's open up our back wall. We're going to get Whoa, that's sensitive. We're going to get started by Oh, by the way, this also needs to be home, I think. You cannot really see it. So I guess, if you want, you can leave it, but I'll just make it home just in case. And I'm going to go to materials Home door A duplicate. Chrome door B, for example, something like that. Throw this into home. There we go. So that's already a little bit duller. Oh, sorry. I'm not thinking. Home door B, this has the stripes, right? No, this does not. So this one needs to go in this version over here. So Home door B needs to go in Oh, I do not have that. I guess everything has become metal stripes. Okay, that's my fault. That's just me not thinking sraight. Metal doll, where do you come from? I have no idea where the metal doll comes from. Let's just go ahead and go into May and let's see what we can do with this. So we have our back wall over here. I was going to go ahead and these pieces, yeah, you know, what's selecting these pieces is going to be paint, I'm just going to leave that chrome. So these are all going to be stripes. That's fine. This one. Oh, metal doll. The door knob. That one is it. It's just a bit hard to see with the current lighting. So we're going to go ahead and we will also make these pieces over here, metal doll. So let's first of all, convert this to metal brush metal over here. Then I'm going to go ahead. I'm going to select. You say, let's go up here. Oh, I always forget press Control Shift. Here we go. Like this. This one is going to be right click assign existing erialPlain metals. That one I will turn into chrome. So this is our brush metal, and then yeah, I did it the one way around. Let's press Control shift I to invert my selection so that I do not have that accidentally selected. Oh, that's strange. Let's Undo Control shift I. There we go invert selection. This was going to actually be plain metal also. So everything was going to be plain metal. No dull metal. This was going to be dull metal. And then I was going to go ahead and I was going to go to angle. Yeah, it takes a bit of thinking work. And I was using my angle to basically so these pieces and then turn these into bright metal. Wow, I needed a little refresher of what I did last time, even though it was only 20 minutes ago. Okay. So that does the trick. So those pieces, and I'm not going to care about the bag right now. Those pieces are going to be price metal. And the only reason I don't care about the bag is because to save time, basically. So we got that stuff done, and now over here, I just wanted to go in. Select this phrase, press control shift I and convert that also to dull metal. There we go. Let you do the trick. So let's see. Let's go ahead and export this. Back will, yes, save. It's all fine. Let's save sine. Let's go in here. Where are you back while they are reimport? Rsavbx Okay. So I think that has most of the stuff done. So Home door B is actually now needing to be, that needs to be brush metal. So Home door B actually needs to go into plain metal. There we go. Then we have rubber. We have dull metal for which I will now just do dull metal door over here, and then later on I will change it. We have our metal stripes, which can just be replaced with this one. And we have our plastic yellow, which needs to go into this one. There we go. No. Yeah, okay. That should be correct. No, wait, that's not correct. Sorry. Plastic yellow needs to go into this one. This one needs to stay home B. Okay, so dull metal is there, although it might be a little bit darker later on. We have a plastic also sitting there. Now we just need to go for, like, a brush brushed metal door, duplicate brush metal door under score B or something like that, and throw this into the top. And luckily the UVs are already in the correct way on the way because it's worldspace so it does not actually matter which way it is. There we go. So we got that one. I can see that it looks like it still has the wrong normal map on here. So I think we just forgot to replace those. So let's go in here. Let's go into our metal, and if we just go into home, just apply your flat norm map to this. There we go. That should look a little bit more logical. Okay, so now we have this. We still need some improvements, but for now it's just like a good base to get started with. And yeah, we got these pieces, so that's all fine. Okay, so that is our door. And then what we can do is we can I think finally get started by just adding our seating over here. And yeah, our seating, we were going to go ahead and we were going to do this inside of substance painter just because it's a little bit more specific with, like the way that gradients look like, just goes from this side and then like spans out to the outside and all that stuff. And this will actually also add a lot to our sen because it will immediately, implant color into our sen If we have a look inside of Maya, so we can call this one also done. We're just going to go ahead and have a quick double check in our chairs A by opening it selecting it again. Okay, so that seems to all have everything correct, that's fine. I hope that we do not have any stretching going on, but we will know that soon enough. So since we already export this as an FBX, we do not need to re export this as anything else that is special. What we're going to do now is I will close off substance because else I have a lot of programs open, and I'm going to go ahead and I'm going to open up substance painter. Here we go. Okay, so let's get started in substance painter. So what we're going to do is we are going to just go ahead and make the final texture for this asset. And then once we've done that, you also have a better feeling of how we're going to do masks later on. So we're going to go ahead and create a new project. Once again, although we went over this tiny bit previously, I do expect that you know the basics of substance painter, and else I would recommend just looking on some basic tutorials online on YouTube or something. So we have a template. In our file, we are going to go ahead and we are going to go to unreal and grab our chairs double file over here. That is strange. Let's try that again. It's a very strange error. Chairs double. Okay. I never seen that error before. I'm going to set my document resolution. Let's set it to two K. We can always export it at four k and then in unreal, we can choose what resolution we actually want. Norm map format, we're going to go open GL, just like in subs and signer. Just leave on compute tangent space per fragment. It will often give us better normals. And at this point, we can just go ahead and we can press Okay. What this will do is it will load in our model, as you can see over here, and subspa it can handle pretty high model, so we don't need to worry too much about it. And now what we're going to do? So yeah, this is my layout. I have my properties down here, layers, text set and text settings at the top, and my assets here at the site, and then I just have my viewport. Moving around is the same as that we do in Mam set or I believe also it's same as in Maya. So there's nothing too special about this. And we're going to take this nice and easy. The first thing we need to do is we need to bake some maps. The reason we need to bake some maps is because the maps are used inside of mass generation, which we could use for this. The way that I'm going to do that is I always go to layers, and out of habit, I just press delete on the first layer because it's an empty layer that they just add. Then we need to go to our text set list, and this will be the name of our texture when we export it. So just call this hairs underscore double, and then what it will do is it will export it as chairs underscore double underscore base color, unscoe normal, et cetera. Then if you go into your texture set settings, and by the way, if you can't find this window, it's up here. You can find everything up here in the Window step. In our text set settings, we can scroll down and we want to go ahead and we want to press the Bake mesh maps. Now, don't worry about this. We don't need hypolnting. This is already hi poly even. All we need to do is we need to turn on use low polymsh as hi pool because the ones that we are most focused on is the ambient seclusion and the curvature map, and maybe also the position map. And those three, they technically do not need a low poly in order to sort of work. So you just want to press use low polymsh as hi polymsh, set the output size to two k and leave everything else to default. And then just go ahead and press Bake hair double. Now what you can see here is, you can see it going to work. And this ambient occlusion is also what we'll be adding later on to all of our meshes using a mask because I think it will look nice. So all of our maps are instantly baked. Easy, does it. Now what we can do is we can get started with our actual texturing. Now, we can choose, do we want to use the plastic that we have created ourself or are we just going to go ahead and use a base plastic that we already have? Now, this plastic that I see over here, it does feel quite different from all of the other plastics. So it might be cool if we just go ahead and just do a unique one inside of substance painter. So the first thing we are going to do is we are going to add a few materials, and we are going to divide them up. For example, our metal is going to be one, our plastic is going to be another one, and then we have our colors. Only thing I want to quickly check is for our metal. Okay, so yeah, the metal looks a little bit rougher. I would say, although over here, the telso looks a little bit rougher. So maybe it would be cool art if we use our custom chrome metal and then take it from there, but I'm not sure. I might not be needed. Let's just see. Let's start with our metal. Up here in your asset library, if you go to smart materials, can often find a lot of really nice looking metals like aluminium is in here, but if you scroll down, you get more of the metallic ones like here steel, and you have a bunch of different steels and everything. So this is quite cool. So we can use this. Let's try steel armour. You simply want to drag your smart material in here, and then it will sign it. And then we can see that, for example, right now, what I can see is that immediately, like the UVs are completely messed up. So it looks like that unfortunately, we need to just do a quick unfold on our UVs inside of Maya before we can continue with this. I was hoping to avoid that, but it looks like that. This one is even more broken than most ones. But yeah, that's what you can sometimes get whenever you you see? So you just need to do an unfold. And I just do them one by one, just make sure. But, yeah, it's just something you can sometimes get when you turn this into hi poly. To be honest, I avoided it because I thought it was going to be a lot slower. It might be a lot slower for you guys. And still, it is more work that might not even be needed, but it looks like it is not as slow as I expected, which is quite nice because it means that I don't need to worry here about all of this stuff. Um this stuff over here, it's strange that it even unwrapped it like that because I can remember that I did like a custom unwrap. Oh, wait, it unwrapped it like this because it swung down. So we did not add UVs here. That's why it went like this. In that case, what I'm going to do is I just need to do a let's do see brain freeze UV best plane, and then do like a best plane over here and unfold that one because this one was very important. And then we have the site over here, and the sites what we can do is we can pretty much let's see, where are you? So these sides over here, this is where something goes wrong. Now, I'm not too worried about those seams. So you can add it or not. So for example, you can just hold to an off angle select, hold control like this, and do it only for this one. You don't really want to spend too much time or well, you could spend more than enough time on it, but I don't want to spend too much time on something like this. So I can deselect that, do a quick UV and a bass plane. And then that one is just like new. And then I can do the same over here. And honestly, what I can even do is I can just select it like this. Hold Control D select, all of these sites. So all that we have left is this piece. UV Bass plane. See, I think this smoot ing was just way too strong for those small pieces. And now what we can do is we can just go ahead and for example, here we have the base. Hold Shift and double click. Oh, sorry, that's the top. Double click on the bottom. Like this and then do one final UV and like a bass plane. Here we go. Unfold this. I'm going to go ahead and I'm going to scale these properly later on. For now, just do the same over here. UV, bass plane, unfold, and there we go. Okay, perfect. So we've got that stuff done. I just need to go in here and just do a very quick unfold for these extra pieces, and then we can place the old pieces in here, especially like these ones here. See, unfolding seems to be Wow, it looks weird, I know, but I'm not too worried about the shape because I know that this shape is going to it's unfold. I know that this shape will be containing a very plain looking material. So that's why I'm not worried about it looking a little bit off. Yeah, we have these piece, but I don't think the days they do not really change much. Okay, so hold J. Let's get started by just moving this piece in here. Scaling it down a little bit. We didn't need to have it that big, but I did want to make it big enough so that we have enough space. For our non Mbitas scale this one up a little bit and just move this one over here. And on these ones, they can actually be quite small, because they were not this big. So let's just move one here. Let's move another one nicely next to it. There we go. Let's should do the trick. Let's very quickly export this. We need to export this immediately to also our unreal version. This is shares double. Here we go. Then we just need to do the same process again because this is why we need to find out at the very beginning. New asset, select, share double and this can of course, go very quickly because if I don't need to explain it, I can just do this. I can just go ahead and delete this. Double click Share, double, and then go down here, bake mesh maps, set them to two k, use lowly and bake. See? So I can go very fast. You just quickly reset your model. Then you press Okay, throw on the silver armor, and we are back where we started. And now our UVs are looking correct again. Okay. The way that we can assign materials, basically, it's very easy, actually. We can go down here and we can add a black mask. This will basically make sure that it will not be masking anything, but now wherever we paint, we will get metal. The cool thing is that we can use the polygon fill tool up here and set this to element select, and then you can literally select your different element objects, and then it will automatically add these objects to your mask. And you can also click and drag select if it will save you time. So like this, I can just very easily turn all of these pieces to metal and then click back on my brush to properly be able to see it. Now, this metal is a little bit grimy. So we can, for example, work on our grunge and on our edges and surface details to basically make it a little bit less strong. Our A odor is fine. Color variation, let's see, our roughness. Here we go. So our roughness has a finish rough. I'm actually going to turn it off because if all of our other metal is looking very plain, I want to go in that same trend. So just like that. Now having this, so the ones that we turned off, we can for now just delete them over here, and we can minimize this. And you can cut this whatever you want, like metal. Now what we need is we need a plastic, and the plastic is going to be's see, I'm sure we have lots of plastics down here. Plastic used. Plastic used might actually be good. No, not good. Plastic soft. Yeah, it looks pretty good. If I call this plastic, and then I want to go ahead and immediately get rid of the bumps because I don't need that no map detail in here. Let's see what else do we have? We have our edges, which our edges is fine. It just adds that extra bit. This is the kind of stuff that we will be adding using masks later on. Our dirt is fine, our roughness variation is fine. Our white specs is fine. This roughness variation over here, let's delete it. And then for our color, we want to go ahead and go in here and let's make our roughness a little bit shiner there you go, with the slider. And then in your color, go ahead and just make it a little bit more of like a whitish, you know, something more in this direction. So it is quite white, but it still has, like, a yellow undertone. I'm trying to capture that. Something like this over here looks quite good. And once you've done that, we can go ahead and we can add the black mask again. And this time, in your polygon fill, just set it to UV select. What it will do is it will then select UV islands, which means that we can do a more precise selection like this over here so that we do not accidentally select our actual seat. I think that's already it? Here we go. Okay, one left. This one over here is a lot more custom. As you can see, if we have a look, we are going to basically give it like yeah, variation in the color. Now, what we can do is we could do this in the shader, or we can just export three different base colors. I think it might be easier if we just do three different base colors on no wait because we do have many different colors. Okay, in that case, let's control this into our shader. I'm going to show you how to do that. It does mean that we need to create a unique shader for this because this is not the type of control we want in our master shader. But basically, the way that this is going to work is we are going to go ahead and we are going to create a new folder over here and just call this seating. And in this folder, we want to start by adding a fill layer. This fill layer will just be our base. So we can literally call it base. And for now, it will be like, Well, actually, for now, let's make it like a red color, but that's just because I need to see what I'm doing. So let's say I make it like this try and mimic a color that you can see on your reference. It's a bit sensitive over here, something like this, for example. Now, what I'm going to do is I'm first off, going to adjust my roughness to make it very shiny so that it looks like this shine. And we don't need a height map. We don't need a metallic map, and we don't need a norm map. Okay, that's pretty good. In your seating, already a black mask, go to your polygon fill and just select these pieces over here. Okay, that is the base seating. Now what I want to do is I want to add another fill layer and just call this roughness underscore variation. This one, you want to turn off everything except for your roughness. And although you can add a roughness map to this, a cool little trick is if you add a black mask to this. And to this black mask, if you go to the magic wand tool over here and you add a fill layer, you can actually drag in the roughness. Now, I will show you why I want to always do it this way, and I literally always do it this way. I need to go. Sorry, they change the icons over here to our textures. Scroll down. And in here, if we go for, like, something that is, well, you guys know because when we went over this stuff, just something interesting. Maybe like some wipes or something like that or like some softness. Yeah, maybe this one over here. You basically add it, and then you can go back into your roughness and you can basically control the roughness amount like this. While if you would add a text to this, it would be a bit more annoying to control it. Now, this roughness over here, you have a playground balance. It is too sharp. So I'm going to go for something that's a little bit more softer. And let's see, roughness leaking. This probably way too strong also. Yeah, and it does not feel very nice. Fingerprints. Yeah, fingerprints might actually work. So let's do fingerprints and then set the scale up here. This is your tiling. Set it to five so that you have a bit more fingerprints. See? And now we can, of course, go in here and we can just control how much of our roughness we want to show to basically control the dullness. Now what we need to do is now we need to basically effect basically fake that effect over here that there is an actual bump and everything going in here. The way that we can do this is we can go ahead and actually, there are multiple ways. One of them is we can use also a norm map along with our color, and I want to try that first. I don't know yet if it's going to work, however. What I have in mind is I grab a fill layer and call this height detail, for example. What I can do to this is I can add a black mask, and in this black mask, I can once again just select these pieces over here. Now my idea is that if I grab this mask black mask, sorry, and I go in and I think for now just turn on only your color and your height map. If I blur this, it will hopefully give me a gradient effect. I can go down here and I can go to art filter. Now in here, we will have a blur, but we have a few of them. So we maybe have a non directional blur, that one we have inside the sign I've only never used it here, but I don't think I have it. In any case, then we can try blur and hopefully the edges if we then add a mask on top, the edges will hopefully stay intact. If I now go in here, and let's see. So my blur, yeah, you can see it like a little bit. However, it is not doing exactly what I want. If it is not doing exactly what I want, which in this case, it's not, then I'm going to mostly just do it by hand, and doing it by hand will basically be this. It will be adding a black mask, going in our so that was the easy way. Now we're going to go and do the more tricky way. So we go to our brushes over here. And I just realized we are way over time, so let me just, I just want to still finish this. So try and get the basic soft brush. And then we just need to find a right setting. So if we set our size really high, because basically what we're going to do is we're going to click Hold Shift, and then click again, and only then we need to do it with proper settings. So let's set the flow low. Size really high. Let's see, click Hold Shift, click again, a bit more here. And you might have guessed that if we do this correctly, it will give us the gradi interfact that I was looking for that I was hoping to get with my mask. Here, something like this. And then maybe it would be cool to add like a few extra clicks here and there, just to give some variation. And then once we've done that, this is my idea. So first of all, our height, if we tone down our height, you can see that it will give us in our norm Maps, it will give us the actual effect that there is almost like bumping and seating and everything in there. Then if we combine that with a base color and we set this base color to black, however, we then make sure that your layer here set the base color. We then go down here to this little 100, which is the Obaste and tone it down. I was hoping that that will basically just give us the effect that we're looking for. And we can even go in here and like a roughness, we can set our roughness even shinier in this specific area here to kind of really get it and then maybe set your base roughness a little bit duller. I see. And then maybe tone down your pace color a little bit more. And just in general, it will hopefully make everything look a little bit more interesting like this. So that was basing my idea. Now, I do feel like that maybe around the edges, I want to make the norm map a little bit stronger because it feels like there's like a bump here. But honestly, if I look at other pieces, this is not really the case, so that might be a little bit overkill. Maybe we can go ahead and set our height detail a little bit stronger even. Here we go. So make it quite strong. And at this point, I will have to save my scene. So just go on, do a save as. I will save this in chairs and just call this chairs underscore double. Here we go. And let's plus save. Okay, so that is done. And then what we'll do in next chapter is we will just continue with that. And maybe later on we will also add like a single chair in here, but that's going to be like polish. So let's continue with that in our next chapter. 41. 40 Polishing Our Materials Part5: Okay, so we now have our base materials done over here. Now, what we're going to do is we're just going to add some general improvements. One of them is going to be a new folder that we'll call like dirt, and it will just have some general dirt in here, like the stuff you can see over here and maybe also a bit on the metal. Let's get started by adding a fill layer to this. And just call this like plastic unscored dirt. Or this one might actually be easier to just add to our plastic now I think of it. Here, let's add this one just to our plastic. And this one is going to have like in the color. We are going to go for, like, a bit of, like, a brownish yeah, brownish color or something like that. Set the roughness quite dull and just leave the rest. And then add a black mask. So substance painter is very powerful with having mask generators. So if you go into smart masks, we can go in here, we can grab a few of them. Normally one of my favorite ones, but I think then we need to use like two of them. So I will use one of them in the main folder and this one, don't worry. I'm talking gibberish. I will explain to you later. First of all, for this one, I would get something that is like dirt. I know. Dirt soft edge. It's very subtle. Let's see if I just click on the dirt and said it's a bit stronger. Oh. Okay, fair enough. That actually does sort of make what I was looking for. Let's do dirt soft edge, then. Tonee it down a little bit, and let's go ahead and then of course, you can see that we have some seams over here that we need to fix. First of all, let's go into our color and just set the color to be a little bit more like a brighter dirt like this. And then the way that you can basically paint out this mask, you cannot do it like this. You cannot actually paint on it. But if you go down here and add a paint layer, you then have a layer in which you can, for example, set your flow high, your size low. You can even go into your brushes and give it a different brush. And then if you press X, you can switch between black and white. So setting this to black, you can go ahead and you like in these areas, just paint it out because else you will be able to see the seam, and that will not look very nice. So just whenever you be able to see the seam over here, it would be better if you just paint it out a little bit more. It's a lot of dirt anyway, so we need to do some painting out anyway. Over here like that. And then for the rest, I'm going to switch to, for example, my dirt one brush over here, which is like a soft dirt. And then in here, I can do some manual hand painting here and there. I can also press axon for example, paint in some dirt around the box over here. But just in general, it is handy to do something like this. And doing manual dirt like this, you can actually paint over seams, which will give you a better effect if you want to still have dirt on the seam. We have a really strange looking artifact down there, but honestly, you cannot see it, so I'm not going to bother fixing it right now. And then in here, maybe I would want to have a bit of dirt because you would, if you think about it, such small cavities would be like a perfect place to have dirt build up. Okay, so we got that one. Now, what I want to do is I wanted to duplicate. So right click and duplicate layer your dirt and artist to your dirt layer and just get rid of all of these masks. And then also just press assign new black mask. This will basically reset your mask. The reason I want to do this is because there is a smart material that I tend to always use, which is called the dust occlusion material. And this one just adds some general occlusion dirt here and there, and you can see the dust that you can see down here. And for that kind of stuff, it's perfect. So I can tone down my level and my contrast, and I can just give it a little bit, also in other cavities. I can just in general, give it like a little bit of, like, a duh, look here. So maybe if I like tone this down a bit more. Okay? Actually, we need to be very careful for that one. So let's not have it that strong. But we can add some roughness variation to this later on over here. And the way that we can do this is x, we already have, like the roughness variation. So maybe if we just make it a bit stronger, you can see it and maybe set the roughness variation above your height detail so that it kind of overlays. You see? There we go. That works a bit better. So we got some roughness variation. But yeah, okay, so this one is just like the dust oclusion. Now, what we want to do is maybe add some very small custom dirt, like you can see around these screws, because we have so little of them. Honestly, we can just add a quick fill layer to our dust occlusion over here. We can then go ahead and go into our brush, and if we grab like I think actually just a basic soft brush, we'll even do the trick. And tone it down, and then just click like that a few times on your bolt. And just slightly move your mouse around a bit close to my mesh. Do the same over here. See, slightly move your mouse around. And then what we can do is we can simply turn off the bolts on this. And then it will give the effect that there's dirt coming from below it. So for example, if we now go to our polygon fill, set this to object and set this to black, here, see, you can now just deselect the bolts, which in turn give you some dirt sitting behind it. Like that. Tara. Okay. Finally, we will have some normal details, and those are these little grid patterns over here. Now, for these grid patterns, because there are so many, it would be nice if we can just make it all in one go, and most time I use Photoshop for it. I can have a look and see if there's something in here, but I highly doubt it that already fits. So if we, for example, go into our metal down here, we can create other folder, create another fill layer that we'll call grid with a black mask, and this is the one that we're going to use for this. In your grid, just set your height map, lower. Turn off your roughness, metallic, norm map, and you set your color to black again. So sometimes you can find something over here in your Alphas and you can find something that is good. However, I don't think that we have something as specific as this, as you can see. Yeah, I doubt that I can find anything in here. You can sometimes find like stripes like this. But not on this level. So instead, what I'm going to do is I'm going to go ahead and I'm just going to remake this inside a Photoshop as an Alpha, and I will show you how to use it in here. So for this, sometimes what might be handy just is to go ahead and create a quick screenshot. It does not need to be special. It's just like to get, like, a rough measurement. So I just press Control Q. That is my screenshot shortcut over here, and that has opened now in my other screen. So now what I'm going to do is let's open up Photoshop. Here we go. And I have created a simple file new. And then my Photoshop is a little bit slow lately. Unfortunately, it since I updated my driver, so I need to figure that out. So yeah, file new, and then in here, I just created a simple 14 96 by 14 96 blank Canvas over here. So this is the one that we're going to use. You can use GIMP. You can use any program you really want. For this, it's very basic. I just happened to use hotshop. And I'm basically just going to drag in that image that I have because it's like a nice little template, and I just move it here. What we can later on also use this for morting. So for now, I will just move this to the top and there we go. We have a little bit of canvas. What are these? They are basically just like soft pieces. If I go ahead and I just add a very simple layer by pressing the little plus sign down here, I can go down here I set my color to black. And then if I go to my brush, right click on it and just select your very first half or hard round brush, and then tone down the size to roughly the size that you want your individual patterns to be. I'm not going to go too small because if I go too small, it will look like noise. So we will go a little bit bigger in here. Now, this is done here. So now you can see that in our layer, here we go. We are able to paint on it just like we want. Now what I'm going to do is I'm going to basically click, hold Shift, and then drag. This will basically create a straight line, and then we immediately have a patron ready to go. Now, at this point, I'm going to go ahead and I have this one. I'm going to hold Alt Shift and then using my move tool down here, move it down. And yeah, quite close, and then hold Shift only and then move it out halfway like this. Then if you Alt Shift, the lines they should be able to read the same distance. If you don't have this, you can go to view, turn on rulers, turn on Snap two, and in these Snap two settings, you set it to everything. Then you get these orange lines that you have over here. Basically, these orange lines, they can roughly see what identity was so for example, now we are at so many pixels like this. Then what I can do at the very last one is I can go ahead and I can move this one down like this. And then we have one part. Now, if we go ahead and in our layer tab, just scroll down and select all of your layers, right click and merge the layers. Which your move tool still selected. If you now press W or W, if you press your okey, you can actually move it up and down to get it into a nice location. And after that, it's literally just a matter of doing this. Over here, and just start to copy this. There is a repeat action in Vote Shop. I think it's Contra Chef t or something like that. But for this specific case, because we are duplicating and moving it, it does not work for some reason. I don't know why. But in any case, you can see that now this is exactly the pattern that we have in real life. And because it is snapping, it's not too bad for us to just move this around. And here, so this is a lot easier. Imagine if we had to do this by hand inside of substance paint. That would be such a paint to do, and I would not really be enjoying that. So instead, just move this around Sorry, that one was a little bit too far away. And then we get to this point over here. And just for safety, I'm now going to select all of my layers again, right click and merge them, and I'm just going to nice move this into the center. Actually, let's move it over here. And then I because I merge them together, now I can do this. I think if I now finally select these ones at the end, Over here, and I can then scroll and then go my move hold I'll shift again, and then you can actually duplicate your layer in here and do this. Here we go. Now if we go back to our move tool and just, like, push it around a bit, there we go. I think that will give us it's just below our bolts, but I think this will give us a nice look, see. So now we can already get a sense of what it would look like. At this point, we can turn off our shape. What I'm going to just leave this like this. The only thing I need to do is I need to press Control I on this and I need to press right click layer from background on your background, press Control I again. This is because they need to be white in order to make it as a mask. Now we can go ahead and we can save this so we can go file, save as I will create a folder called extra details in our textures and just call this like mask under sco Atlas, and then just press Save as PSD because in painter, you can just import the PSD. So here we can go to File, Import resources, drag in that PSD just created. Set this to be a texture over here, not an alpha, a texture, go ahead and set it to current session means when you close substance painter, it will go away. Project means this project. Library means that it will forever be in your texture library. We are just going to input this into this project. And now what we can do is we can start by projecting this on here. The way that we're going to do that is we're going to go ahead and go in our grid to our mask. Then down here you want to use projection. In your projection, as soon as you click it, you get this black bar, but if you scroll down, it will ask you for a gray scale map. In which case, you can just drag in your mask. Now if you hold S, you get the controls. You can see them down here. So middle mouse button is just pending round, left mouse button is rotating, right mouse button is zooming. Those are the ones that we need. Well, we don't need to rotate. But what we are going to do is we are just going to like here. And if you do not hold S, you can move your view, but we are going to go ahead and we are going to nicely just make this all fit together. If you want to have a more precise view, you can go down here and you can go to Constraint rotation or three? No, sorry, it's not one. Here, Autographic view. Sorry. You can go to Autographic view, which will give you a more flat view of your model. I don't use this view very often, only for if I need to do very precise placement. But just like this here, you can see that I'm just moving my view pod around, and that should already be enough. You don't always need to hold S. I think that's it. And then when you're finally ready to go, I recommend in your Alpha to set the hardness to one to make sure that you have a strong brush, and now you can just go ahead and you can paint it in. And you can see that it really helps that we added that extra resolution to this and that we made it extra big because now we have a razor sharp resolution on here and it all fits. At this point, Oh, Yikes, go back to your perspective view over here. It might have messed up your viewpoint a bit if you just press F. 1 second. Let's set this to constraint rotation. Oh, God. I messed up. Let's do free rotation, and we basically need to set this. Let's go back to orthographic que. It's because I accidentally did like a free rotation and I always forget how to reset this stuff. So free rotation and now go back to constraint rotation and Perspective view. There we go. That should do it for now. In any case, that's just me messing up. You can go to Window and reset your UY, but I've done all of my settings, or you can just restart Subs a painter. In here, for height, we can basically control how much height we want to give it. We can make it very strong. I'm not going to make it very strong. I'm just going to look at it from side. And let's say -0.07 seems to be like a nice height. Then in your base color, you can just go down here and you can tone it down over here and you can just make it like a bit darker so that it stands out a little bit more. Actually, we want to actually make it quite dark because else it will not be noticeable enough. And there we go. So I think this is a pretty good base. Now, one thing I forgot is you can hold Shift Alt and then click, and then it will basically snap to the front view, and that way it will also reset your free rotation just so you know. In any case. So this is now done. So what we can do is we can go ahead and save Racine once again, and now we can start by exporting this finally. So let's go to export textures. For this one, we're going to go ahead and in our texture folder has, we are going to make a folder called final, and this is the folder in which we will export this. So you can just copy this location and press save PBR metallic roughness. That should be fine. Although I don't know if it will also then include my ambient occlusion map because there's also there used to be PBR metallic roughness with ambient occlusion, but we'll see. Let's do PBR metallic roughness to get started with. Then in our file type, we are going to go for tagaFlesize. Let's just go for four k. We can always lower it down inside of unreal and just go ahead and press Export. Exporting a four K does take a little bit longer because it needs to set your model to a specific look, but over here, you can see that now we have a base color, and we have all of these other maps. Our base color, as you can see, does not have an ambient occlusion, but we will take care of that after we've set up a material in here. Oh, sorry, almost forgot. We need to reset. So we actually need to make a special material because we're going to go ahead and change the material looking here. Go ahead and make this white like this, and then there's a few things that we need. We need to go ahead and we need to just do a normal export like this. Export. And what we need to do is we need to go into your seating mask, right click on it and press export mask to file. And then what we can do is we can call this in here, seating underscore mask. And that set this to be a JBC. So this way, we have a mask so that we can control where we want to have the color inside of unreal. Now, if we go in here, textures, has, and you want to import your base color, your metallic, normal roughness and mask. The height, it will automatically convert into norm map information whenever we export. So you can just go ahead and you can drag this in here. Now, I miss clicked. As always, try it again. You can drag this in here. Thank you. Don't forget to just quickly go to your chair and do an invert green channel over here. Okay, now, this one, it does not need a lot because most of it is in our texture, so we can just create a very simple base material. Maybe we want to give it some control over roughness. So let's just duplicate our scene master and call this unique underscore master. Open this up. And let's see. So the reason I wanted to do this is because here, like all the stuff, the base color is fine. Although we need to change the color later on, metallic options is fine, but we will actually, you know what, no, this will become a mask. For now, we will have a roughness map, so roughness amount, and we will have a norm map, and our tiling needs to stay at zero, so we can also do that. There we go. So at least now I have this leftover. I'm going to go ahead and I'm going to go into my chairs, and I'm going to let's go to select the base color and just assign this in here. Let's go ahead and select the roughness, assign this in here, and let's go ahead and select the normal assign is in here. Then what we have left is we have our mask and we have our metallic, which we can go at import. This is the metallic. So for this one, right click, convert to perimeter, metallic and go ahead and throw this into your metallic folder, and then we have a mask which we need over here. In our base color, what we're going to do is we are basically going to larp our base color with the actual base. This means that it's like a blend note. So in the top, what we do is we go ahead and we add a larp, and it is called a linear interpolate, fancy name for pretty much like A, B and an Alpha. In your Alpha, you basically plug in your mask, and then in B, you plug in your base color, and then in A, you plug in your base color along with a multiply. Like this. And this multiply just contains a color overlay, which is a constant t vector. Now, you, of course, expose this or converts to perimeter and call this set underscore color. You can give this like a default, and we were going to go a bit of a strong orange color, sort of like this as like a default. You plug this into A, and what it will do is it will basically overlay this color on top of our base color. But because this overlay will only happen wherever we have our seating, automatically the rest will look normal. And if we plug this into our base color over here and save seam we know that we have a few different colors. So we have yellow, red, orange, and I guess that this is still yellow or maybe like a darker yellow or something. But here, now you can see the overlay happening. Seeing the overlay, I can see that it is the one way around. So let's set this one in B and this one in A, and that should flip around Terra now we have full control over these pieces, and we will still have all of our norm maps and everything ready to go. So we can now go to Metro interior, go to our materials and right click and just create the material instance and call this share the score red. And once we've done that, we can already, like, Add this as like our default, so we have our chair double. We need to first of all, just press reimport because I can remember that we changed our UVs and not yet reimport it, and then add your chair red, press save, and there we go. So this is now our default chair that we have over here. We can then go in here, and we can, of course, make some changes to the default and then we'll see how it looks. So our roughness amount is pretty good. Our seating color is really, really dark, so let's go ahead and try and make that a little bit more manageable simply by moving this around. Here, see, something like this seems quite good. And I'm just trying to get, sort of like the reference over here. Now that we know this, we know that, okay, so this needs to be a little bit less dark. Oh, we have some slight reflection warping, which I'll also have look at. Our plastic needs to be lighter and our metal needs to be a lot lighter. So of course, our lighting is also not really helping. So in our seating, in our high detail, let's go ahead and just tone down the blackness of it. Then we have our plastic and our base plastic. We want to go ahead and just make this a lot lighter because this is, of course, not the same type of lighting as that we have. And then in our metal, our base metal, we're just going to set it completely to white also. And let's just re export this and see if that works a little bit better. And then later on we will also do lighting pas, and after we've done our lighting pas, we can have a better look and see if there's any changes needed. Reimport everything except for the mask. There we go. So see that's not light enough yet, our plastic. Let's make it a bit lighter, even like this. The darkness is looking pretty good. I think the reason that we have these artifacts is because our norm map is a little bit too strong, and I feel like our norm map is also exporting at eight bits while I believe it works better at 16 bits last time I checked. So in my high detail, just tone down your high detail. Export this. And for the fun of it, you said, Oh, yeah, wait, TJ. TJ does not do eight bits. In that case, leave it. It should not make that big of a difference. It's just that sometimes it reads a little bit better in your norm map if you do that. But yeah, we'll see how it looks. Okay, so let's say that we now have a baseclready to go and after this, we will do some lighting. I'm going to go at first in my materials, duplicate this and call this hair on the score. Yellow and duplicate this again, hair on the score. Orange. So yellow goes in here. Then we have red, then we have orange, and then we have yellow again. Now if we start with our yellow, let's move to the side and actually also just open up your orange, by the way. I can now go in my yellow. I can go to my seed color and I can just start moving it around until I get the yellow color like that. That's okay. And then go to your orange and your orange is this one. And that's one we will just make it a little bit more like this, a little bit orange. Here we go. And then we have our different color seeds. The colors are not yet perfect and our reflections are also not yet working very well. The roughness is even actually really strong. So I'm not sure if it's useful if we set this a little bit lower. Let's see if we go to our orange. Yeah, let's set this to two probably our roughness because it's a little bit too strong for my taste. So two, save. Another times to save. I know that these have been long chapters, but we just need to do this if we want to do some poison. But at least we now start to get some color in here. I think the next part would be for us to do some proper lighting pass. Once we've done that, then we can just continue balancing. We still need to create for small assets, we need to work on it. But at this point, it's a bit tricky to know exactly what we want to do without the short lighting pass. But this kind of stuff over here is looking great. So that's working really well. That's fine. I don't know if our metal was completely white already, I assume. Yeah, here, so it was perfect white already. So maybe the only thing that we can do to kind of make it stand out a bit more is to make the roughness a little bit lower. That's the last thing that I will do. You can also your amputclusion map, you can export it. And the way that you would do it over here, but it's not really needed so much for this asset is you would go to Export textures. And what I tend to do is if I just need to very quickly, that's a bug over here. Don't worry about that. What I need to do if I need to just very quickly export only my ambit oclusion. There is one that you can export all of your bake maps in here. But if you just go to output templates, press plus, double click on name and call this AO. You can just add an RGB. So first of all, I'll go to PBM Mtell roughness and just like press contra just copy this text. Then in your AO arts and RGB note, pasted in the text and just change the word base color to AO. Then in your RGB, you just want to go ahead and just grab your mesh Maps, ambient occlusion and just put it into your grade channel. Because this is the template that you see over here. Now if I go down here and I press AO and press Export, it should have exported for me a proper ambient occlusion map that we have baked down so that if I go in here and I drag in that AO map, There we go. You can see that this is now a proper ambient oclusion. So I can then go ahead and I can, open up my unique master I can go down to my chairs, import my ambient occlusion in here, right click, convert the perimeter, AO, and just drop it into your ambient occlusion and press save. And that way it will just also add your ambient occlusion in here, which could give us some nice extra shadows here and there. Okay, you see like it's happening a little bit already, especially like around these edges. So let's say acne in the next chapter, what we will do is we will go over another lighting pass to make sure that everything looks the best that it can be. 42. 41 Doing Our Second Lighting Pass: In this chapter, we are going to do our second lighting pass, which will go a little bit closer to our final lighting. So we have a scene over here. The first thing that I want to do is I just want to finish off placing the materials on our chairs the chairs, because we have global imation, they will actually take quite a bit of lighting in it, although it's not as much as I was hoping for, but that's just the lumen system is accurate, so I do need to just trust the system. So orange, yellow. Yellow, red, orange, yellow, and then here also again, yellow, red, orange, yellow. Easy, does it? Okay, so nice and colorful. Okay, the first thing that we need to do is at this point, I think it's good if we just create a camera and this camera will basically just be our point of view. So let's say, and I'm just doing a guess. I think I want to go like a camera angle somewhere in direction of this. So let's say I go for like a direction like this, and then all you need to do to create a camera is you need to go down here, create camera here and just pick camera actor. Now, then when you go to perspective, you can go down to camera actor, and this is your camera. You can still move it around and everything. But the nice thing about this is that we can change the field of view and the aspect ratio. The aspect ratio is cool because I want to go a little bit more for a long view, like I can see over here rather than your classic ten ATP view because I always like to do for the more long views like this. So let's say 2.3 in the aspect ratio to just give a few black bars like that. Now for fields of you, I tend to go for, like, around 70 because it just gives you that little bit more of like a close up zoom in field, which in this environment works great because it is smaller. You can also maybe like 75 Now, let's you said for larger environments, you want to go like 90 or 80 or something because it feels larger. But for something that you want to feel cramped, you can go like even 65 if you want. Yeah, let's go 70. And then I then I am just going to, like, give it a general positioning. I use my scroll wheel or I can go down here to set my camera speed lower to get more of, like, cool positioning. I quite like to have a few of these bars. Here. Going low will give you grand feeling, going high will give you a long feeling. So in this case, I don't really need both of them. So I'm going to go a little bit low, but for the rest, it should be pretty good. I think something like this. Maybe I can go a little bit to the side to art, some details of our door. No, I think something like this should be fine. Okay. Let's say that this is now our camera angle. So a few things that we are going to change that we can often see here. One thing is the shadows on the ground I quite like. We need to just do an overall post effect pass in which actually our scene will change quite a bit and maybe change the lighting color a little bit and maybe the intensity also. So if we grab over here our rectangular lights, let's set the intensity maybe like four. Yeah, let's do like four for now. And let's set the color, 500, 5,500. 5,300. I'm just going to make my color a little bit in the direction of, like, whiter because I want to having this really warm feel, it doesn't feel as realistic to me. Also, cool thing that is really good to do is go down here and set your screen percentage to 200. This will double your resolution. It does mean that your scene is slower, but it will give you a much more crisper view of how you will take your final screenshots. So another thing that you might notice is that there is sometimes some flickering going on. This flickering is unfortunately because of the lumen system and it is a bug. If you go to show, visualize and go to your lumen scene. Oh, now it's gone. It used to be here all the time, and now it's gone. That's Okay, that's really strange. In any case, sometimes there happens to be flickering, and that can be a problem with a lumen, because I literally did tests for this just before recording this. Ironically, now it's all of a sudden gone. But if you have that flickering effect, which we will most likely get back later on, the only way to really fix it is you cannot really fix it yet in game because we are, of course, in the early Alpha of Unreal engine five. But if you go down here and just turn off real time, that's one way to temporarily stop it, and then you can, for example, just, like, have a good look at your environment without seeing all that flickering going on. And then you can just take real time off to turn it off again. In any case, we got our lights. Now the next thing I'm going to do is I'm just going to add some shadows. And the way that I'm going to do that, or at least I'm going to fake some shadows. Let me say it like that, is I want to create a light and just create like a rectangular light over here, press G and open it up. Where are you? There you are. I'm going to go ahead and I'm going to rotate this light 90 degrees, and I'm going to move this light in the middle over here. So my idea is that we move this light in the middle because it's a rectangular light, we can make it a little bit longer. Maybe set a barn door length a little bit lower and then move it down a little bit. And this light will be so low intensity that it will only just show up in some of the shadows. So if we go to our cameracor let's pass use temperature and set it to 5,300. And then in here and the intensity, just start with like one. Now you can see the flickering again, see? You can see it happening. So let's start with intensity of one, two, three, I think if we go for, let's try an intensity of tree so that you can just see like the shadows over here. And then if we grab our other light, actually, let's click on this and rename this center Light. Here we go. If we select the other lights, let's set the intensity to maybe like 3.5. So we tone down that intensity a bit. And then we have our sentites which will basically light up our scene a little bit, but the goal is to basically get a little bit more shadow information in here to make scene feel less flat. And we only want to have these two down here. Oh, and turn on movable on them. So we only have those two down there. And now you hit. So this is what I mean with the flickering. It can be quite bad. And now if you go to show, visualize and do your lumen scene, you can see that it just goes crazy. Yeah, it's a new system. This stuff happens when we try to make tutorials inside of an Alpha. But at least for the people that want to learn Unreal Engine five and that can look past this kind of stuff, it's great usefulness. And, of course, Unreal Engine four, you can also use for this stuff. See now if you press off real time, you can say that it temporarily turns off. And then when you turn on again, it goes back. I must say that it is really bad right now, the flickering, it was not this bad. So that is quite curious that when we added our lights, it got this bad. So maybe it will tone back down later on when we start doing some of this other work. For my satellites, I'm actually going to go 2.5 probably. Okay, in any case, so we know about flickering. Just try to look past now, I will most likely go away again after a while. Now what we're going to do is we're going to work on our post effects. So let's go ahead and save our scene. We already have our volumes over here, and we have our global post process volume. In here, I will just run through a few things. The first one is the bloom. The bloom is actually quite important. You can also see it over here. It has basically the glow that is coming off from your emissive lights and your other lights. Setting this high rash, you can see will give you this really blown out scene. Or what you can do is you can play around with your threshold. And if you set your threshold above zero, you can basically control how much it will hold. I'm going to go ahead and I'm just going to set my bloom to 1.2 maybe. Point, okay, 1.2, so that it does have a little bit of, like, a glow. Our exposure, we already went over. Global aberration is basically the lens distortion you get in real life around the outsides of your lens whenever you take pictures with the DSLR camera. This is actually kind of nice to just give it a tiny bit, like 0.15, just to give the tiny bit of distortion in some areas to make it feel a little bit more realistic. Oh, the flickering is really bad. You see, it kind of depends on the angle. Which is a bit strange. An case, I don't want to move this camera across. That is something that I will figure out how we can improve that later on. Dirt mask, camera, and lens flares, we all don't need those things. Image effects, image effects you can choose your vignetting, which is basically just the intensity. I'm going to leave that quite low to maybe 0.4 or 0.3 to not have it as much. What you have is your grain and your grain, you can basically give it like that old film grain that you can see over here. I don't know I guess we want to go for, like, a really sharp scene. We don't so much want to go for like although it is from the 80s. So on the one hand, it might be cool to add that effect, but on the other hand, it might just take away from our material. So for now, let's just turn it off. Depor field, you can set the Depor field, but it would not really work here because I don't have any focal points. Dept field is better if you just want to focus on one object like the foreground over here and just put everything else out of focus. The color grading is actually an important one. That's one that we are going to work quite a bit with. I'm going to get started by going into my shadows. And what I like to do is I like to click on Gamma, and then over here, what you get is you get your color wheel. Now with your color wheel, what you can do is you can give your shadows, actually a specific color, and I always like to give them a little bit of a bluish color because it feels very yeah bit like in the film, like in films, you can see that they often have this bluish color. Of course, you can make it very intense if you want. But we are just going to give it a slight bluish color like this, and you can also mess around with your shadows to get more or less of them. Let's set this to 0.15. Then for blue color, let's go here, see, it gives an interesting effect. There we go. The only thing is I will need to get used to that lumen compensates also the color grading because this used to be the case that you had full control over it, but now with lumen, you are giving away a bit of the control. You can also go into your global where you can, for example, set your overall gamma of your scene higher or lower. I think setting this just at one is fine, and you can also set your global contrast to give some more or some less contrast. But honestly, I think this stuff is actually pretty good. You can control mid tones, highlights, all that stuff. The only one that I want to do is I want to control my scene color tint over here. Normally, I would use color grading lute and then go in Photoshop and change the color. Unfortunately, I cannot do that because there is a bug that it does not work right now. But we have all the color grading options also over here, pretty much. So we can use over here a seen tint color to just change the entire color of our scene and give it like a general feel. So what I want to do is I want to give it a bit more of like a cold feel. Because I feel like in this context, it will just feel a little bit more realistic. If we go for something like this, so bluish, maybe tone it down a little bit. I know, Okay, so yeah, this is the right amount of blue. Tone it down a little bit like this. Then what we can try is we can try to select our rectangular lights. And if we now make these a little bit lighter 5,000, 4,000, so let's do 5,000. So I'm just pushing back my light color a little bit back into the warmth to kind of compensate this. Maybe 5,100, something like this. And this is already starting to look quite good. And as you can see the shadows, they are slowly, things are just changing along with all of this. Over here, we have our mobility. Yeah, a bull press cast shadows, it will be turned off. I don't know. Maybe the Bandor angle can control something. If we set this to 70, uh, never mind. I don't think that really does much. I was just thinking I'm just basically in real time trying to see if I can fix an engine back because I'm just messing around it like over here, my colors and everything to see if there's maybe something I can do to minimize it. But I read online that it has to do with mostly just like lowly lit environments, like like the ones that we have over here. But in any case, we already have a pretty good look compared to what we had before. If I have a look at this, and of course, over here, the shadows are really, really strong, that is true. And we do have some lights over here. Maybe we want to make our Cantates a little bit stronger. Maybe like let's set them back to, like, three. No, it doesn't do much for our shadow specifically. So that's the thing with this. Radius, maybe 500 in the radius. There we go. So that already, tones down or like 300. Ooh, Hey, I think they're flickering is because the shadows are overlapping. So it looks like that we can find a sweet spot here, see? That's a sweet spot. 400. 0450? No, 400 is a sweet spot. And what I think is happening is that the system it still not too good in handling too much overlap between different lights. I feel like maybe that's the case. Over here, what we also have is we have the problem that this light over here is so intense that it makes our doors feel very flat, I think. So let's go to this light and set this to like 0.2 and just make this like a much duller light. 0.2. How are our reflection captures? Our reflection captures are still won. Oh, that's because we rotated our scene. Thank you for, it's good that I noticed it. So I'm going to replace those. Over here because of course, this time, the reflection captures don't have a lot of influence because once again, the lumen system, Lumen almost feels like a real time thing like a rate racing thing, but so not. But as you can see here, the flickering seems to be gone now now that we don't have as much overlap, we can press G, and we actually have a pretty cool looking scene already. So of course, it still needs that extra push of the branding and all those extra things. But if I see this, I think all I would say is maybe let's give the tiny bit more contrast. Let's go into global contrast and maybe like tiny bit more. 1.1. And maybe in our global. Let's make the colors. Just like a little bit more direction of blue in the global. The global does do slightly different than just in color overlay. Something like this. Okay. So we got something like that. Now I think the colors over here, they are a little bit too intense. So what I'm going to do is I'm going to open up my red, orange and yellow chair. And I'm just going to in my color, I'm basically going to go ahead and I'm going to just tone down over here, see this slider, which will basically be the same as like adding saturation to our color almost. Okay, we got that. Now, I do feel like that my roughness amount is not enough. So let's set this back to one because now with our new lighting, the roughness just has changed a bit. And what we might be able to do is we might be able to actually fake the roughness because here you can see the lighting, and I think the lighting is just pushing out a bit more, but unfortunately for us, it does not work as well. But what we can try to do is we can try to grab this light, turn off the cars shadows, set the source length lower. Rotate this and set it to, like, a very low value, like 0.1 or something. And then try and place it over here. And then almost it's a bit mean. So it's only something that you can do very specifically when you know all the angles the environment will be placed in. But it could be effective. See? Might be mean, but it might also be very effective. And if we set as low as possible, 0.05, 0.04 maybe set temperature, maybe like 5,000 it's a little bit brighter. There we go. S, and it just gives us that glare, and it just works so much better if we have a small glare like that. The bando angles lower. Yeah, because this is before. You have a press G in here. Unfortunately deselected ting. Yeah, before after before, after. See? So it is quite effective. So if we go ahead and just use this, maybe set our radius also as low as possible that it just hits these chairs. Set the radius a little bit more, 200 maybe. There we go. And then we can go ahead and because we have shadows turned off, they will hopefully also not interfere with our lumen stuff. We can go in here. Tone down the width a little bit more. And then we can go in here and we can also rotate this 180. I hope MPC is not making too much noise for you guys. The fans are going quite high right now. Here we go. Okay. So those are the lights that are faked. That's good. There we go. So we're starting quite cool see. And now later on when we have all of our masks and everything on here, so we get like roughness variations everywhere that will look quite nice. The last thing that I want to do in this chapter is probably that we need to add some windows. Now there are multiple ways that you can do it. I think what I'm going to do is I'm just going to do it in engine, but you can also do it in model. The only thing it's in engine, just some placement. In model, it works the exact same way. You basically go to shapes, you grab a plane, only then you would do this in Maya. But I feel like that right now, it might be easier for me to just do it here. And you just simply rotate this plane 90 degrees and you place it like nicely into this little slot over here like this. And now what we're going to do is we're going to go ahead and you know, like per model, so we have this one. And now we need the material for this. So for this, for the material, the material is going to look like this. It's just going to be a really reflective dark material. So I'm going to go ahead and create a new material that I will call glass underscore master. And if I open this up, this material will have almost nothing in it. It will have a constant tree vector that is exposed to a peremptor and call this color. And it will have a scale pemter so as click that will call roughness. And maybe another one that will call metallic because sometimes making your glass metallic, actually, oh, I was not typing. Actually, it looks quite cool. But for now, we leave it at zero by default, and we just save this. That's literally our material. So we can go ahead and we can actually, let's set my send it back to 100 just to make things run a bit quicker. Let's go ahead and create the material instance and call this glass underscore A, Strack it on here. And you can see this is now our glass, and now it's just a matter of going in here and maybe, like, moving the color around a little bit. To give us, you can give it like a lighter or darker color, whatever you want. I'm going to go for quite not pitch black, but quite a dark color. And maybe for my roughness, do like 0.05 to give it the tiniest bit of a distortion effect. Yeah, your metallic, your metallic does not do anything. So let's do this. And now we can just go ahead and copy this plane over to other pieces. And then we can see, by the way, of course, the reflections work different based upon your angle, but we can just see how everything is working nicely. I think that's the one. No, I think for this one, I think I need to give it, like, separating. You know what? If I'm doing all of this, I can just as well. No, wait. Yes, no. Like Yeah, I can just as well do it in Maya. I'm on the one hand, it means that I need to re import everything. But on the other hand, oh, yeah, and I need to reset of my materials. No, I'm not going to do it. So the reason I don't want to do it is mostly because I'm lazy because if I add glass to my scene, I would need to add the new material, which would mean that I need to reset the FBX, which means that I need to then re import all of my materials, and I'm really not in the mood for that. No re import them, but, like, reassign them while yeah, I think in the end, I would I would save more time simply going in here. And just doing these two slightly separate like this because once I've done it once, I can just go ahead and I can just duplicate this over to this one over here. I can grab this one and I can duplicate this over over here. See? So yeah, it's just not worth all the work doing this in Maya. 90 degrees. Let's move this one over here. Maybe we can do something cool with like lights and reflections to make this even more interesting later on. But for now, just get the basics in here. And then in our next chapter, we will finally work on improving our shade more and adding mask painting. And then hopefully we will see quite a bit improvement in terms of just that the scene still looks clean. But on the other hand, it also looks a little bit grimy and everything. It has just general dirt and everything because these are often not the cleanest places you would go to. And this one is definitely not brand new. So in any case, we have this one over here. And then we also grab this one over here and just double check that works. And I'm just going to place this one over here also. And finally, last one. Oh, second to last one. Here one here. This last one over here. And there we go. You can even scale down. And let's have a look at our camera angle. Okay, so we got this. Let's have a quick look at our glass A. Maybe I set my roughness to zero, 0.05 is actually fine. Just that the lighting is not very interesting. Of course, over here, because it has an angle, the reflections, they show up, even though the reflections are not completely logical, it feels like. They do show up, and I'm not sure. Yeah, actually, know it. Let's leave it to this. In the next chapter, we will go ahead and work on the masks, and later on what we can do is when we are polishing our environment, we can see if we can maybe do something interesting still with our lighting and everything. But for now, this is looking pretty solid. So if we have a nice look at our camera plus 200, we are slowly one button, we are slowly starting to get quite a nice looking environment. So let's go ahead and let's continue with this in the next chapter. 43. 42 Creating Our Variation Masks Part1: Okay, so we're finally going to get started and work on the thing that I've been talking about all this time and what we've been preparing for, which is our masks. So if we have a look at this one, I think let's do a door because it's the biggest challenge to get something interesting. With our masks, we can basically add details on top of this in a very easy way. That's why we need to keep our UVs non overlapping and keep them all within our space. So seeing this, what I want to have a think about is what I exactly want to what exactly do I want to have in my mask. One of them that's obvious one is the ambient occlusion. Just so you know, we have control over the R, G, B, and A. So if needed, we have four different channels that we can utilize. So we have the ambient occlusion. Let's also go ahead and let's have a roughness variation mask that we can also add. Now, let's also add a mask that we can probably do like dirt mask, something like that. So we will have a dirt mask. With the dirt mask, I do need to have a thing because the thing with the dirt mask is that, yeah, we might need to adjust our metallic map a little bit based upon this dirt mask. So we want to have that one. And let's see what else can we have? So, for the roughness, we can, like, add very specific roughness details, so that's no problem. That kind of stuff. A dirt. It's like sitting really like the cavities. There will be like small bits of dirt and everything. You can see it especially good here, like this kind of little bits of dirt and all that stuff. So it kind of depends on what we are going to use for this. Yeah, You know what? Let's start with that, and then we always have geno that we can add later on. Okay, so knowing that, what we're going to do is we're going to go into Substance Painter, and we first of all, need to create the setup for this mask so that we can then create a shader based upon it. Let's go file and do new, and we are going to go ahead and let's leave the template to PBR metallic roughness. However, this template we will most likely change later on. And then in our file, we can select and we can select A. For your document resolution, let's just set the two k. We don't need a very high resolution for this mask specifically. Actually, nor map form does not matter because we are not going to use a normal, and then just go ahead and press Okay. Okay, so the first thing I want to do is I want to create a template. This template is what we saw over here where we are selecting the PBR metallic roughness. We can also actually set up a scene and then create a template based upon this scene. So if I have this, I'm going to, for example, delete my layer. Oh, it's a bunch of different metals. That is actually really annoying because, yeah, we will need to go ahead and go into May and just export this as its own metals. But it does not matter for the template. So first of all, let's finish off our template. In our template, I just want to go into my channels, and I'm basically going to turn everything off except for the base color. And then what I'm going to do is I'm going to go down here, go to user Channels and add an R. User channel one is G. User Channel two is B. And just in case we will also add like an Alpha, so we can just name this R, G B A. This is the channels in which we will be painting. The reason we leave our base Color channel is so that we can use our base Color channel to basically see what we're painting on. And that's about it. So yeah, because the rest is going to be like a smart material. So once you have this setup, all you need to do is you need to go to file and then save as template. And you can call this template, whatever you want. I'm going to call this. Metro tutorial mask. And you can see that I've used this technique in a different tutorial course before, so we can press save. Now the first thing that we need to do is this is a problem over here, like with all of our materials. And unfortunately, there's not yet a setting within substance designer that allows us to just combine all the materials together. Unless they've ed it. Now, see here, they've not yet added something like that. I can remember that they are going to add it, but in our case, we need to open up Maya. Sorry, we need to open up Maya. And while that is opening up, I need to have a look at which pieces. So Dor and the window will need to have a specific and the Bwall need to have a specific export for this. The rest, everything with one material does not really need it. Now, this stop bit, I don't think we can benefit too much from it because there will be advertisements with it. Okay, so door window, Bwall and the floor? Yeah, so for the floor, I actually because I won't really add those dirt details specifically to this area, I will most likely just add them to only the floor, by the way, it is looking really cool. I would like the floor. Only this one, I'm going to make it a bit thinner, probably. Is May already started up? Yes, it is. Okay, I'm just going to quickly open up my scene. And basically all we need to do is we just need to temporarily save it to something else. So we can actually just quickly go into your Expos folder, create a new folder and call this two painter. There we go. And then just go out of the folder, go to Save files, and let's open up our final Metro file. And in here, we basically want to do this. Select, for example, your door. While you're here, you can also double check to make sure that the UVs are correct, which I'm sure they are. And then just right click Assign existing material, and just pick something. It does not matter what like brush metal. Carefully go to final Export selection. Navigate to your export to paint a folder. And as an FBX, just call this DR underscore A and just make sure everything else is fine and export. And as soon as you've exported, Undo, so that it is back to normal. Do make sure that you do that. Do make sure that you Undo because else you will not be happy because then you will need to reassign all of your materials. So we can just quickly do this for the ones that want Window under Score A, export. And Undo. And then we also have our back wall over here. This one, I just want to double check to make sure that okay, so everything fits nicely. I almost feel like it needs a bigger UV, but okay, assign existing material, brush metal, file, export selection, B wall, export, and Undo. I feel like that's just like a bug or something like that. Yeah, that must be. Like, it will still have the same things. And if you are not sure about it, just reopen your scene. If something like this happens, I don't know exactly why this happens. Maybe something went wrong during the Undo, I can just open my scene because I know that I have not changed anything specifically. And then we have floors. Yeah, only the floors, I believe. So for our floors, I'm just going to export this one. Or, actually, you know? No, we don't even need to do that. Yeah, the floors, we can just use the original ones. And I believe that that's it. Top advertisement, we don't need the metal handles. Those have their own little material, but we will only add like some roughness variation probably to those. Ceiling has its own material. Speaker, yeah, see, and all the other pieces are just going to be small. So that's perfect. So now we can just go ahead and go back into painter. New, and we will just get one done completely from start to finish. First of all, in your template, find the template we just created, which is going to be Metro tutorial mask. See? In the file, this time, just go to the two painter file. Call this door A. And for the rest, everything is still default, so we can just press K and just discard this one. So now you should only have one material, which we can call door A. And once it's done, it will be called later on is door A underscore mask. Okay, perfect. So see, we have all of our materials here ready to go. Now what we need to do is we need to set up a SMAT material, which is like the materials that we drag in. And this SMAT material will have a mask set up. Let's create a folder called this Metro tutorial Underscore masks. And in here, we are going to get started with a default fill layer that we all call base. This fill layer will have basically a black color on every single thing. So just set everything to black because it's going to be a mask. And then what we will do is we will have another fill layer and this one is then called R. And for this one, only turn at, set the base color to white. And then only turn on the R and then later on we can just turn the basical on and off to basically paint in stuff, and then just right, click and press duplicate. B, right, click, duplicate, C, right, click, duplicate, A. Now we just need to decide which map does what? Let's do R roughness variation. B, dirt. Sorry, that's my fault R, G, B, not ABC. B is going to be AO map. And then the alpha map is leftover for now. Once we have done that, we just add a black mask to all of these pieces that we can start by painting in our meshes wide away. And that's it. So we now have a nice fill layer over here, which we can right click and press create Smart material. At which point it will just come in your library over here and it will stay here forever. So we are now ready to go ahead and start by just painting in all of this stuff. We need to get started by going into our textis settings. And then we can just go ahead and go into our bake mesh maps, set this to two k and use low poly measures high poly and just bake everything because we still need to use masks on this most likely. So we can just go ahead and we can bake all of this stuff. And once that is done, here we go. Pers okay. Then what we can do is we can get started with this. Our AO map over here, we don't exactly need to art anything because we can just drag the AO map from the bags. So let's go ahead and get started with our roughness map. Oh, by the way, I forgot to do that. Well, it's not that big of a deal. I need to set the studio, of course, RGB and A. And if I just go ahead and right click and delete this smart material, just reassign your SMRT material like this, and that should do the trick. So having that done, our roughness variation. Roughness variation is going to be quite interesting. So I want to go ahead and it's just going to give it some extra variation. We can do this sparkly with like a mask most of the time. So if we go ahead and go and we can even save this mask later on if we want to. So if we go in here and turn off smart material, there we go, we have a bunch of masks here. The one that I often quite like is the surface worn mask that we have down here. And if you then go ahead and just in your base color temporarily turn it on, and then you can now see your mask. So I like the surface wall mask, yes, but I do want to get more of those scratches effects. Often, what you can do in these type of masks is you can go down here and you can actually drag in your own little texture. You can find these textures just by going to texts over here. And if you then go ahead and find something that looks a little bit more like over here, like, let's see, scratches rough. Oh, it does. Let's do scratches rough and just throw this into your second one. This is what you will get. It will just basically overlay this and you can now have control over it. If you want to have control over, for example, next, here, you can actually have a lot of control of this stuff. But if you want to have control over how much one texture uses versus the other one, you can use it over here, see? So we can start with, for example, setting our balance quite low and our contrast down. And we can, for example, have this scratch mask dominate. And then the bottom mask, you can also just work with your ambience occlusion and just in general, you need to work with a bunch of stuff, even with your past sometimes just to get that small roughness variation until something like that. Then in here in your texture too, you can also set the scale, so you can set a bit smaller. Like that. So we just basically mess around with things. That's pretty much it. In here, you can, of course, play around also with your scratch tiling. You quantity, if you want all of this stuff, you can use, but often the default for these scratches are fine. And then finally, when you are sort of happy with it, but you still want to add some changes, you can always go in and add a paint layer on top. And in this paint layer, if we go to our brushes and find something that's like a nice let's see, something that's like a nice brush that dirt splash. Let's see. Press X to go to black dirt one. Maybe if we set the flow higher. Yeah, I think dirt one actually does. Although it's a really basic one, it does sort of like the twig over here. I can see that we don't have a lot of resolution on these side bars, so we must have accidentally scaled those down quite a bit. But that is no problem. In this case, just quickly get rid of them. And then if you ever have too much roughness variation, you can always go in here and you can paint it away. Let's say we have something like this. The only thing I want to really focus on is now just making sure that it doesn't have any harsh seams in certain locations or strange cutoffs, which it looks like it does not for most of these areas. And then when you're pretty much happy with it, we can move on to the next one. For our dirt, at this point, turn off your color, turn on your base color in your dirt. I like to use my dust occlusion note, which you can find in your masks and then dust occlusion like this one. I think that one often does quite a good job. Sorry, I'm setting the Wong setting. Go into your dirt. There you go. And just set your contrast quite low, but not low enough that it shows all of these extra pieces. And then you can just, like, play around to this a little bit more. And if we have this one, let's go ahead and add something on top. Let's add some dirt that we have in the base. So let's go in and let's add a simple paint layer. And then if we go ahead and maybe use, I know, let's see, dirt spots. I just want to see something that's really large, dirt mud. Just looking for something that's basically really large, but still looking quite soft. Dirt one is unfortunately too strong. There is one that I often use, but I'm not sure if it's the best one for this, and it's a fur soft white over here, because it does give like, if you set your flow really low, it does give you, like, a nice fall off. And maybe if you use that one, and if you then go for, like, Dirt one and maybe like say it's bigger and hold X, we can maybe, like, scull it down to give it let's undo that. Let's set our flow lower in our brush. Here we go to, like, give it a bit more of like a fall off effect. I guess that could give me, an interesting look. It only will need to work for this one. And this will just be like general dirt and everything that we'll add a little bit on top. Next this, we can also add another paint layer, so you can just stack them on top if you want. And then we can, for example, go for something like leaking. Now, for our leaking, we can use our brush, but often, I do like to actually use maybe some leaking grunge map because it often gives me a nicer effect. So if we have a look at this, let's see, scroll down and use the leaking grunge map over here. Oh, no, that's not going to work. In that case, you can also use the particle system, which you can find. Oh, God, where are you? Um, give me 1 second. I completely forgot where this one is because they changed all of the buttons. So now I need to try and find out exactly where this is. It should be in here, like splat, no rain, no here, heavy leaks or leaks. So often with this one, the default is often looking really bad. No, yeah, it's kind of bad, like you can see over here. So that's why I like to use my leaks. But what I can do is I can just click on this. I can then go in and I can set, for example, here you can play around with your setting. So let's set our spound spread lower, which means that it is closer to one area. Let's set our particle life rent and our particle life lower, which means that it does not live as long. And then if we go ahead and have this, let me just do this properly. If we go ahead and just drag our mouse across this area, it's like a default. And then what we can do is we can go in and we can break things up a little bit more. So let's do this. Instead of me, messing around with the settings for a long time, I can now go ahead and go into my brushes, and I can grab an artistic head brush and set this brush to be like black. And then if we go ahead and just, like, testichad might actually be a little bit too strong, let's try something else. Let's try like a dt, maybe. And in the two, let's say the flow a bit higher. The size is a bit lower. And if you go down, I don't know, so it does not have position I thought the position change, but maybe it was something else. We can paint this out a little bit just to get rid of that very basic particle look. Do not try and paint it out too much because then it will not really work too much or not as well anymore. And it's just roughness. So it will not be as obvious also. So it just needs to have some leaks shining through here. So just be careful about it. Yeah, something like this. Yeah, that should do the twig. It's going to have leaks and maybe give it like a few or press X. And just give it like a a spong spread down. You need to reset the settings. Or you can save this save this, but I'm just going to go ahead and do this and set my flow jitter also on. And once in a while, I'm just going to press once more, just to add like a few extra leaks here and there. That are just coming down, as you can see. And I hope that that will actually look good. I won't spend too much time on this. But here we can see that we get some leaks, we get some general dirt and everything like that. So we got our roughness variation done, we got our dirt done, and we got our ambient occlusion done. At this point, what we can do is, actually, you know what? Let's resave this. And then it's easier for me to just remove this than needing to redo this entire time. So let's go into our smart materials. Let's right click and delete the metro tutorial, and then right click and create the smart material. So let's go ahead and let's save our scene to get started with. In our textures, let's make a folder that will come masks and call this DR underscore mask. Now that we've done that, we can go file expo texts, and we do need to create a new output template, but I already kind of showed you how to do that. You basically press a plus sign and call this metro tooth underscore mask, for example. And now we only need one single map for this. That's a nice thing. If we go down here and go for R, G, B, and A, we can basically input a single map into all of them. Now, for naming, we once again just need to go to our metallic roughness and just copy this over and then paste this in here. You know what we can do is we can just call it dollar sign taxi set underscore mask. That should be more than enough. Oh, let's press do this again. There we go. Dollar sign text, et underscoe mask. Okay, for the R, we need to go ahead and we need to have user channel zero R, B, user channel one, actually, just doing gray channel. C R, G, and then B is going to be our mesh map andmun seclusion. And D is going to be user channel three over here because two is what's normally the ambient seclusion, but we can, of course, just use this map over here. With this done, it will autosave. So all we need to do now is create a new folder that we'll call masks. Over here. Oh, sorry. In the masks, let's just create a folder called final. It's because I saved it in my textures, which is okay. Use this folder. In your output template, use your metro tooth mask. Save it as a Targa file at two K or even four K, if you want, we'll see, and simply press export. And now we will have left a single door A mask. At which point, we can go ahead and we can now go into RL and then build our material and import this mask. I will end this chapter by inputing the mask and we will build our material in the next chapter. It's called this mask. And then what I will do is I will basically just go ahead and repeat this process, but I will most likely do that in the time maps that I will narrate just because else it takes a little bit long. We got a mask. If you open it up, it's pretty cool because you can turn off the RGB over here, and you can see that everything is working. So here we have our roughness variation, here we have our dirt variation, here we have our ambient clusion and nothing in the A. Let's go ahead, save sin and let's continue with this in our next chapter. 44. 43 Creating Our Variation Masks Part2: Okay, so now let's go ahead and actually get all of this to work. So we end up with our mask. What we can do is we can go ahead and we can just in our materials. Now, we do need to copy this over because remember how we have our WorldUV and our scene master, and I believe we are using the World UV for the stripes and the brushed metal. So let's first of all, do it in our scene master, and then we can just copy it over. Let's try and make it in a way that it is very easy to copy over. In any case, what we need to do is we need to start by importing our door a mask, and this will just be like our template mask. We can later on just use whatever one we want simply by right clicking and converting into perimeter and call it mask. Now, all the individual channels are here, so we are ready to go. The red channel is roughness variation, which means that over here we have our roughness amount, and then what we can do is we can lurk and then use a linear interpolate. We can lurp this color. Let's move this over here using our roughness amount. So we can say number B and then we can use our mask over here for number A, red channel into our mask. And then what we can do is we can go ahead and we can have basically or we can give it its own roughness value. Or what we can do is we can just control the roughness amount from our previous one. I think it is nicer if we go ahead and just control the previous one by simply adding another multiplier and call this u variation underscore roughness and plug this into the A channel. Now what we can do is in our variation roughness, we can just basically control this and we can throw this into our roughness map. Now, having that done, what we can also do is later on, we can also add a switch to basically have control if we have a mask or if we do not have a mask. But let's first of all, go over here. B channel is going to be ambient oclusion. And then the green channel is going to be dirt, which means that over here, we can add another actually, let's just copy this lurp over here. B, and then in our green channel, simply goes in here. So here, it's a very simple shader, actually. So we are just blending stuff together just like in substance. And then we can just go ahead and copy this multiply again over here, and we can call this dirt underscore overlay, give this a little bit of like an brownish color like this to get started with. And that's in the of channel. And then there's one last thing is that I also want to give a little bit of control over my dirt. T I can do by just adding another lurk here. Erb A, the green channel this time in our Alpha, and just use a scalar parameter that we'll call dirt amount. And this amount will only show up in this mask, so we can set this to one for now because we are using a lub over here. So the reason why we did this one like this is because we want to use the roughness maps that we have before. While this time because it's just dirt, we use a flat value. Now, having this done, let's see. So when we want to go ahead and duplicate this stuff, we can use this one, and let's move this around. So these two, we can duplicate to other material. And then over here, what I can do is just to swap it around is I can use a constant t vector, and all I need to do is I need to add a switch static switch parameter over here. Static switch parameter, if you add that and say has underscore mask, what you can do is you can say, first of all, you can hold Control and then you can move these values out here. Then you can say I has mask is true, it becomes the retinal and if it is false, it just becomes black because black means nothing inside of a loop. We can do the same over here, copy it just by pressing Contra V. And doing the same. And because they all have the same name, they will register the same. So we can now also go ahead and we can do another one, and we can say, sorry, copy this one. If true, B, and then if false, we want to add something called a one minus node. What a one minus node does, it's the same as invert. So see it as an invert gray scale. We are inverting black, which literally means white because an ambient oclusion needs white in order to basically read. So we got this stuff over here. Should do the trick. So because this done all turns black. So if we now go ahead and save our scene, it would be good if we first of all, try it out. But now, I'm worried because I'm not sure if the door is the best version, because else we just need to apply it also to our other scene. Here we go. So let's have a look. Okay, so we are breaking something with our door. The default of this is false, right? Yes, it is false. So if this becomes black, and else we can do the switches here, I think the problem only lays here where I am multiplying this. And that is interesting. Let's see where exactly does it go wong. Maybe if I do my switches a little bit different. Maybe if I add my switches in different position. Let's go at hold control and do this. So we are basically just swapping this around. This one actually can stay because this is just our embot occlusion. Let's instead do it over here. So this is our roughness variation. So if it is true, we do this, and if it is false, we do it before we add all of our roughness variation. The same basic concept. I just I feel like maybe the map gets a little bit confused. Here, if it is true, use the lurb. If it is false, use everything before the lurb like that. Does make it a little bit more annoying to just copy paste everything. But now you can see that now this does look like a better result already. So it must have been something with apparently the black collar not registering into the Alpha or something in that direction. But there we go. As long as we are back to basic. Now what we can do is we can go over here and we can say, so the metal stripes, you are most likely the Oh, no, you are the scene master. And then it must be only over here that I turned this into something else. I have no idea anymore. I'm so lost. I thought this was going to be also the other one. Okay, perfect metal stripes in any case. Let me just move this over to my other screen temporarily. Because we cannot really see much right now, I'm just going to go ahead and duplicate this door and move it a little bit forward. It's the nice thing about real time lighting that we can just do this stuff. This is just that we can at least see what we're doing. Or what we can do is we can just put height on the chairs. That might be better because these lights are, of course, specifically created. Okay, so for our door, over here, we have a metal stripes. First things first is then we need to turn on has a mask. As soon as we do that, we will get all of our controls like the dirt amount, roughness variation, and all that other fancy stuff. So the first thing that I see is that, yeah, it seems like the dirt amount for some reason, it breaks if we go ahead and have a look. So we are lurping here, let's just do this. Let's only lup this with the base color. I don't even know why I'm multiplying this. I don't need to multiply it. So that's if a he color is true, but that does not matter because it's after our switch. So that should not matter in any way. And as long as we have a green channel over here, which we have, and we have a green channel in our mask, which we have also, totally fine. I should give us an effect. Maybe the mask is inverted. That can also be the case. If we go, for example, to unlit, but if the mask is inverted, we would oh yeah, wait here, see. I think the mask is inverted. I think that is the problem. So if we go ahead and just go in here, just add a very simple one minus note to your dirt over here and just hold control and just do this. So then we just invert the mask, maybe it's, we are just reading it wrong. That means that we most likely also need a one minus over here. Like this. And then the emit clusion is not a mask, so that one does not matter. But okay, so we now got this. There we go. So that already gives a better effect. And now if I give control over the variation roughness and the duct amount. I think I call it dut amount, but I was supposed to say duct roughness underscore amount because, else, I don't know what I'm talking about. We can actually have control over the amount of dirt we want in here also if it is needed. But, the dirt roughnes amount, if I set this duller, if I set it to see two, it will look dull, but over here we had some dirt in here. It does not seem to read as well. Let's first of all, just work on a roughness amount. So variation roughness. Ah, there we go. So we do get that one. So here you can see that we do get some scratches now. We have those shining through in certain locations. Let's go ahead and set this one to four. I think what we need to do is we need to give it a little bit of slider control over the amount of our dort. If we go in here, that's very simple. It's just a scalar parameter that we will call, in this case, roughness on score variation on the score amount, for example, and set this to one by default, and then we can have another one that we'll call dirt on the score variation amount, and we are just going to multiply these. So this one will be the roughness variation amount. Hold Control to flip that around, and also do a multiply here, hold control to flip that around, and this will be our dirt variation amount. So with these sliders, we now have full control over how much dirt we want. We can't push it too much, but it should give us at least something. So if we go dirt variation amount, and, for example, oh, wow, that's really sensitive, isn't it? Oh, wait, it is sensitive because it is controlling also the roughness variation amount, because if I push this out, the dirt variation amount, it will automatically also push out the roughness variation amount, which you can see over here. And I do feel I almost feel like it's inverted. It's giving me a strange effect. Let's go back into our material. We just need to figure this out. So our dirt amount, let's not have our dirt amount temporarily in our roughness. Skip that and only have it in our color and see if that gives me a better result. So now if I go to my dirt variation amount, that is This is not working exactly how I was hoping it to work. You can see that over here, it is like it is adding something, but it's giving me a very weird result. Maybe it's giving me this result because of the metallic. That could be it. This could be that we want to like artists to our metallic. Our roughness variation among us is a success. Like here we have the roughness variation, and we can just control that. And that stuff is looking great. I'm happy with that. But maybe I need to go in here. And I need to add another lurp linear interpolate after my metallic. And I will call this like a constant three c or just like a constant and set it to, like, so metallic one means metallic, set this to like zero. Yeah, let's leave it at zero, I mean, throw this into your metallic and then temporarily just grab your dirt variation amount over here. Throw this also in here. So basically what it will now say or what I'm now going to say is wherever there is dirt, I do not want this to look metallic. Now, this could backfire and it could make the dirt way too obvious or it could just break everything. But there's only one way to find out, and that's to go in here. Dirt variation amount. Here. There we go. So it is behaving more normal, but it is still giving me not like a nice look. And this is our dirt variation, which interesting. So even though we have this, and this one is actually really important because it has all those leaks and everything, which I don't know, well we are not applying that to that shader, but it should still show up over here. It has a little bit, but it just does not have dirt roughness amount. Yeah, it does not have what I wanted to have. You can see that it is working a little bit, see? Here. So it is working a little bit. I think if we just leave it to one or 0.8. Okay, that's really sensitive, 0.9. Mm. Yeah, I kind of need to have a think about it. Let's also add it to our home, and then we know for sure. So our home is home door A. You are just a normal material, bye. Scene master. Perfect. So what we can do with this one is because this one has the really heavy leaks so then we can know for sure has mask, let's turn that on. Let's turn on all of these things over here. Let's have a look. So if I go dirt variation amount, Yeah, see here, this is definitely not doing anything I want because you can see the leaks over here. Like my dirt roughness amount I can push and then it sort of shows that the leaks are very dull, but it does not show this in the dirt variation amount. So I want to leave this in. I want to leave in my debugging because I think you can learn from it. So let's run through it. Our ambient occlusion is being totally fine, as far as I can see. So green channels double check. Green channel, check. Our green channel, we are inverting our mask, then we are adding a multiply. What if we add a multiply before we invert our mask? Because sometimes the inverting, it gives a strange effect. So let's do that. So we invert our mask. We artist I know that we now audit it back to all of them, but this could work. So if I now press Save, and that's the dirt variation amount that we need to have a look at So if we now go in here, dirt variation amount. Like this one, you cannot push it too far, but it does look like it's working now. The reason you cannot push it too far is because there's only so much you can do. And I feel like that over here, it might also be working now. So if I now go dirt variation amount, these are my metal stripes, right? I feel like it's not doing anything, to be honest. Yeah, here. I feel like it does not register in any way for some reason. By the way, we need to replace our home, but that's no problem. Okay, I think we are getting to the point where so it is working over here. Like, this is what I expect to happen. We can set a dirt mount a little bit, and for the rest, it will just give us nike. Only it's not working as strongly as I was hoping for. And it looks like we can also push it out as far. Here, you can see if I really push it out insanely far, we, of course, get this effect, but that's not what I want to do. So I'm going to go ahead and I'm just going to pass the video and see how I can improve this. Okay, so right after I press pass, the first thing I tried and I found the problem, it's simply that our mask inside of painter is not strong enough. So we made it too subtle because here you can see all I did is I just went to the painter and I did this, and then you can see that it does actually show up, so it is technically working. Way to fix this is simply by going down here, adding a levels. Pushing the hell out of this like this that will basically artificially bump it up. That most likely also means that our roughness variation over here can also benefit from that, although roughness variation is quite strong. But what we can do is we can just go ahead and we can push this maybe a little bit more, and then we can go ahead and we can export all of this. If we now go ahead and try this again, right click reimport. A C. So yeah, that's pretty straightforward. That one is not yet balanced, but this one, if we go for, like, a metal stripes, what you can do is we can go ahead and you can set the dirt amount, so you don't want to really push it too far. I think just one is fine. Maybe actually 0.5 or something like that, just to tone it down. The thing is that, of course, your metallic. Now, it makes it a lot stronger. And you can balance that out by just setting your roughness, for example, to 1.5 and just play around with it until you get the sweet spot. So let's go one for this and maybe like a roughness amount. Okay. Let's do a roughness amount of one and 0.5. That should be fine. This roughness amount over here, which is our roughness variation color. That one seems to be fine. If I press this as one, it looks like it's inverted, but I'm not completely sure. So let's just, I feel like it is affecting everything. But I don't think it's particularly inverted. We can test it out just by going in here. And this was our roughness amount. I did this without consideration, or it can be that it is our multiply once again. But let's just plug it in like this and see how it behaves, and then we know soon enough if it is accidentally inverted or not. So that now if I go ahead and go into my roughness variation amount, Oh, no, see. So it was not inverted. In that case, what I recommend is just in case flip around your multiply and just add it at the back just because I don't completely trust it in any other way. So we can then go ahead and save scene. Yeah, then we can just mess around. And that should be, so that should be enough. See? Now that I place my multiply in front of it, now it works. So I can set my roughness amount to 0.5 or something, add a little bit, and there we go. Instantly have a lot more variation. Let's quickly go to our door home and also bring in some nice settings for this. Roughness of 1.1, for example, and a dirt variation amount that is a little bit lower. There we go. Maybe have look at like a camera angle so that we can, like decide for ourself you know, let's do 0.8 now for our dirt. And then what we can do is we can also go in here and we can now also just mess around a bit more with our roughness amount to see if we can get a better result. Let's set this, for example to one. So now you can see, like we have this little bit of dirt in here. You can still go in and you can still, change the dirt color also, of course, just to make everything feel a little bit nicer. But in general, the material is working now. So all that I'm going to do now is I'm going to go ahead and I'm going to copy this over to my other material. That's the only annoying thing about this kind of stuff. So I can just go ahead and I can copy this one. I can go ahead and I can copy this one, and I can go ahead and I can copy this one over here. But yeah, it's of course, a lot of selecting. So if we go ahead and select all of this, at the same time, it should not be that bad. So if we go ahead and press Contra V, open up in our materials, our scene master world UV. And because we are not implanting the world UVs into these specific areas, it should be fine. So press Contra V. And if we go in here, so we can go ahead and see this is the roughness. This is the metallic over here. The metallic I forgot to do on the weight. I did the larp down here. So let's just go ahead and swap that around like that. This roughness amount goes into this larp and into this use mask. This one goes into our roughness. This our base colored goes over here and over here. Into the base color. And this is our normal, which does not do anything. So there we go. So we already got it switched around. So it should be fine. Should I be ready to go. Oh, no, wait, here, ABD occlusion. Plug that into your Embed occlusion. And there you go. And because we are not using the world aligned UV for these, they will use the original UVs, which are still the same UVs of our models. So we can go ahead and we can save this now. Now, I will leave this chapter off. I know that took a little bit longer because we had some small problems over here. You can already see being affected. But what I will leave this off is by going ahead and well, we just need to say, duplicate our home. And just call this one home score. Wait, I already did Home score door. And let me check. So this is the normal chrome. So I don't know why this one T one is most likely complaining. That means that our switch is not working everywhere. If there is a switch over here because I added this into a separate material. So that's the last thing I need to do. These ones, you guys are just normal ones, right? Scene master, yes. So if that is the case, I just need to go in here, and I need to see has mask is false. H mask is fall here. This is the problem. So I can just copy this I has mask is true and if it is false, we do this. That was the one. That's why it was being confused. So if we save this, there we go. See, instantly fix it. Perfect. In the next chapter, we will go ahead and we will just finish off the door. And then what I will do is we will go ahead and pretty much do this for all of the other pieces. There are not too many pieces. Maybe I will just do it in real time. Does not matter too much, but we will take it from there. So let's go at the Sava scene, press Contra H to basically get back your doors over here. But you can see that already arts like quite a bit to your scene. If you just do something as simple as this, set our screams and you do like 200. You see? Just to scratch and everything, they art a lot to your scene. Save cena, let's continue with this. 45. 44 Creating Our Variation Masks Part3: Okay. So now what we can do is we can basically get started by just creating our masks and adding them. I left off with the door. I just want to finish off the door just because I think it would be nice if we do that. So we use brushed metal door, which should be fine. So we can use that one, although you would most likely need to replace it over here. But let's go in. Let's find brush metal door and just call it right click and go ahead and see ST actions. Oh, God, where are you? Rename. I can't find you. Huh? It always used to be that next. Okay, then I assume that if we just long click, there we go. Fine. Dr underscore A. There we go. So let's just rename that and let's open it up. And then for this one, that should have already removed that. Oh, it did not remove it because we did not add the same fix over here. So true if false, then set to metallic save. Now we go now that should fix it. O here. But at least it's nice to know that the UVs are all working correctly. So if you're now going here, see, that's now gone, and I can then just go in here and I can say has mask. Then basically, if I go to my home door, I can say 0.81. So most of them are pretty much already default. So 0.8, pretty much. Oh, yeah, you can see the dirt. The dirt is actually way too much. Yeah, let's tone that down for this one. It's way too obvious for this one. It happened to be not as obvious for this, but because it's around the corners, it is for this. Set a dirt overlay maybe a little bit lighter also. We have that one. Variation amount here. So everything else is already fine at default pretty much. We have a roughness, so our roughness variation amount that you can see. So we can maybe also control that not to make them too intense, maybe 0.7. But that's already adding quite a bit, so that's looking pretty cool. Also, by the way, our rubber, for some reason, I think because after we've done a lighting pass, our rubber is too dark now. So I'm just going to very quickly add this to here and I'm going to, like, see, make it a little bit lighter so that it's a bit easier on the ice. I don't really like this kind of stuff. This kind of stuff is a little bit too much. So if we ever see stuff like that, it is most likely if we turn off the base color here and go into a dirt. This is often the problem. Then just go ahead and add or like a levels or just add another paint layer. Just set this to first soft white, which I'm not sure here it is. And then if you press X and just on black, just go ahead and paint this out, not completely, but just paint over it a few times, and this will basically just tone it down enough so that it does not get picked up by the system as strongly. You can see over here. Because, of course, now our dirt is really strong around these corners because this is where the ambient occlusion is hanging out. But I don't want that. So we can just go ahead and we can, like, reduce this over here, to a quick export. And then we can just go in here and we can go back to our door mask and just reimport. There we go, see. So that's now a lot more subtle. Okay, great. So our door is done. Now, what we're going to do is we're basically just going to do this for all of them. So let's just move one by one. First of all, I will just create all of the masks just to make it easier. So let's save my scene. Let's go ahead and press new grab our let's do a back wall. First, two k. Okay? That's fine. Yeah, save my scene again, even though I already set it to save. And then what I can do over here is I can turn it off. Call this Bwall in my text set list. I will do this a bit quickly because else we are spending too much time on small details like this because we still need to create Alpha mask with our screws and everything. So we got this stuff, layers, smart material. Metro tutorial throw it in here. And then what we can do is we can start with our roughness, turn it on. Turn off our dirt because, of course, it has some unique details. So let's get rid of the paint. So it looks like this is the default that it give us, that it gave us. Sorry. It looks like we have a problem with our UV here at the top. And unfortunately, that problem is too big, so I need to go and fix it. Which is a bit strange. I thought that we already had a problem and that I fixed it. But if I go ahead and go to UV Sal and select this, here, look at that. It is way and way too small. So let's go ahead and just select all of this stuff. Over here. I think what we need to do is we just need to go ahead and do a reset X or reset history and freeze or transforms. And then if we go ahead and just in here, I don't know. Suppose a quick unfold, and let's just make this as large as possible. So the top does not need to be large. The top, I can just go ahead and I can rotate it 90 degrees. I'm just going to do this manual. Over here, it doesn't need to be large because you cannot see it. However, the font does need to be fairly decent size. So if we go in here, we can just swell here. We can try and stretch it out a bit more. Don't know if there's a larger spot that I can do it in. I don't think so. And then over here, we have an other piece, which I'm just going to throw in here. There we go. Having that done, for this one, we first of all need to go ahead and just do a normal export. So just too unreal, Bwall do normal export. And then what I need to do is I need to assign favorite material, brush steel, file expot selection, and then in to painter, this will just be back will do another one, Undo. Broke again, of course. Oh, God, this time, I did not save my scene before it broke. Am I just going to trust on the fact that it will work? Yeah, I think I will. If I go ahead and go to my attribute editor. Oh, no, wait here. I did lose its material. That is a bit of a pain. In this case, I will just go ahead and I will just reopen my scene over here. And it does mean that unfortunately, we do not have you know, if you go to Bwall I just need to redo that. However, I will, of course, not redo that. Now I will do that off camera. Here we go. So I did all of that UV work again, just by simply the same exact thing. Only this time I saved my scene before changing my materials. So that's strange. It's probably just like a little bug can happen. So it does mean that over here, we need to just go new and just redo our Bwall once more. But luckily, we did not do a lot of work to this. So, just throw in, like, your metro tutorial, throw off your base colors, get rid of, like, your paint layer. Call this B wall. And just go in here and just quickly bake your maps. And then we are back where we started right away. Okay, so especially I exclusion is quite nice for this one. I will go ahead and I will do this one, and once we've done that, you know pretty much the workflow, and then I will just time up stress because we are spending too much time on this right now. So we got this stuff, okay, so we have a few small UV proms over here and over here. We could fix those, but honestly, at this point, you can even probably just relax them, and it will still be fine after you've already done this stuff. I'm just going to go ahead and I'm going to add a simple paint layer on this. Say, I would recommend that you fix them. I'm just not going to do it myself just because of time constraints. Um, that's crap. I don't know. Maybe like a dirt one. Yeah, I'm just going to do that. I'm just going to paint them out because I needed to do that anyway, because I don't want to have this stuff everywhere. So I'm just going to paint those out. For us, this looks pretty cool, actually, having a little bit here and there. Not too much. Maybe press axon and has to flow very low. I don't know. Size a bit bigger. Set flow very, very low. Here we go. And then we can add some roughness variation. Now, that's typical. The flow works worse or is stronger when we go ahead and add it compared to before. But something like that, that should already be fine. And now if we go ahead and just turn off this color and go back to our second dirt, over here, we have a paint layer, another paint layer, and this one is pretty much like occlusion dirt, it looks like. So let's not make this too strong. Let's make it something like this. Let's add a very simple paint layer. And maybe like a very low flow, like a high level, maybe add a little bit of dirt amounts like this. And let's just go ahead and not add them to the door because the door will be moving up and down a lot. So this door will have less dirt sitting in there. And then if we add one more paint layer, we can just add a few very basic leaks. I don't know how nice it looked over here. It does not actually look that interesting, to be honest. Yeah, it's even too strong. So we might not add the leaks. If I look over here, it's even too strong. I would need to go into my amount and tone it down and because we have a light over there, I don't think that it would look very interesting. So but then again, this is plastic. So what we can do is we can add something else in here. So we can go in and, for example, I don't know, just grab some kind of like an interesting brush. Don't know what this one is? It's Kyle's paint box. So let's go ahead and set the flow very low. By the way, the flow, you can also change it into your pasty over here. But let's just give it like a bunch of, like, random bits of dirt like that, just for the sake of adding some kind of variation here. Then go ahead and set your size lower and then just once again, paint out those specific areas on purpose. At which point, we can go into our paint and we can tone this down or up. Now, learning from my mistakes, we probably need to set this quite strongly still. So also down here. Well, yeah, let's just in everywhere. So let's tone this one down to kind fit with the rest, the levels and push everything up a little bit more. And then if we also just go ahead and just double check our roughness variation, roughness variation should be fine. So that should already be it. We can now just do a saves. We can call this one back wall. Over here and press save. And then we can also just right away, export this. Set safe folder. Grab your Metro. Where are you? Metro tooth mask over here, Tager file, two K export. There we go. That should already do the trick. So we have a backwall, so I will just go ahead and set up the backwall and then I will leave it there. So we have stripes for our backwall. What we can do is because we already have the same settings, which is perfect, we can simply go to where are our stripes metal stripes, duplicate them and call them metal stripes on the score B wall. Now, I guess you can also make a material that just has no mask, but since we only use the metal stripes on two masks, doesn't really matter. We can just go ahead and open this one Let's close the old ones over here. So we can open this one, and all we need to do is go into a mask and replace it with the Bwall mask over here. Save your scene. And then just go into, like, your door. Open up the actual model. Oh, it has opened up over here, which is fine. And then go ahead and where are your stripes back wall? Well, you know what I'm going to do. Stripes Bwall and I'm just going to add this two metal stripes over here, and that will instantly fix that one. And now that we've done that one, let's have a look. Here, we got our metal pieces. For example, for this one, especially from a distance, I can probably make this one a little bit stronger, so I can go to this metal stripes. And then in our roughness variation, Yeah, I like arts a little bit more. I don't know why it's so slow, but okay. Tree and our dirt variation amount, I don't know. Yeah, you can see it a little bit, but let's keep this at like one. So there we go. It's subtle, but it is there. Then we also have a brushed steel over here for which I used brushed metal door B. So if I open that one up, brushed metal door B, I want to go ahead and let's see. So I have brushed metal door A. So yeah, actually, the settings are fine. So just press use mask. Change the mask to your backdoor wall mask. For the rest, honestly, it's like, doing our dirt amount a little bit lower, 0.5. It looks a bit strange on those areas anyway, so we probably want to also set our dirt roughness amount if there's one, let's set our dirt amount even lower. 0.3, for example, something in that direction. I mostly focus on the roughness by now. Like the dart amount, it was a cool idea, but I feel like it does not translate as well as the idea that I had. So we got something like this over here. There we go. And then we can also probably, do something with the metal if we want, where we can just add it to that dull metal. So if we go materials, because this one is using the it's also using the plastic, but if we go metal doll door let's duplicate this called this metal doll Dor or actually metal dollcll Bwall Let's go ahead and open that. An artist to our metal doll layer has mask. Set this to be your Bwall mask over here. There we go. We can leave in a little bit more dirt in here. That's no problem. And then in our roughness variation, just like, see, does not have a lot, but we might be able to add like a bit more. Yeah, it doesn't have a lot. So if we just set this to two, for example, now if we go very quickly, just back in here. And then in our roughness variation down here, maybe, like in our paint layer, just add something cool in here. I don't know what just something that feels a little bit more metallic so that it looks a little bit rough I don't know if there's maybe a cool smart mask that we can use for this. Yeah, let's duplicate this layer, get rid of everything, and then use a smart mask like edge scratches. And then go to your metal Edgeware and just tone it down quite a bit like that. And then in this one, if you just go ahead and just add a quick folder, this is like we will only do that for this call it edge damage. Throw in this layer into this folder and just set a black mask on this folder and then go to your polygon fill and select these pieces over here. See? And then we can just re export this, and that should give us that few extra bits of edge crutches if we reimport this. So if we now go roughness variation amount, it should look pretty good. But it does not really show up as much as I want it to. So maybe we just need to make it a bit stronger in order to make it show up because this would be something that you would think shows up. So let's add the levels, really push the whiteness of it. Export this once more. Roughness variation amount. Oh, that's interesting. Oh. Did we add? No, we did add this, right? Metal dull Bwall, yes. And this is metal dull, Bwall. If that would not be the case, yeah, we would not be able to change it. So that's a little bit unfortunate that it does not read as well as I had hoped to. To be honest, it does not read at all if I look at this, so that is interesting. I'm not exactly sure why that it would be doing this, but honestly, this is something that I can just figure out in my time laps. At this point, this isn't rock and science. I really do not want to spend another half hour just messing around with the tiny bit of roughness that you will never ever see because we are looking at it from this distance. So, in any case, at this point, because we have reached the end of our chapter, what we're going to do is in the next chapter, I will time lapse it, and I will just narrate over the time laps and I will simply go ahead and I do all of these things. I will add all of these masks to this, and just polish it out and just make everything feel a little bit more like the one at the door over here, where we just have like this nice quality that we can see down here. So that is the plan for our next chapter. 46. 45 Creating Our Variation Masks Part4 Timelapse: D h 47. 46 Polishing Our Scene A Bit: Okay, so we are now done with adding our masks. And so, yeah, mask, they are mostly visible on the floor and on the door and also a little bit over here. So it was not a waste of time. It was a little bit more time consuming than expected, but for the rest, like, that's on me. For you guys, it's probably won't be time consuming because you have your own things to do. In any case, there is one thing that I wanted to do. There in mind. So right now, if I have a look at this, so there's a few things that I just want to do some random balancing. So this is almost going to be like a random chapter. I want to make over here, down here, I want to make it a little bit brighter. Then up here, I want to maybe, like, change the color of my windows and then also continue this color down here. I think that would look quite nice. So it's just like a few random things that we can change. Yeah, it's just some final polaage after we've done that. So here, it's stuff like duplicating this. Moving it down here so that we can give it a little bit more like light. Let's move a bit down so that when we go in, like, a low perspective here, you can see that there's at least a little bit of light. Maybe it is a bit too strong. So let's do 0.03 or maybe like 0.01. No, that's too low. 0.02. And then we're just going to go ahead and we are going to artist everywhere. So basically, after we've done this, we will go ahead and create an atlas that just has the screws and all of that stuff. Add some general improvements to these things, and let's see. Then another lighting pass. And I believe after that is done, then it will be actually the branding, yes, the branding. I should not forget that. Once all of that's done, I will just add a chapter which is just general polish, but that chapter will most likely be in time laps. So that one will be a little bit like this chapter. So like over here, we got this stuff going on. Oh, I must have accidentally. There we go. Let's try it again. Here we go. So that at least get like, glimpses of that grid over there. I want to go ahead and I don't know, maybe want to set our normp bit stronger on our via It's on mile screen. So oh, sorry, I forgot I did some tests for this. I just added the norm map strength to our play material by a flattened normal like this. So we've already went over that. I did that because I wanted to see if I can get a little bit more nor map details. The tricky thing was that the normal detas are now really strong here, but they are not strong over here. So instead, what I think I want to do is I'm going to also change these nor map details a little bit, and I will do that in substance painter. So over here, if we open up our chairs double, yeah, we can save this scene over here. And of course, feel free to spend some more time on the seating and everything. We have a height detail over here, and this height detail goes quite low. What I had in mind is to then go in, duplicate this, and then in my mask, if I right click and press invert mask and then only set the height on and push this height out, what I was hoping is that it will push one bit up and the rest down. It might be easier if I just temporarily turn this to like a red color. So here you can see, you'll see, so you can see that I push basically the other sides and push them out. And having that done, now that I've pushed them out, I can also go in here. I can then click the levels, and these levels is used for an invert, but we can actually also use it to then maybe here, push this out to see if we can maybe make it a bit stronger and use that to basically have height maps from two sides. Now, once that's done, you can go back in and just set this to a whitish color and just re export this, and it should just have all of your settings still remembered so that when we go in here and just re input our chair colors, it will hopefully bring everything out a little bit more. Not as much as I was hoping it would. In that case, I'm going to fake it a little bit more by going in here, and for the second high detail, turn on your color. Set the color a little bit lighter like this. So the color will be pitch white and then set our base a little bit darker. So this way, I'm hoping that I can balance that out a little bit better. So let's try that again, export. Reimport. Yeah, it's like small bits of balancing like this that we will work on a little bit more later on, just to make sure that everything works. Let's see, it works a little bit. It's just not as strong as I want, because this is a very specific effect, but it's also quite a difficult effect to actually get. Oh, by the way, it is quite interesting that over here, the seating colors change. That might actually also be nice thing to just very quickly add to, like, randomly change them around, for example, like this. There we go. See? Maybe do an orange one at the end. I think that might look also quite interesting. But yeah, so it is working a little bit. It kind of depends on the angle, but for now, I guess I will leave it and I will like another polish pass I will work on that a bit more. You can also go over here, and if you want, you can also do like a single seating just by pushing this in here. It might not look as nice, but for something this small like that, yeah, it won't really be noticeable, so that it is clipping in. So you can, of course, cut the seat in half and make it look completely perfect and even our brackets and everything down here, if you want. In my case, just doing this, it just gives a little extra seating in that area. So we got something like this going on that's pretty good. I later on also actually want to duplicate this entire cart, and then I'm going to, like, show it down there so that we have a little bit more depth in our scene. If I have a look at this, let's have a look. So our metal is pretty spot on. I'm quite happy with that. This metal, however, it is still a little bit dark. The only tricky thing is that there isn't much that we can probably do because it is a PBR metallic. There isn't much that we can do to brighten this up. Like we could tone down the metal, a tiny bit, but we are reaching then we are going a little bit away from the PBR metallicness. So I guess this is only something that you want to do if you just have a very specific look. This is not something that you could do if you, for example, make this material for multiple different if it is diable material. But I guess that we can here 0.8. White? 0.8. Yeah, 0.8. I guess that we can do a little bit, something like that. Another thing is that this back door over here, brush metal door B. For some reason, it is still like the reflection and everything is just not working. We can go at it and we can, tone it down a little bit, the overall intensity of it. And I guess that you can also go in here like let's see our roughness amount here, we can set our roughness amount maybe to 1.7, maybe push. Here, let's balance that back out. There we go, just to make it a little bit darker. While we are starting to get a lot of flickering ir, but that's okay. That's something that we can work with later on. What's else? What else? So we got that. Oh, yeah, I was going to go ahead and I was doing my window stuff. So if we go ahead and go into Maya, this might be an interesting thing. Let's get away from this one. Let's grab our door B. And what I had in mind is for this one over here to become like a plaster. So if I right click, I sign existing material, and this is going to be like a where are you? Plastic plane. Come on. Am I so blind that I cannot find it? Rubber plastic. Oh, wait, I guess we call it plastic instead of plaster. Fair enough. So do that. And then if we re export this, once again, and this time, yeah, it does mean that we need to reassign our materials. Although I can show you what happens if you do the other one. Sometimes it is fine, so we'll see. Export to unreal door A, over here because I want to do in more intense colors. Basically, I'm going to mess around with the colors a bit to gamify this environment a little bit more, but to hopefully make it look a little bit more interesting. So over here, if we have a door, eh, we can right click and we can press reimport. And here, I will show you what happens. Sometimes it works, sometimes it doesn't, at least from my experience. But so here now we have a rubber. It looks like now it has become plastic. Oh, wait, here. So I did do that one, right? Um, let's press just done. I'm a little bit confused now. I swear that I called something plaster. Then I must have been then it must have been just like way off. So if I press done, the material stay the same. But sometimes what happens is that it does not show up the new material. Now, in this case, it looks like it does actually show it up, so that is quite nice. Let's see if that actually also works, that if we have a plastic over here, let's just go ahead and duplicate our plastic yellow window, for example, duplicate it and call it plastic yellow door underscore A. Dig this one onto your plastic that I have open on my other screen and save it. Open it up and you can just go to masks and just use the door mask over here. And we just want to set the dirt amount a little bit lower. So having this stuff like this, what I'm hoping is that when we change this color a little bit more intense, that will give us a little bit more of like a flow going through. So I'm hoping to do something like this. Let's go into our plastic yellow window over here. And then while having a look at our environment, we can go into a base color and just mess around with the colors. If you want, you can just copy this or you can later on press cancel. But I just want to see if I go for, like, a crazy color first, and I just move around my mouse just to see which color, like a really deep orange color, for example, looks really cool with this metal. And just like that, we can kind of see if maybe they wanted to go for, like, a more artistic approach with something like this, like a blue color also actually looks really cool. And then what you can do is you can, like, tone it down a little bit to see if you can get this a little bit more logical. Like, for the blue, I guess it would be more logical if we go for something like this, while for the orange, we could tone down the orange a little bit more to get more of like a stronger color. So what I'm thinking is what if I do like orange and let's say, what if I do something like this? So just copy the SRGB. So it's like a darker orange. I then go in and I then open up most of my pieces over here. So the back wall, I want to make you the same color of orange. This is going to be our plastic yellow ceiling. Maybe the ceiling, we don't make it like that, and this is going to be a door. So now we can see this transition. Now, for our okay, we have a ceiling. Let's go ahead and also paste it in, but let's make our ceiling. A little bit darker and a little bit duller over here. And let's say we have something like this. So what we can do is we can just close this and just see how this looks. And now let's say that, okay, having this, now I need to offset this color a little bit. So what if I grab my orange chairs and I instead turn them into, like, these deep blue chairs over here? And then, for example, like RDs. And then just like that, I can just see and play around it. Now, this looks really, really ugly. I'm not going to lie. So it looked cool at the beginning, but just like that, you can now if you press Undo, you can just go ahead and you can just mess around with it. So I only want to want to try a blue also because I feel like blue feels like a color that they would sometimes use. You can even see it over here. You can see blue and here, like blue, so we have the doors. That could also be cool. We could also just make our doors like a different color. But we spent so much time on, like, the brushed steel that would be maybe like a shame. But let's say that we copy this blue color, and this is just prototyping. And then we go for, like, a door A, and we can also add this, and then we do our back wall. You can also add this. And now if I just move this over to my screen, you can see, like over here, okay, now I have, blue, and I think it's the back wall is kind of ruining things. Here, it feels like if I do this, that might be cool. But then again, that would not be too logical. So let's indo this. Let's do one last test, and that is that we open up our door brushed metal door A. And that's we paste the blue in here. And what if we make this like this really blue collar, but because it is painted, it will no longer be metallic, so set the metallic to, like, zero. And what if I do something like that? How would that look? No, it's not working. That is unfortunate. I was hoping that I could find something interesting because I want to add some interest to our scene. Let's see. What can I do? I can add interest by maybe doing almost a photo edit effect. That is something that I can do. Vagacy like this stuff is quite a bit duller. So actually, maybe doing it a bit duller might actually work a bit better if we just tone this down a little bit more even than that we did before. Sorry, I can speak. Here we go. So that does now fit a little bit better in here. Then let's have a look at our ceiling. So our sealing, I expected, Oh, wait. I never baked an ambient occlusion for that because I decided that I didn't want to do my sealing as an actual mask. However, I can still do very quickly like an ambient occlusion. I can, for example, just press safe new and just very quickly add my sealing A and just do this one. And it just means that I'm not going to spend any or not a lot of time on my actual dirt because I don't care about it. So we have a metro over here, and we can just go ahead and we can, like, turn all of this stuff off. Just set out to black masks. Call it sealing because I don't feel like I need any dirt or anything on this. And then bake it and then just bake your ambient occlusion over here. So turn everything off except for your ambient occlusion and just bake it at four k nice and high. Here we go. And then we can just go ahead and we can do export textures. We can go ahead and just add it here. Set this to be metro tutorial mask, taga file, four k export. And then you can just go ahead and go in here. Mask. Sealing mask. And hopefully, this does not give me any unexpected problems doing it this way. Let's go for ceiling A. Oh, I mean, go for ceiling A mask. Turn on he mask, and then if we go into our masks, we can go ahead and just grab our sealing mask over here. That's not giving me exactly the effect I was hoping for. There is another way that we can achieve this. However, I just first of all, I want to have a look in here that if I go ahead and press B and with B, you can basically switch between the mode. Okay, so ambult occlusion is fine. In that case, what we can do is in our DRT. Go down here and add a fill layer to your dirt. And in this fill layer, click once, and then immediately at the top, you will see your ambient oclusion map. If you just add the color so to this. And then what I'm going to do is I'm going to go ahead and go to levels, and I basically just press Invert down here. And then I just play with my levels to make this really strong so that when I export this again, like this, I can basically use my dirt as an ambient occlusion. So I can right click and re import this. I can now go ahead and open this up. You can already see it happening a little bit. So where are you? I can open this up. And then all I need to do is just in my dirt, just make my dirt pitch black like this. And then you can just have your dirt variation amount here or see, and then you can even control how much the darkness you want to be in here and you can just set your color. You go, that's an alternative that we can do to at least get here. I want to have these dark lines that you can see over there. So that is working pretty good. Okay, so we got that stuff done. We got that done. The only thing I still do not like the backwall if I have a look at my back walls, it's it feels too dark, almost. Maybe if I go at and also do one more fake light, and this fake light, I'm going to tone it down a bit, rotate it 90 degrees, move it up a little bit. Maybe give it a bit more of like a radius and then set your source height a little bit bigger. Move this bit closer. Let's see. Set the source height larger. Rotate it back a little bit more. I need to be careful that it does not give a strange look or something like that. So maybe turn off my snap rotation and maybe just give it a little bit of like a spin. It does not make much sense to have a light here, but from a distance, it shows he does make everything feel a little bit more interesting that if I do this and set this to like 0.1, 0.2, so it takes even 0.1 already, like arts. That's even too much. 0.05. It does kind of like depend on, of course, the angle. And this camera over here, it's not perfect on capturing these type of angles, I would say, because from different angles, it does, of course, look very different. But at least it's a start. So we got this now. I'm just going to go ahead and I'm going to leave this off by going into my post effects. So I can find over here volumes Post facts. And I just want to basically push maybe the shadows or something a little bit more towards blue to kind of, like, compensate for the fact that we now still have a bit more those lights are here. If I sent this to one, no 1.05. I want to leave it like that. Yeah, so I'm just pushing it to be careful that I don't overdo it a little bit more. And let's see if we go into our global et's do that 1.1 maybe, 1.02, 1.05 or 04, something in that direction, I think will look quite nice. So we are getting quite close. So the main thing that I currently hate or not hate, but the main thing I don't like is the back. Because if I have a look, for example, I can even if I literally just grab one of these doors and I would rotate them, it would probably look better than what we have right now. I I would do this, for example, I know it doesn't make sense. But the goal was to just show you that I don't know, here, it feels more natural, even if it's metal. And I don't know what I can do for this. I can maybe go to, like, my stripes, where are you? Do this? Hmm. Actually, that works. Yeah. That does work. The stripes do work like that. That's actually pretty good. If we just suck it up and make it metal, it wouldn't work a bit better. It also looks interesting with all of our reflections and everything. And yeah. So, you see, that's why we try it out. Not the top, just like these two bits over here. I think if I make those metal stripes, and I will even still do that now. So Bwall So this entire thing is metal stripes now, isn't it? Yeah, pretty much. So if I go ahead, sign existing material metal stripes, sign existing material metal stripes, the only problem that you have right now is that we already created something with our UVs, and these UVs are not correct because one of them is flipped around. Another way that I can, of course, fix this is to just use the WorldSpace UVs. So if I go ahead and just add this to my back wall, over here. Yeah, this is like stuff that normally, if you are making an environment yourself, you have time for this. And you can really just like you just keep messing around with things until you get everything exactly the way that you want. And that is something that I will basically be showing you at the end of the chapter. But first, I need to get every element in place because I'm, of course, teaching you. I'm not making a personal environment. If I would make a personal environment like this, I would probably spend 60, 70 hours on it instead of 20. So let's just re import this. Now it will then start complaining about my stripes. And what I'm hoping is that my world space stripes is that they are in the correct direction. But there's only one way to find out. We basically go to our metal stripes back wall over here. And if we then go ahead and go into our master materials, seen master WorldV set our tiling to like 200. Oh, lucky. We are lucky. 150? What did I set my other strips to? I think the other ones, the door strips are actually the correct one. Oh, no, wait. They do not have the slips. In any case, in that case, I'm just going to twine, sort of match it up, 100. I swear we did one of those as like Worldspace I think 100 should is correct. So let's do 100 like this, and let's have a look again. Type of wall, 100. I think I wanted to have the top piece also this one. So let's assign existing material. This one is also going to be metal stripes. Yeah, right? So now, you know what? I'm just going to throw everything on it. I'm just even going to throw the top on it. I think it just looks better. It's just more logical for me to do that because it looks better. So let's do something like this, and then our door over here, I do still want to just open up, and I'm going to make it a little bit shinier by going into my roughness amount. Let's make it like one. There we go. So we just make that like a chunk of metal that they just slapped on the end. There we go. Way better. That looks way better than what I had before. I was getting a little bit worried that I couldn't get the look that I have in my head. Correct. See, I don't think that we still want to probably work a little bit more on our chairs to fix those, but we are overtime now. So the plan. In the next chapter, we will create an atlas of non map details. This is going to be a quick chapter. It will just be some screws and you can add whatever you want to this, and those will be added to our scene. Especially when we fly around this, actually, Willie comes live when we fly around coincidentally. So I will just make some cool videos where I do, something like this, or I have, like, a fly through like that. Once we've done that, and all of our normal details, then the chapter will be over. The next chapter after that will be about creating a branding. We created our branding, which actually is a very time consuming chapter, but I will just show you how to do one of them, and I will just basically create maybe like two variations or something like that. For us, this is like a map, and we have some stickers and everything. But after we've done that, we will do our branding and get it all placed here and everything so that will look nice and cool. And after we've done that, I think it is polishing time. So let's go ahead and continue with that in the next chapter. We are getting closer to the end. 48. 47 Creating Our Normal Map Decals: Okay, so we are now going to work on that quick little atlas that has some screws and holes and all that kind of stuff. So if we just have a very quick rundown, we need to create some screws. We need to create some dents, as you can see around here. So some dents around our bolts that we had over there. Let's see what else do we need to create? Maybe also just create like a bolt that we can just place on top, just because we will have a lot of space. Oh, I forgot I forgot to create that piece down over here under the chairs. S, Is that like if I go over here, yeah. You know what? No, because we are lower over here. Honestly, in our case, let's just go ahead and not do it. Let's have it that the chairs are sitting in the back. You can, of course, do whatever you want with it. I just forgot about it and that is completely my fault. I only notice that really late. That's okay. Okay, so we have those things. Let's see. Let's add like a construction line, which is just like a thin nor map line that we can sometimes place somewhere. That could be nice here. It's like these type of lines. So it's just thin lines that we can place wherever we want. And let's see what else do we have? Is there anything else? So there aren't too many in this environment. Normally, you have a little atlas and it's like 50 of them and just all like random little bits and pieces. However, for us, we are just going to go for norm map details. So I think that should be fine. And it's too bad, we add a lot of modeling detail, but if we really look at it, maybe the four k, but like small stuff like over here, like these little dots, unfortunately, we cannot really see those anymore. But we'll see how we can improve that kind of stuff. In any case, we now know what to make. Let's go to Substance Painter. I think that is the quickest way to do this. You can model this and bake this down from high ply to low poly, but because we have not covered that in this tutorial, we will simply go to Substance Painter and we will make it in here from scratch. So let's go to Final and New. Let's go ahead and set this at just like PBR metagraph for now. And in your file, remember how we created that plane? We can also use that for this. Document resolution k is more than enough and norm maps in open GL. Okay, so simple one is going to be like a little dent that we can use for around our bolts. So let's get rid of our layers. Let's call this normal detail atlas over here. Oh, no, actually, let's just do detail atlas because it will then be called detail Atlas underscore normal. We do not need any baked maps, to be honest. All we need is we need, let's say, a fill layer to get started with and just call this fill layer down. And for this fill layer, just set your height down, basically, and then add a quick black mask. That's all we really need because for this one, for example, this is going to be like a basic hard brush. We're going to increase the size a little bit so that because we have so much space, it's better for us to just make it the size a little bit bigger. But of course, you can just fit everything in how much pieces you want doesn't really matter. Now, if I now press this, I would get this effect here if I just rotate it. However, that's not very nice. If I set my hardness to around 0.5, however, it will give me a softer look, okay? That's too much. The lighting might not be really working for us in this case, because it's hard for us to see that something is going down with the lighting here. You see? You can see that's going down. It's just with this lighting, it's a bit difficult. And we can always go into our height and just set this really strong, for example, and then just give control over this later on. So we got something like this, so that will look quite nice. It will just have a little bolt that we can place in it. Now, the next one that we're going to do is going to be like a screw I can't remember like a close up of my door or something like that. Not really. Okay, then I will just improvise on what is in it. Then I will say that one, it is a down like this. And then what it has is it has a duplicate this fill layer, invert the heights, sent it to the other side, and add a black mask. Call this up. Now, we can use Alphas inside of SubsaPainter. It's actually really powerful. You've already seen it over here. So this Alpha is just like a round bit. However, if we go to, for example, our Alphas down here, which is this button, then we can find something. There are some default screws, but there are a lot of alphas that you can download for free or that you can also just buy online like station Marketplace or Gum Road or flip normals.com. Doesn't really matter. They are everywhere. So those would be very handy for you to just have look. I think I also have a few here that I got from JROTols which is Jonas Ronegart. I probably say that incorrectly. So sorry about that. But those ones, they will look also nice. Let's see, in here. There isn't. I think I lost the ones that I had, but there should also be like some default like some crosses or something like that that we can then soften out. So yeah, I think I happen to lose during the upgrade of my substance painter. So let's instead go for maybe like this one. It is like a cross forbidden, but what we can do is if we grab this piece, and this is literally across. No, no, it's not literally across. I can temporarily duplicate my up and just call this screw. I'm not sure if this will look as nice as I'm hoping to. But then we can basically duplicate this or we can place this in here and just make sure that you do not place it on the same level. And then if we go down here and add a filter, I was hoping that if we add like a blur, over here, that will basically that it will look like a little bit softer. But I'm not sure if I like the look of this. Yeah, I do not like the look of this. Instead, what I'm going to do is let's delete that. Let's just grab a basic hard brush over here. And there is a Alpha, and it is called para boiled over here, shape paraboild. And then if you go and use that one, this one is quite cool. So it's really like a bold look. So you can dig this in here. Maybe, like, make it a bit larger and kind of, like, just places into scale like this. I don't know. Is that maybe set the hardens a little bit. Oh, no, wait, sorry, we cannot set the hardens up. In that case, we just need to, like, try Got this pretty much in the center over here. You can go into your up and yeah, just make sure that this is quite strong. And then what I had in mind is to go back into your up. And this time, if we go into Alpha, we can grab an Alpha that is just like a square. And the reason why I want to do an Alpha is because it's more precise. Here we have square shape or shape square. And this one we can basically set the squeeze up and we can give it like a little thickness, let's set the hardness down or up to, like, 0.8 maybe. And let's scale this down a little bit. And then if you press X, you can basically cut this out. So here we just have a very basic screw and then we can, for example, just see whatever we want to do with it. Let's say that we want to, like, make it a little bit thicker. Yeah, it's just going to be basic, like, something like that. Okay, so let's go ahead and let's actually re add our shape para booilt that we happen to have over here so that we can also go ahead and just in case like another bolt, just sitting next to it. And finally, what we need is we need a construction line. So for our construction line, we can actually use our shape. You can also double click on it to add it, set the squeeze really thin. Yeah, set the hardness to like 0.8. This might be the easiest way for me to do it. You can, of course, also just drag a line, but I know, that might not be easy. Although this is quite cool because what I can do is I can add one of those. Sorry set this in down. I can add like one of those down bits I I set my hardness a little bit stronger, Okay, that's not strong enough. 0.9. There we go. Lucky art. We can maybe use that for something. Okay, in that case, what I'm going to do is I'm going to go back to my brushes, click on the basic Hart, set your hardness to like 0.95. And then this construction line, it will basically be like a very low size, and I basically go down here, hold Shift. And click to the other side. See? And then we have a construction line. And then down here, you might want to do some manual clicking. Although if we are mapping this on a plane, we probably do not need to go this far anyway with the plane. But in any case, so like that, we have a construction line. So those two are the most important ones, and then like a construction line to add some more. Of course, you can add much more to this, but let's leave it at this for now. So we are going to go ahead and we are going to export this, but we also need to have a mask for this. So what we're going to do is these pieces, they are all just height map information. So we can just turn everything off except for the height. However, what we can then do is we can add one fill layer. And you can, for example, just pick base color. That should be fine. And just call this mask. And what this fill layer will have is it will just have a base color like this. It's actually duplicated and call this BG for background. So the background will be black. Okay, so it just like a mask. Then we add the black mask. Now what we can do is we can go ahead and go in here, right click and we can press Copy, where are you? Copy mask over here. And then we can go to this mask and we can press paste into mask. So now we at least have that mask here ready to go. And then for the last one, I think it's easier if I just go at it just very quickly. Do this. There we go. And then all we need to do is just quick levels because a mask, I don't want my mask to be very sharp or not sharp. So let's just do something like this. There we go. That should be fine for now. Yeah, that should be fine for now. So we got this stuff over here, ready to go. Let's save our scene. Let's go textisEtra details, normal underscore atlas. And then we can go file export texts. I'm just navigating to My scene. New folder, final select this PBR metallic roughness on Taga at, not four K at two K, that's totally fine. Two K is even way too overpowered. I would even go for like 512 or 25, six, but just because it is this one. And then we have these two over here. This one is important. And then this one, I'm just going to quickly name, underscore mask instead of base color. So that should be pretty much it. We have those two. Now, all that we need to do is we need to go ahead and go inside of Maya, for example, and let's use our door as an example again. Let's go ahead. Shift click, and let's add a simple plane scare the plane up, set the subdivisions to zero. And for this plane, all we need to do is we need to right click assign favorite material, Lambert, call this normal underscore atlas. And then in your colors, select the file and you want to select the norm file that we have just created because NMP is the one that we can actually see what we're doing. Once that's done, turn on your text view. Here we go. And then it's just a matter of, remember this normal ditals because we have a mask, we can actually place our edges just outside of this range like this. So for these ones, we can just go ahead and we can do this. And when I say this, I forgot that it might be that my norm map in my chairs are inverted. So that's something that I need to have a quick look at. Over here, I did not do a perfect place of placing those, but age and then over here, we can also do this. So over here for these ones, just go to your tool settings and turn on preserve U V. That way we can just move this down so that even though I accidentally tilted it a little bit, I can just move it down and I can also just move this in to have it a little bit closer. At this point, you can just start by selecting your faces, extract pass. Select your face again, extract aces and select your face again, extract faces. This one, extract. And finally, we have our construction line over here, which, by the way, also looks like it has, or it is not perfectly straight. Ah, Emil, come on. I could have done that a lot better, but I was a little bit impatient about this. Because whenever we get near the end of the tutorial, I just want to really just get things done because I want to see the end result. So any case, we can now go ahead and with all the extract phases, just delete everything around it. So all of this stuff is now fine. If you want, you can turn off preserve VV, and if you want to make this perfectly straight, you can go ahead and you can select one edge site. Over here, and then just scale it flat and then select the other edge site. And by the way, those center edges, I do not need them. So here, if I scale this one also flat, and I'm just going to go ahead and these ones, all these ones over here. They are useless. They are just leftovers. So I can press Control backspace to get rid of them. See? And then we can just go ahead and place that. And if you want same over here, just control backspace. And then you just go ahead and scale this one flat and scale this one flat. Okay, so we got these pieces. Now I will just show you the workflow on how to place them, and then I will time maps placing them everywhere else because it is just literally placement. You basically duplicate this one and you rotate it 90 degrees. And wherever you want to place it, you just place it white in front of it. So for this, we can move it over here. And we just want to scale it down and make it roughly the scale that you want, which is pretty large, actually, for a piece like this. So let's do something like this. So you basically place these over here. And then you just say, Okay, so there are in my reference, there are two over here. Sometimes it is a bit tricky to select them. You need to, like, zoom in to really be able to select them. That means that there are also two at the top bit. And don't worry if they're floating a little bit above, that is fine. Seems like there's one over here. One over here. And then there's like one. Then you can do this, you can do like shifty, shifty, shifty, shifty. Just do something like that, and let's maybe move this one down a little bit and then move all of them and a little bit down just to make it feel like it has the same spacing over here, and then just move it less and less down. You see, it's really annoying to select the plane when we have so much jom try going on. One here, one here. And I just go ahead and click and drag, hold Control, move these over here. And once you've done that done that, what I recommend is just press height. Just go in and do random rotations to You can see over here, just to give them a little bit more variation. And that's about it. That's literally going to be. You just place it in front of it, and then we will create a shader which we'll still do in this chapter is we will just quickly export this just so that I can show you. We will create a shader that basically only reads the norm map and, of course, the mask. And once that shader is done, it will just use the material below it, so we don't need to make any materials for this, and that will be totally fine. Okay. There we go. Okay. So what you can do with these pieces is you can go ahead and select all of them, press combine. Hold shift, clone them over to the other side. Move them forward until they are just sitting in front. There we go. Now we can do Oh, not control H. Sorry. We can go display, show. There we go. I just need to re add that. And then for these pieces here, if I just move this to a folder, I call Atlas or to a layer, I call Atlas. I can then go ahead and select all of this, throw this into my door with the extra pieces. And then at this point, what we can do is you could also do that with the bolts, but these bolts are not visible enough for me to bother. But with this, what we can do now is we can just go ahead and export this to our door A. Yes, I want to replace it. It's for safe. And now if we go ahead and go in here, let's see. Here's our door, and there's quite a visible window, so let's go ahead and first of all, go into textures. Right click New folder, normal underscore Atlas. And in this folder, just import only your norm map and your mask. One thing I was saying is that I forgot that when substance painter exports, it exports in direct X, I must have accidentally gone into my chairs double and here I've flipped the green channel, so I just want to turn it off. Now, you probably won't notice much of a difference, but especially because we do like something with our chairs that might still be a difference. In any case, now if we go to Assets, door and re import this over here. We can just press done. Here we go. So now those are imported. They don't look very nice yet. But if we go to our materials, we can just right click and create a new material. Normal only decals, let's go ahead and open this up. If we then go ahead and go in here, we can go in and let's go into our normal atlas and just input these two over here like that. Then for normal, just go ahead and plug this into your normal like normal. It's always funny to say. Now all we need to do is we need to go in our actual material, and we need to go in our settings. In here, we have our material and just simply set it to deferred decal and then go ahead and set your blend mode to translucent or shading, so your decal blend mode to debuffer translucent normal. Basically, what that is saying is this has become a decal and a decal is something you overlay on top and then it will just project it on it. And then we say we only want to use the norm map, which means that now we only have an opaci and a norm map channel. If you go ahead and save that, now you go in here, you can turn this into a material instance that might be handy in case you want to control the normal intensity. So we can right click and convert to material instance and call this normal underscore atlas. And once that's done, open up your door over here. Let's go ahead a normal atlas. Let's throw that in here. Give it a second. And they will also not show shadows. So that's also good. So they will not display any shadows or something like that. Don't know. Is there a buck going on or something like that? I think there's a bug going on. Um. Oh. Of course, there's a bug going on. It's nanite. Nani does not allow for translucent materials, including normal details. In that case, we need to do a little bit of a workaround. This workaround is that we are going to grab these pieces. Here it's a bit of an annoying work around. I really hope that they improve that. So that might just be for now. So let's go ahead and for these pieces, let's move them out of the way. We are just going to export them as like a separate thing. I completely forgot that Nantes really, it just doesn't work with translucent pieces, and decals are technically translucent. So let's just export this door A without our bolts over here. Means that we need to do a little bit more placement inside of real, which for a static environment like this, I guess, is not the worst thing. It's just a bit tedious to do. But we can go in here. And if we just basically set this to zero, 00 and just go on like a top view and just move it just in front of it, we can just drag it on, see? Just in front of it. And we can then just go ahead and export this one and just call this Door underscore screws, something like that. Press okay. Or if you want, you can also export it as the actual location of the door, and then you just copy the transforms over. So it all depends how you want to do it. Let's fix this over here by right clicking on a door and pressing Rembot that should just snap back to normal. And else I might need to just remove one of the old material if it does not apply it. Yeah, here, just go in here and just press the delete button on this material. Yeah, there we go. Okay, so that's snapped back to normal. And then what we just need to do is we need to go ahead, source exports. To in real, I'm doing this on my other screen, and we will have a door screws and open this up in here. And let's go ahead and just press Import. All that should I'll be fine. Oh, no, I mess up. I probably turn on Nanite here, turn it off, apply because we do not need nanite for this because else it does not work. Let's go in here and just immediately throw in our normal atlas to this. You can see that they are working, see? So we have a normal atlas. So at this point, assets and all of this junk we are later on going to clean up, but it's not that important right now. So we have our door screws. And if we just go ahead and add these, rotate them 90 degrees. Now it's just a matter of moving them over here like this and then nicely placing them into place. Here, moving them front, moving them nice to the side, and finally moving them down here. And there it goes. Now we have our normal screws over here. And then, of course, you can just improve those. And whenever you change your material below it, they will change also. So I will balance out this material to be a little bit more shinier later on. But for now, what I can do. Here, I can do this. And now you can see that we have our screws. They might only be mostly for close ups, but it does work. So we have this stuff, and what I will be doing then in the next chapter is if I have a look, I will be adding this to all of my doors. And what I will do is I will then go ahead and I will just also add them around some of these bolts over here if we want to go like a very close up. We can add these around the bolts and maybe, like, move the bolts a little bit. And yeah, that is most like stuff. Maybe like, add some construction line somewhere. We'll see. So let's go ahead and continue with that in the next chapter, which we will start off with the timelaps. But because it will not take very long after we've done our timelaps we will just go ahead and continue with the normal chapter. 49. 48 Creating Our Branding Part1: Okay, so we are now done with over here, adding all of the little screws and the dents around the bolts and everything. Although they are not perfect in some locations, This is mostly just because of, like, the nanite as you can see of or it's like a shadow problem, as you can see. These shadow problems, we can often just fix simply by whoops I accidentally double click by selecting all of our planes because right now they seem to still read shadows. So select all of your planes and then go in lighting and then turn off things like cast shadow. And hopefully, or like the bolts. It might be that it's just like the bolts. It's not too noticeable. It's one of those again, one of those problems that fact distance field lighting, maybe. Yeah, I think it's just one of the bolts. So that is a little bit annoying. But unfortunately, I would not know exactly how to fix it. Well, I can test. If I press height. You see? It's a bolt. It seems that for some reason with such small pieces, they look at that. So that's like small stuff that I will have a look at of camera to see if I can fix it, because this entire system is new. There is almost no documentation on it. So it's, of course, a little bit tricky for me for Wi SmartPms to just go to Google and figure out exactly what happens. I need to figure it all out myself. But that's why I'm the tutor. But it does mean that I sometimes need some time. In any case, let me just stop rambling. We are going to finally get started with the advertisements. So if we have a look, this window is really large, let me just skirt it down. If we have a look, I'm going to go ahead and I will make two long advertisements. I will make one that's just like a map or something like that. One that's maybe a bit different. I know that I have not yet placed these, but one that's maybe a little bit different and one that is just like location. Next is, we also have a bunch of stickers, just like, please don't smoke and all that kind of stuff. So there's a lot of stuff that we need to create. For this, we're going to go ahead and we are going to open up Photoshop here we go. And I have created a 40 96 by 40 96 map. So with this stuff, we need to have a quick look, and we know that this stuff over here, it is quite tall. So knowing that, yeah, we can, of course, just make it fit in here. But what we will do is I am just going to guess mostly, but let's say that one of these over here, if we have a look, just roughly guess, like the size and, like, the length, but there's only so much length we can have. So one of these will be an advertisement. So I'm almost going to create like little blocks of advertisements. Art like a solid color that we will make black over here. Sorry, I should do this slow because we've not covered photoshop that much. Go down here to Little Circle and press solid color. And then what you want to do is you just want to go to your move tool, Alt Shift, duplicate this out to this will be number two. Then we're going to go ahead and we are also going to create one of these. So let's go ahead and sorry sometimes extently move around here. Solar block like this, one is a map. One is another advertisement, but it will be roughly the same advertisement. And then over here, we will have room for the no smoking and everything like that. Oh, wait. Let's do one that is like here, so like in there, we will have silence, no smoking, all that stuff. Okay, so if we do one of these, I'm guessing that if we just place that one down here, roughly like this. There we go. Like that is division, and then all the rest of the white space we will do for, like, stickers, which we will most likely download online. So we have this stuff, what I have in mind. So, of course, the tricky thing for me, at least, but also for you guys, because you guys should also learn this is we are not allowed to use actual advertisement like this. We cannot just throw on, like, Coca Cola logos and everything because it's copyright infringement. There is copyright on this. Now, often if you are making, like, a personal project or something like that, although I would recommend you stay away from it, they probably would not mind. However, for me, for example, I am selling this cure, and I'm using their branding, if I would do that, they would mind. They would be very angry about it and they could like, send me seeds of desist and everything like that, so they could actually take legal action. Because of this, I need to make stuff up. I'm going to make one up because I can just use the topic. I had in mind to make one up that is just like a TV show or something like that. And one of them is going to be like flight. Another one is going to be like a map, and another one is I just make something random. So let's get started with the TV show, for example. What we can do is I have a few tabs over here. We can actually use some cool twigs. So if we go ahead and go in here, we can get started by, let's turn off all of these. Create a new folder down here and just call it Advert the score. A. And with this one, let's just use this black color as a base. I'm going to get started with just doing like a bluish color. Over here. And I'm just making this stuff up as I go along, and then maybe do something with very thin white lines a little bit like you can see. What you can do is you can go down here to your selection tool. I think we've used that one before. And we are simply going to first of all, place a line all the way across like this and then simply hold Control Alt and then click oh, sorry, Control Shift Alt, and then click away on your mask. That will basically cut out anything outside of this mask. I can then go in and give this like a solid color, and then I can hold Alt Shift using my move tool. Do something like this, select them and do like a merge layers. And now we can still doesn't seem to detect. Let's try it again, merge layers. And now we can just go ahead and give it a few of these wiltin lines over here. Like that. Once we've done that, go ahead and merge lays again and just make this in the opasi down here. Make this very thin, something like that. So it's just going to be a very subtle effect that is in the background. Almost like a rendering effect. Okay, once we've done that, let's get started. And if we go ahead and go to YouTube, YouTube Com and go to the website This person does not exist.com. You can actually generate AI faces. The cool thing about this is because they technically do not exist. Well, actually, this one is perfect. Because they do not exist, we can actually just use these copyright free. So with this, what we can do is, let's say that we have this phase over here. This phase is actually quite good. We can, for example, then go ahead and we can go in here and we can just make a screenshot of this. And with that screenshot done, we can go into Photoshop and we can, for example, import this screenshot in here. I can then go ahead and I can set this to the side, for example. I know it might look a little bit strange, but I can set this to the side. Let's do something like this. And then maybe what I will do is I will go ahead and here, move this into your Ad A, right click and press Rest Rise layer. This way, we can edit the layer. And if you go down here, you have a magic one tool and you can use this magic One tool to basically just get rid of all of these little bits over here that are in the background. Or what you can do is you can go in and you can go ahead and go to your Quick Selection tool. And this way you can also just try, add some selections like this, and then it will often just out or detect for you. It does not need to be super precise. What I'm going to do is I'm just going to basically try and get rid of Here you can also use, sorry I go a bit quick, but there are so many tools of Photoshop, and this is not really Photoshop tutorial. The polygon lesser tool you can also use down here. See, even I'm not the best in Photoshop. This stuff is at my limits of what I can do with Photoshop, but it's good enough that if I have something like this, I can go ahead and I can, for example, right click on my layer with this person. Go to your blending options, and maybe give it like an outer glow or something like that. And in the column make the glow like black. Oh, wa, out or glow in black does not work, of course. In that case, maybe go for like a stroke. That does not. I was hoping that it would, like, do something interesting, but it does not. Let's see. Drop shadow. We have our inner shadow over here. Let's use drop shadow, sorry, drop shadow over here. And then we can, like, play around with paste and, like, a distance. Mm. Yeah, I still don't like that, to be honest. I don't know, from distance, I guess, it will look fine. I'll have to have a look around it. We can also, of course, do some painting in like adding a layer, placing the layer below it, and then just go to your brush with, like, a black brush over here, make it like soft, you can, of course, go in here and you can, like, Oh, do that. Let me just you know that's why again because I accidentally switched the color around. All right. Oh yeah, we can give it a little bit of, like, a black outline. Then I don't know if that will look nice if I do something like this. And if I then hold Control to select my mask, Control shift I to invert the mask and then delete. So now we only have this piece over here. And then if we tone down the opreste a little bit, there we go, something like that. And then we can just go for, like, some fancy text. I have an idea. Need to look up if there is no copyright on it. Okay, so there is none. So let's go for, like, some kind of, like, yellowish text over here. And I'm just going to press Capslog and I will call this that late night Um night show. I'm just thinking of how I should sort this. Actually, yeah, this could work. If I just place the head, let's move this up. If I place the head over here, more to the side. That late night show. Oops. And then for this text, we're going to go ahead and we're going to do some blending options. And let's see, that late night show, what can we do with this stroke? It's maybe like black. Maybe you can do something like an inner glow and make this glow like even more yellow. You'll see that gives a flair effect, like, Oh, look at that. That late night show, honestly, I'm not a graphics designer, so just so you know that, let's go back to blending options, maybe do something like a drop shadow and just, like, set the distance a bit lower. Here that late night show, and then you can also play around your angle to set like a little bit at an angle. So that late night show and then we do like let's see, Wit can I use a name? With some random dude. There you go. That's his name. Like night showing that maybe, like, make this a bit smaller with some random dude. And then I can do, like, it's like, I don't know, select it again. Air date, select this and make this like white. So we can do like air date. And with this white, we can turn off the, you know, glow. So that's do ir date, and then maybe double click on your effects and it will open the effect. In the drop shadow, you set the distance a bit less and maybe set the size like a little bit less to make it a bit sharper. And we can just do, so here we go. We have air date. And then we can do, like, every Friday at 600 pm. And then we can maybe, like, make this a little bit smaller. Honestly, I'm just making this up as I go along. I've not even done, practice runs before this, to be honest, because I felt like I don't know, just wanted to get it done. So that late night show with some random dude, maybe make the dark text a little bit lower over here. I don't know. Is there something in here that I can, like, use John Oliver. Cool. So let's see. What else can I do? So that late night show with some random dude I don't feel like maybe like a gradient. Maybe there's something like a gradient that we can do. So let's go ahead and go down here and then you can use your gradient tool and your green tool, you can set a color if you want. But I think in our case, if we go ahead and let's try, first of all, just do a basic gradient, go up here and just click on the first one. And then if you create a layer, you should be able to click and drag on like a gradient like this. Okay? Maybe the other way around, click and drag on like this. And with this gradient, if you just hold control on your mask and then apply an art layer mask over here. So I'm just thinking of maybe I need to select my actual gradient, and I just turned off this little log button. Turning off this log button basically means that it will not affect the mask. And then if I select just my selection box, right click into a free transform, I can go ahead and I can just move this up, and I was hoping that it would give me a better effect, but maybe not. Let's do something like this. And then let's go ahead and just go like our overlays. And if you just click on it once and then use your skull wheel, it can give you some overlays that you can just swap between. So it can give you some general idea, like soft light. I don't know, maybe I will also try out. I'm just going to turn this one off. And I also I'm going to add a new layer, go to gradient, and I'm going to see if we can go from maybe like a dark gold color over here to like a white yellow color. Here, see? So you got, something like that. Let's select our mask. I believe that if we select a mask, it will register already. Yeah, like here. Okay, so we got, something like this. And then if we go ahead and, like, tone this down, um, Okay, that one. Also I don't like like a mask again. It's twy again. It's this time Twi going to white instead we go for actually let's make like a more appealing color so like like a bit of a dark yellow, orange color like that. Okay. Go ahead and create a new layer. Let's twy that again. Yeah, maybe something like that works, and then just tone down your paste. Mmm. Maybe if we set this to like a color overlay, let's see, I'm just using my skull wheel. Yeah, we can always use this as a multiplier also if needed. Oh. Color burns also look quite interesting. But let's just quickly scroll through. Lighter color. No. Soft light, maybe. Yeah, and don't think anything else is really working. Oh, there's actually saturation. Ironically, even though it's not our colors. So let's see, saturation or a linear burn. I think saturation actually coincidentally. Yeah, just adds like that extra bit. So let's just delete the old one. Let's use saturation, and we can just use, like, our basically our Pasi to still give some color. So let's just say something like that. That should work. Maybe the face is a little bit too perfect. So I don't know if we can, like, add some grain to this. So let's see which one is the face? It's this one. It probably won't work. Filter, noise. Art noise. Here we go. Let's get rid of that line over here that is still leftover. Just select it and press the lead. Okay, and then maybe on the outsides, if I just go ahead and select this I'm going to go ahead and add a solid color that is black. Place it below it. Actually, you know what? It's not going to be black. It's just going to be the color of this noise. I know. I just feel like that noise does add something. But what I'm going to do now is I just need to go in, and I have like this black color over here. I'm just going to grab a simple soft brush. And I just want to go with my white sorry, my black collar. Which one are you? Over here, the guy, yes. And let's go ahead and add a white layer to this guy that now I can just, like, paint this out. And up close, the noise does not look very good, but from a distance, it does. So I might actually have broken everything a little bit. But basically, I'm now just going to go ahead and just paint out some of those really strong highlights. And I just count on it that you're not going to go so ultra up close that you will be able to really see, like, all of my mistakes because, of course, this is something that I could spend hours on. That's literally what the guys that make these advertisements do. They probably spent hours and hours on getting the perfect design. And here I am doing it in, like, a few minutes. So, of course, you cannot expect it to be just as good. But basically, once we have done this, here, we already spent 20 minutes on it. What we can do is I can do, like the second advertisement, and then the rest of the advertisements I will probably do like a time laps. So let's say that we got like this one. Here we go. AdVO. We can just turn it on and off. Now we have ADF two. Let's go ahead and grab like a folder, call it AdVorT two. And now, this one should be a little bit easier. What I was thinking of is like a travel agency. And the reason I think of that is because you often I have another website. Travel is something that you can find a lot of royalty free images from that you can use wherever you want. I use a website called on unsplash.com that I found online that has this, and I can go, for example, plane. And like this, I can go, for example, or I can do travel. And then I can find royalty free images that I can just go ahead and here, this one is also, let's just double click on it so that we save it. But this stuff is great if we just want to get a quick image. This stuff is also great. Like visit whatever this is Dubai or something like that. Yeah, this is Dubai because of the background. Visit Dubai now for cheap prices, that kind of stuff. Let's do play again. So let's see. Let's get that one. I'm not sure. Like, if I zoom that one in maybe, that one could work. And just like that, we can just go for or we can follow your dreams, become a millionaire, and just show something like that. It's just random stuff like this one. It's just random stuff like that. I need to be careful because, of course, planes also have copyright on them. So like this stuff, it does not have maybe over here, it's like a tiny bit of copyright pieces, but for the rest, it doesn't have a lot. Planes do have copyright. This kind of stuff, for example, great because it doesn't have copyright, but you should be able to just download for free over here. No fuss, no sign up. You can just go ahead and you will have to download. And if we just go ahead and do this one also, let's see in this one, this one, it has too many logos. I don't trust it. But now if I move this over here, I can go in and I can, for example, grab my first one. And what I can do is I can now, for example, just select our layer and just add over here, the layer object to add it, and then turn off the log. Because this way, I can just right click and press Free Transform, and I can, for example, go in here and I can see like, Okay, so over here with our format, we don't really have enough space for this one. So we can try number two. Can go in here. Number two, if I go in and zoom in, it does not look like it has enough resolution. We can once again select a layer, add it, turn off the little lock and just delete the odd layer. But I think oh, sorry, I miss clicked, select this free transform. I think I do not have enough resolution for this stuff because it would have been great if I did like a plain like this. Yeah, see, simply I don't have enough resolution for that. Number three, please work. And else I need to find another one. Then we are going to go for, like, more Let's say this is a New York subway, maybe something with Wall Street, like Learn to invest. So if we tone this down, maybe it will just fit yeah, you know what? This one could actually work. So we got this one. It feels a little bit blown out over here. So if we right click rest rise layer, we can always also adjust the image. We can go to image adjustments, levels or brightness and everything. And we can try and give it a bit more contrast, maybe make the entire image a little bit darker just so that you can see the outlines over here. Le like maybe like tone down contrast bit something like this. So it just makes it a bit darker. And then we can go. Let's see. So of course, I don't really have any reference for this. Maybe if I just steal my, click on the If you go up here to Outer Select, you can click and drag and you can just quickly grab your text and you can reuse that. So if we throw this into the Ed for two folder, we can go in here and we can say, like, Okay, this becomes white. Um, maybe, like, I don't know, need a private plane. Let's see, need a private plane. Where? Need a private plane. Okay? So let's say we have need a private plane. Let's right click and do a blending option. Let's turn off our inner glow. Our shadow, we can set the size bit sharper because it feels like a bit more and the distance lower, feels a bit more of a sharper thing. And okay, so let's say we have this. Need a private plane. Let's select it and just mess around with some colors if needed. So we can go for the color and we can see if there's a color that might be interesting to use. Most of these colors, they feel very like in advertisement, you want to keep your colors very minimalist. So let's just keep it white. Need a private plane. Go to and I just need to once again for my copyright, private plane.com. Let's see what kind of website that is. Yeah, okay, so that is an actual website. Okay, I found one. So go to my private plane.com. Right click because that website does not exist. So go to my Alright, I will make it like a long text. Go to private plane.com, and be fast on Track. That is just like a little wordplay because this tutorial is for Fast Track tutorials, so fast on Track seems like a fun thing to you. No. Yeah. I know it does not look amazing, but it's a tutorial. What do you want for me? I cannot spend that much time. And then I can also maybe find something like online. Okay, so I found one. So I just went to studio talerbnds.com over here. And then, basically what you can do is you can give some information. So what I did is I typed in Travel. So yeah, I just went, let's leave. So enter your logo name. My private plane.com. And on my private yeah, dot com. And then I can say like, fast on track. I don't know. So fast on track. And then press like design. And then what you can do, so you go like services, next, travel just do normal travel and just next. I don't really care about much of this other stuff. Name based, just so that it is name based. And then I can go for, like, Okay, what do I want? I want to have, like, elegant. I want to have, like, maybe tar and maybe, like, masculine. Let's go ahead and go again. Just something that feels like it belongs with, like, high quality travel and something in those directions. So we can go ahead and we can just continue with this. And then over here, you get, like, a bunch of logos, so I can go like, my private plane, fast on track, maybe. And, actually, my private plane, that one also is quite nice. So let's go ahead and just grab this one, and because I did not went beyond this point, what I'm going to do is I'm going to take a screenshot of this because I don't know what will happen if I press love it, so let's have a look. Yeah, just like I expected. They ask you to do so much more stuff and everything, like, design your business brand and all that stuff. And I don't care about that. I just need a very quick logo. So that screenshot that I have taken. I can just quickly grab that and throw that in here because I literally just need, like, a tiny little logo like this. And then, let's get rid of the Fasten Track. I don't really like that. So if I just right click Rest rice layer. Let's get rid of that. And then I can just go ahead and I can do let's actually do like a select color range and just click on our white color over here, and then deselect by holding out our button. Let's see if we can just press delete there here, see? Like, I just need something that is super basic and super quick in here so that we have something else in the corner that adds a little bit of color. So there we go. So another one. Okay, at this point, we are way over time. Let's go ahead and save our scene and I will save for you into a folder called branding. So let's go ahead and press Save and do that. And now what I will be doing is we will actually also go to a website that's called texts.com over here. And this website, what you can often find is if you go to their library, this is all completely free. So at least you do need to make an account, but often you have over here, you have signs or something like that, and that often also has, like, warnings and stickers and everything, which would be great if you just like if we can find some of these signs, and else we just need to make them. But the reason I'm showing you this now is because I'm going to time labs the rest because this will take very long to create all of these branding. But here, you can also try airports. You can try like posters and stickers, and then you can try warning signs. And if you open it up, over here, you can, for example, hopefully find something in here that might be interesting. Like even we can literally just maybe find some interesting stuff for, like, a checking and everything. And else we'll just, like, make it by hand. So we got, like, this stuff. You also got, like, stickers, but those are mostly broken. And in here, we also have, like, some other stuff, and we can do, like, something with, like, trash, or we can do I don't know, like, just like random stuff. So we will also be having a look over there. What I'm going to do in the next chapter, the next chapter will be a time labs, and you will just see me adding those extra bits of advertisements. For the bottom one, we will just go ahead and copy something like this. For one of these, I will go ahead and just find some random image online and just add some text. And for the second one, maybe I can find a nice school map or something like that, or maybe I can just repurpose one of these. And then those extra signs, those will just be adding layers and adding text. I hope that you have had a good overview. It's not perfect, but it looks quite fun. So let's go ahead and continue with this in the next chapter. 50. 49 Creating Our Branding Part2 Timelapse: Okay, so I kicked in the time laps for our branding. And branding, it's not too difficult what we're going to do. Over here, I'm just organizing my folders and just making sure the naming is correct. And I'm going to go to that website and I'm downloading the buy one that we found over here would like to travel. Just because it's perf, it's a really good one to just use and so generic, which is great for what we are trying to use. I'm just messing around with the scale, seeing whatever works. And once that is done, we're just going to add some text. Now, for this, I am going to change my font because I want to go something a little bit more stylistic. So I select my text, and I simply use my scroll wheel on my font to find, like, a text that I like. And I quite like this one. It just feels very, like, it just feels kind of, like, cool, like expensive and premium and stuff like that. For the text, I'm just messing around with it. Want to go to thinking off and I'm just messing around, basically what kind of text will work? Because yeah, when I'm doing this in Tips, I have the time to really just think about it. So I just went for a basic one travel to Dubai, and I'm just using my free transform to play around with the scaling. And then I'm just moving it down there and then just book now. I'm not giving it any names because then I would need to come up with the branding for a travel agency. And FRs, just in our layer styles we are just going to go for, like, a simple drop shadow and a stroke make the drop shadow a little bit sharp because everything in this image is quite sharp, so you can see me doing that here, and that's about it. So it is nice and basic. And then down there, I just went for a little bit of, like, a different font. And that's it for that one. Now, over here, I went ahead and I just tried to find a subway map. In the end, I realized that public maps on New York and everything, those are actually copyright free, so we are allowed to use those. So I went to Google and I just tried to find a metro line and just finding a basic one that we can use. I set my settings to only display large images, and I end up just getting this file. And that's about it. So the subway map because already has everything in it, we didn't really have to do much for it. So we can just go ahead and grab this in here. A mask and maybe playout a little bit more with our levels just to make it a little bit less dark. And just like that, we can very easily do that. This one is just text. It is make the background color, not as black. So like a little bit less black. And then for rest, we are just going to add some text and just the number one. And I made up I did like 21st Street, and I just made it up. I have no idea if I'm sure that that street exists. I have no idea if there's a metro station in that street in Manhattan. But over here, I just went ahead and I went for a more basic font like an Arial font, and mostly the reason I did that is because it just felt logical. Like the people that made this, they probably well, they are graphic designers, but it's more about conveying information. It's less about catching your eye. It's more about here is the street done. And then, so that's what I did with this. And also, have a look how I play around with my capital letters and with my small letters. Everything else up until this point was capital letters. However, if you look at your reference, this one is more accurate, like the grammar is more accurate. Now, over here, I went for a selection mode that is a circle. You can just click and hold on your selection mode to switch it to a circle. I gave it the basic color, and then I just added like a big one in it, and that's literally all I did. And once I've done that, I want to add something extra to this. And what I often can remember seeing is that it has some general information that is in We small text in the bottom. So I went ahead and I did that, too. I just went for some very small text, and I just switched my mode. And I just did like some basic information. Like, need some travel advice, go to Wiwwww dotnctravel.com. I don't know if the website exists. It's just like a basic website because it's so small. And it's just something to have like nicely in the corner over there. So now that we've done this, now what we need to do is we need to go over the process of basically, well, first of all, actually, I almost forgot because I'm doing this after. I just added like some more darkening to the first one. And I did that simply by just grabbing a brush, setting it to black, and adding a layer. And I just tried to get like a gradient effect, and it's just me messing around. I didn't like the gradient effect in the center, so I end up going for the gradient effect, like, from the person and then, like, kind of pushing out, and then just mess around with your opacity. And yeah, it just added like a little bit extra to this. So I quite like that. Okay, so once that is done and I did, like, some general balancing and everything like that, we are going to move on to, like, all of those like the warnings the warning signs at texts like no smoking, don't go against the doors, all that stuff. And for that stuff, you just really need to look at your reference. So here you get, like, the please don't smoke. I try to have a look, but I quite quickly found out that it's quicker for me to just simply make it all from scratch. I got distracted by that because it was metro. Yeah, I went ahead and I did have a look over here, and I did type in no smoking, and I did find one, so that's pretty good. So we can use that one. But for the rest, we are just going to go ahead and make everything from scratch. So we're going to create a new folder and just got like stickers or something like that. And these ones are a little bit more flexible in terms of, like, the scaling. So I just give it like a base background. And if I look at my reference, there's almost always like a white line sitting across the top. I go ahead and just give it some text, and I just try to mimic the font of the text with the same font as that we have in our reference once again. And over here, I was getting a little bit annoyed that this massive window while sitting next was overlaying on my text. So I just moved my window around, so now I can see my text actually changing whenever I use my arrow keys to switch between them. And I wanted to go for something that was a little bit round in some cases. So yeah, here, I just went for this one, and then I just turned off my Caps lock, so I made it like, please, and just like a normal text, sort of, something like that. And what you can see with that small little window over there, that window is your text settings window. You can find it at the top bar. It's like a little folder button, and you can find that. Now, I tried to add some more stuff, so I tried to add this one, but in the end, I did not like it. So I end up just changing my sign to not have three buttons, but to just be about smoking. So over here, I tried to cut this out, and, yeah, it just didn't really look as nice as I was hoping it to look, especially because of the reflections and it's like a very different one. So I noted that quite quickly. So you can pretty much just ignore what I'm doing over here. I still want to keep it in because I went to image adjustments and replace color, which is a pretty cool one. If you like, very quickly, you want to just go and replace some colors like that. You can quickly change a plain color, but I did not like it, so I removed it. I went ahead and I just went for, like, a bigger smoke sign like this, and that end up just working just fine. And then I cut away the bottom just to make it a little bit smaller. So at this point, making some smart changes, but for the rest, I'm just moving on to all of the other smaller signs. Like, do not lean on the door. And above that, there is a do not hold the door open. So I went ahead and I used my original fill layers to add those white stripes and to add those black stripes like this. And for the rest, it's all just text. All of this stuff ended up just being simple text with a black and white line. And that is about it. So it was not too special, so there isn't much to say here. One thing that was really nice is that on text.com, I happened to find exactly the warning icon. That is used for this. So that is really nice. So you will see me doing that soon because, of course, it's a very specific one. So I went ahead and I just scrolled through my warning signs, and here we go. Do not lean on door. I literally found it. So that was like the actual text. However, the actual sticker itself did not fit in the style that we are going to go for. So because of that, I went ahead and I only used, like this little button over here. One thing to keep in mind is that, of course, the background of that button is of that sticker, it is too black or too dark. So you can use your levels, and simply in your levels, just push the black slider more towards the what is it left or right towards the right, yes, move your black slider a little bit more towards the right. Ignore what I'm doing now. Here you can see, see? And then it just kind of matches the color. And that is good enough for something like that. I'm just cutting away, like, the very end because it was a little bit too long. And I went on to my next one, which is do not hold doors. And for that one, it's pretty much the same thing. So we pretty much make the same thing art the black background, art the white line, art the text. And we can this time just copy over the text. And then for the warning sign, I place a warning sign on both sides and you will see me using what I'm going to use inside of you will see me using it quite soon. I'm sure I found it in here somewhere. So this one over here, which is like you are getting crushed. That's what it looks like. And then I just grabbed over here that do not lean because I wanted to just use the red stuff. So I grabbed it. I quickly selected my magic one, like the red area around it, and then I just inverted it and just deleted everything else. And then I'm just going to repurpose this one by cutting that one out. Over here just by removing everything around it. And then I'm going to go into my levels. Now, I try to adjust my levels, but it was still color. So first go into and saturation, set your saturation all the way down, and then you can use your levels to basically make it black and white. And then you can kind of just place it in here. And although you don't have a lot of resolution, now it's just a matter of using your brush to simply paint in white in the rest. And that already does more than enough for a small sticker like this, see. So from a distance, it will look totally fine. So I'm then just merging that together and placing that on the other side, and once again, cutting off the extended ends that we do not need to use. So for rest, it's just again, a few more smart things, priority seating, some numbers. So that's what you will see me doing here. Over here, I go to select, modify, and smooth. And what that will do is if you sell it to like ten pixels, it will give you some round corners. And that looks quite nice. And for the rest, I just random numbers. It does not really matter the numbers. It's just something that I can add to just add a visual interest to our scene. I then went ahead and I did the priority seating one, which as you can see over here, it's pretty much the same basic concept. And it's just a bunch of texts. Priority seating, and then there's another text that is below it that is a little bit smaller. And then later we can just cut off whatever we have still leftover for persons with disabilities, that's just how it looks in the reference. And I'm just making that a little bit smaller, moving down a little bit, and then cutting away all of that extra bits that I do not need. Now, I went ahead and I just looked at, like, is there anything else that I can find? And in the end, I just found some extra text over there at the top, and that's the last thing that I added, just to get one extra variation next to this. And once again, like smooth. So this is the same way as that you made the nine. So I just went ahead and I typed something in 369. I don't know what it means. It just first number that came up into my head. And that is about it. So let's now go ahead and continue to the real time where we go ahead and I will show you how it actually plays all of this stuff together in our environment. 51. 50 Creating Our Branding Part3: Okay, so we are finally done with our branding over here. Now, what we're going to do is we're going to go ahead and go into Maya and we are actually going to use this. Oh, wait. It would be nice if I also save it as a TGA, in that case. Let's do a saves. And do TJ, they do accept PSD, but PSD is a really large file. So just call this branding underscore, A, for example, and press Save. Okay, perfect. So we got quite a few bits of branding, so that should be fine. Now, as I said before, because of Nante we are not able to just stick these on our meshes. That's what you normally do. So that's a little bit unfortunate, but it's not the end of the world. It just means that we need to do a little bit more work for this. So I'm going to get started by going ahead and creating a new layer, and I will call this layer branding. And then if we just turn of our Atlas layer, now what we can do is in here, we can get started by Act, it's sort of the same except for the overhead branding. So if we go ahead and just press F and zoom in on this, don't know why it feels so small, let's turn on our top advertisement. Something is happening here. 1 second. This stuff needs to go back into Atlas. Our advertisement. Oh, I'm in isolate mode. That's it. Sorry, I was in isolate mode. Okay, so then based upon this, I know that I can actually go quite a bit bigger like this. And having this piece, let's go ahead and just get rid of our segment over here. And let's just move it up a little bit so that's above our grid. Now we can go ahead and just assign a favorite material, once again, call this branding. And this one comes in two ways in most of them because we also have plastic in front of it, so just keep that in mind. So we are going to add this file. So this is like the first way. Let me just navigate. No, that's the wong folder over here. Let me just navigate to this one. So that we'll add our file over here. That's all good. Actually, it's too difficult to see, so let's just turn this back into, like, a white background. Here we go. File, Save as. TGA, and let's save it. And most of this stuff, it is very easy. It's just us cutting stuff out. If you go to color, you can pass reload, and that we just reload the file, and now we can just get started. So I try to keep everything fairly much on one line. I do want to cut it out just in front of it over here because that way we avoid the risk of having white line sitting across it. But it seems like that over here, it's doing a pretty good job with being aligned, see? So it's nicely aligned. Even the Dubai folder is nicely aligned, which I think actually end up quite well. Of course, all the credit goes to the guy that made the picture because all I did just add some extra text. But at least, I feel like this will add a lot to our scene. So I think it is really good that we spent the time. Also, like these pieces also went really well. So I'm quite happy about that. Let's do one here, one here. Then later on we can just get rid of all the extra lines I have created. Or what you can do is you can temporarily wait with all of the small ones and just first of all, cut out the larger ones. What I can do is I can, for example, place these, and then I can say, Okay, first of all, I want to go ahead and Shift click, extract those faces. Extract these ones. This one. And this one over here. Now what I can do is I can go in here and I can start adding more eedges because now these edges, they will just not conti over. And this is also why I gave it some space around here. So now I can also grab this one over here, extract faces. So we got that one and now it's just a matter of going in here and doing all of these really small ones. For which I just need to kind of zoom in. And I was also lucky to find exactly this one specific look on text.com. So that was really nice that I got that one. Priority seat. Oh, no, wait. Sorry, this is the do not hold doors. Then we have some numbers. For numbers, because we have a mask, I can go ahead and I can cut out a little bit. So I'm just going to actually. So for numbers, we are going to rely mostly on the mask. Actually, do we need to? Let's have a look. If we have all of this stuff, we don't need a mask if we are going to cut it out like this, that would just be overkill because you can use a mask to make an effect that is, like, torn off and that's, like, ripped and everything. And we can always do that later on. But for now, that would just be extra work for me to also convert it to a mask. So I just want to make it extra simple. So what I'm going to do is I'm going to go ahead and I'm going to leave. Let's leave these for now. Let's first of all, go ahead and just extract these pieces over here. Here we go extract faces. And then what we can do is later on we can just add some geometry to those other ones. Extract faces. Yeah, then placement is going to once again be a little bit time consuming most likely for most of these, but well, it doesn't matter too much. Here we go. Now that all we have left is these piece over here. For these pieces, what you can do is you can try and get rid of press control backspace. You can try and use the atl. So the catol it will try to already connect. But then, technically, it often allows you to also place in empty pass it allows you to play some loops like this, which in this specific case, that they are not connected, doesn't matter too much. We can just connect them later on. Let's see. I don't think, it's not registering. That is too bad. It does not register. Unfortunately, so sometimes it works, sometimes it does not work. In that case, here, let's get rid of this line. In that case, what we're going to do is old school. 1 second. Let's get rid of this one. And that is Oh, God. I just completely broke my loops now, didn't I? There we go. What I was saying is we are going to place our loops like normal. Then you can try and do a Contra B on vertices and that will do it try like Java, but often it breaks your entire UVs, as you can see. So let's not do that. That's instead, I'm thinking too difficult about this. I should have just used a mask. But I don't know. Maybe I should have, but I can also do this. Just add a few extra edges like that because then if you just don't preserve UVs, you can, for example, push this one down. Keep this one here, move this one out, stuff like that. Here we go. Pretty much does the same thing. I might distort a little bit, but not too much or at least it should not be too much. Over here, we just want to push this out again. It is being quite sensitive against my manipulation compared to normal. Normally, it's not this sensitive against it. So that's a bit typical exactly when I'm going off script, it does that, oh. There we go. That should do the trick for something like this. Such a basic thing anyway and so small, so we can just do like an extract phases over here. And finally, we can go in here. I have preserve V still on. Push your stuff out. And let's go ahead and add some extra segments. And now we can just go in and move this. Wow, it's really need to start pushing everything back like that. It's really annoying. Like if I move it, it just keeps pushing back, back, back, see. And I don't like that. You can maybe twin out another segment next to it, and that sometimes does do the twig to just almost like fake as if it has enough support like that, C. So I guess that's one way you could do it. Okay, in any case, this one is now also Done, and that should be it, so we can extract this. And then all that we have left is just an empty shell, I believe. Yeah, see here, empty shell. Okay, so for these pieces over here, these ones will be slightly different because they will be in the overhead ones, so they will need to have some bending. So for now, just get rid of those segments. This one is fine, this one is fine. This one can also get rid of some of these random segments that we have. And then what our plan is. So for this one, it can actually get rid of a bunch of these. Our plan is to, first of all, fit them on the actual pieces to make sure that they fit correctly and they have the crag scaling. And after we've done that, we will just go ahead and just set them at 000 and export them to unreel. And in unreel, it will be the most easy shade or ever because all we need is a base color and maybe some roughness control. But we will also have a plastic layer sitting on top, so just keep that in mind. So we now got this stuff. Let's go ahead and reset our pivot and add everything back to branding. Let's save our scene. And let's just go ahead and let's test out the system right away with the most difficult one, which is we are going to add our top advertisement A over and then we simply go ahead and we can grab this piece. And now for top advertisement A, we can choose how we want to do this. So, let's grab this piece over here. Let's temporarily add it to, actually, no, we don't need to add it. Just like both of them, just isolate it. I was going to say add it to your top advertisement layer, but it's not needed. And then for this one, just go ahead and hold J and rotate is 90 degrees, we want to set the base. To pretty much fit in here like this. Oh, I did not leave a lot of space for myself, but okay. So we got this one over here. Now what I'm going to do is I'm going to once again re isolate because I'm going to go to snap to points and I'm going to snap my Vertz so I press Add a pivot, snap my pivot to this Vertz over here. And then if I go ahead and isolate these two again. Now, if I maybe go to IFrame, it might be easier to see, or maybe it's easier if you just go to like a side view because I'm going to scale this up until it hits the top over here. And then I noticed that it is way too small. That is a little bit unfortunate. Let's have a look. So if I grab this one and I move it over here, this one is just going to, like, fit. Oh, sorry, make sure to Let's Undo that make sure to preserve Vs turn off. So I moved it over here. Let's see, can I stretch this out and I can stretch it out up until this point before it starts to be very noticeable? Wow, is it really that long? I did not expect it to be this long. So that means that if I would need to scale it, I would need to scale it up until this point. It does mean it just means that we need to edit some stuff in our shape. But I'm just a little bit surprised that it was this much. So let's have a look. If we now go ahead and so we have this one, I'm going to go in and in our shape, over here, Ad for A. So all we need to do, Willie, is we need to go into Add A, and we can get started and then just need to switch back and forth. Okay, so the late show and everything, all of that stuff needs to go down. The late show night with some random dude, text can stay the same scale. This just needs to go down, so I just use my move t. I use my arrow buttons to move this down, and I'm basically going to move it to a point. And maybe, so this point, we can probably just use the PSD inside of Maya because I did not expect that I needed to do this much editing. So in our branding, just open up the image name and just open up the PSD instead over here. And then basically I'm moving this down so that I get like a baseline. So I move this down. I save. I go in here, I press reload. And now I have sort of like a baseline, maybe move it down a little bit more like this. Then what I can do is I can right click free transform and I can make it a little bit smaller. Then we have the airdate stuff. That stuff we can also go ahead and we can make a little bit smaller and maybe move it down a little bit more. Over here, we can save our scene. If we go Maya, we can reload here. So that's now a little bit smaller. The air date is still feeling a little bit large, so let's re transform. Tone this down a little bit. And then we have the guy over here, which is up until this point, right click free transform, and then just hold Shift and also move this one down. Let's see. So we got something like this. Now I need to move it to the side because else, it does not really look good. So let's do a free transform. Well, maybe what we can do is we can do like a cut effect where it's actually larger and his head just gets cut off on purpose. So it's almost like over here, it does not have an head like that. We can try that one out. Here, let's I miss clicked. Reload. Yeah, we can do that and then have the air date sitting in, like, the center. Over here. So we got these two. And the air data is just sitting over here. I know it looks a little bit strange, but as long as it fits in here, that should be fine because we will only be using this one over here. And then what we can do is we can go in and just add a very simple segment in between here and just cut the top off. See? So now we pretty much have this, and I can say, like, Okay, so the late show with some random dude, let's go ahead and let's tone that down a little bit more over here, just because it's a little bit close to the edge. Reload. There we go. Okay, finally. So once you've done that, piece, what you can do is we can go ahead and yeah, so there are multiple ways that we can bend this. We already know that. I'm just going to carefully bend this over here. And then I'm just going to go ahead and I'm going to, like, add a few more segments. So let's do let's divide this one up. And let's divide this one up even more. I wonder if we add three, if we press three on this, it will warp the text because that would make it instantly a little bit more. Yeah, even though we don't use nanite on a plane, it's so little that you probably won't even notice it. Instead of me just trying to do this by hand. If I just press three, yeah, I see here. I'm going to press three, and we will just use this technique. We now got this one, and the only thing is at the top, let's see. Oh, no, ah, that is fine. So we got that one, so that's all looking good. So having this piece ready to go, I cannot select it. There we go. Now what we need to do is we just need to go ahead and we need to basically hold shift and clone it just in front of it. And with this one, right click, assign favorite material, Lambert. And you can call this htrunScoPlastic. You can kind of like so right now it is clipping a little bit. So you can also often move it down, I guess, in this case. And what we're going to do for this is just in the transparency. We're just going to turn this on just so that we can actually see through it. So now we got these two pieces over here. Let's see if this actually works, and if it works totally fine, then what we can do is we can here's a top advertisement. Let's just export this. And if this works totally fine, then that's great. Then we can just quickly, change the UVs to the other one and use that technique. So let's get started by just having this one and just carefully place it in here. You can move it down a little bit more like this. And we can save a scene. And then all the other pieces, I will once again time up just me placing them because it's a bit boring stuff. So file export selection. We can call this top advert underscore A, and oh, sorry, I forgot to do one thing. I forgot to go to modify see here, let's do Shift D and just quickly throw this into our backup layer just because we are going to turn this into hipoly. But it's not that big of a hypoly Here I I do modify, convert, smooth mesh preview to polygons here you can see that it is not actually that hipoly. And then what you can do is those middle lines over here. They are technically not needed, so we can just press control backspace to get rid of them. Temporarily press height, do the same over here. Modify, convert smooth mesh preview to three D. It has a few segments, but it is a large asset, so I don't mind having this. You can, of course, remove every other one if you want. But in any case, now having this, we can now go ahead and we can file export selection Top advertisement A. Let's export this again. Save it. Okay, moment of truth. Let's go in here. Textis new folder called AdVRTS. This time, I am going to go ahead and go in here and I'm going to do a saves as a TGA file. Even though UnwLDs I believe, also support PSD, I just prefer TJ and I'm going to go ahead and I'm going to drag this in here. So we got our advertisements ready to go. Now, if we're going into our assets, we can start by importing our I'm just looking at it on my other screen. Top at A. Here we go. Turn off Nanite input. There we go. Let's go ahead and just use it here in the center one. So let's drag it in. Rotate at 180. Zoom in and just try and place it neatly together. We only need to place it once, then we can just copy it over. And then we need to place it once on the other side, also, I guess. But okay, so we got this stuff over here now ready to go. And now what we need to do is in our material. So we need to have two materials. One of them is going to be let's see, at first base. Yeah, let's do ad for base over here. Let's open it up because all this one is going to have is it is going to have in our AdVOds it's going to have the branding A. And honestly, we don't even need a material instance for this. All we need is a branding A, and we need a constant for roughness that we will make around 0.8 probably because we are going to have to shine from the one sitting behind it. So we basically just save this, and that's literally it. And then what we need is another one, and that one, we can call see through underscore plastic. This one, it would be nice to have in material instance. So for this one, we need a constant tree vector, and this is just a color. So let's set this to like a white color. Right click convert to perimeter and just call it base color. Of course, it had to out to save exactly when I was typing. Base color over here. Then in our base material, we are going to set the material type from surface. Oxy surface is fine, blending mode translucent, and the shading model should be fine. And just set the two sided just in case. And then for opacity, we are going to get a Oh, no, wait, sorry, translucent. I always forgot surface. Oh, wait here. Decor responds, Color no what? No, no, that's fine. Where is this located? Surface translucency volume. There we go. So translucency, lighting mode, surface translucency volume. Wow. I always forget where that is. In any case, we're going to have a scale perimeter, which you'll call roughness. And we're going to have another one that we'll call opacity. What's up with me mistyping? Opacity. So our roughness goes into our roughness and we can keep it shiny. And our opacity, we are going to set to probably 0.1, arts over here. Now, we most likely also want to add a normal map later on, just to give it a little bit more of a warping effect. But that is just going to be Perlin noise. So for now, this should be fine. So if we go in materials, we have our ctr plastic, and we can just create material and call this main advert plastic, for example. I mean, create material instance, of course. Luckily, you can also see what I'm doing, and I don't just have to tell you because I'm so bad at L for some reason, I just always managed to mistaken or forget to say one word or something. So we have our AdVord base and then we have our main C tro plastic command. Where are you? Main Ad ford plastic over here. And there we go. So now we have our advertisement, which is looking a little bit like he has a really big heat for some reason, but that's probably the warping. So if we go ahead and go over here, ironically, this one we cannot actually see because we have our camera angle at the wrong side. But at least it is working. I would say that my main at for plastic, I can just mess around with this a bit more to see if I can make this a little bit more shiny. So our roughness is set at zero, so that's fine. Maybe if I set my opacity a little bit like 0.3 or something like that, it will mostly just make it feel darker. But once we have a normp it should show up a little bit better. So we got this one. So now, for this stuff, it's just a matter of, like, over here, like, duplicating it, and then later on, just replacing it. So for now, I'm just going to duplicate this around here just to see how it exactly looks. And then we also have this small one that we have over there. For that one, I don't know. I guess that that's sort of like just fits that you won't really notice too much Yeah, you won't really notice that there is technically something wrong. I guess that will fit like that. But let's just go ahead and just give this a go. Also this one over here. And then in our next chapter, I will kick in the time laps. And what I will do is I will go ahead and make sure that all of the other pieces are here. I'm going to place them. I'm going to replace, first of all, another version of this with our flight, and we can take it from there. 52. 51 Placing Our Branding Timelapse: M. No. 53. 52 Adding For And Planning Final Polish: Okay, so we are done with the branding. And as you can see, it adds a lot to our scene. So over here, this is like our final we still have some flickering going on here and there, but let's ignore that. For the rest, yeah, just in general, it really adds a lot to your scene, just doing general branding and everything. Stuff like this, maybe I will go ahead and, like, sorry, I'm just going to send it back to 100. For small stuff like this, maybe it's nice if we just give, like, a little bit more space that from our angle, we can at least see all of it. But just in general, things are looking really well. So what am I going to do in this chapter? There was one thing I wanted to try out, and after that, I'm going to tell you what we're going to do in the time laps in the next chapter. So this will be only a few minutes long this chapter. What I wanted to try out is I wanted to add some fork to see if we can maybe, like, get it, showing up in back. Also, by the way, just let Oh, that's probably the reflection that makes it feel so light over there. So if you go to create visual effects and go for your exponential height fog over here, you get this one. So you can see it adds a little bit of well, fog mist kind of light. And what I want to do is I want to try and see if I can use the volumetric function for this to see if I can almost make the air feel a little bit dirty. So I'm going to go and set my color. For now to white, my idea is that I go down to volumetric fog, and if I turn that on, it will react to the lighting. So when I turn this on and then go back up and set the density to start with one, then you can see here. So you can make it really, really intense. But if I go for, let's say, 0.5, and then I scroll all the way down, and then in your bido of your volumetric fog, you can go down here and you can kind of like, you can you can also make it even darker, actually. So this volumetric function, you can make it slightly darker. But what I have in mind is that I make it a little bit like this. And then, for example, if you just turn on off here see. It's a soble effect, but it also makes everything feel a little bit smoother, and it just makes it feel like there are some distance going on. Okay, so we have this stuff, so that's pretty good. I think the last thing that I want to do is the Dubai poster. I think I want to just make it a little bit brighter. But we can just do that in here. We can just go to the Dubai one, which is this one over here. And if we just select the image, right click restise the layer, and then go to image adjustments and brightness and just push it out a little bit more. This will just make everything a bit brighter, and then for the rest, I can do some balancing later on. And that's what I want to talk to you about now. So off camera, I made a list of stuff I want to do. So let me just quickly finish this off by going to AdvertsR click and reimport. You see, makes it stand out a bit more. Okay, so I've created a list of the stuff that I wanted to do, and after that, I'm also going to do some general polish. The way that I create this list is I just went over my reference and just had a look and see what I wanted to do and whatnot. So my list, one of them we've just done, which is adding the fog, I'm going to texture all of these really small assets, and this will all be done in timeless, by the way. I'm going to texture these small assets over here. I'm going to go ahead and just add one extra bit of branding here in the top over here. I'm going to go ahead and turn off all the shadows for these brandings just by scrolling down and turning off cast shadows all of them. I'm going to add a normal map to our plastic that is just like pearling noise that is stretched out a little bit, just to give it a little bit more. General improvement to reflections, I'm going to do. It's stuff like over here. Reflections are really strong. So I just want to, like, balance everything out a little bit more. The doors are great now. The doors are really nice. I'm going to make the poles a little bit thicker, I think. And with that, I mean, over here, if you go to scaling, it's like making like the thick in the sea just to make them stand out a little bit more and not make them as thin. I'm going to go ahead and add yellow hanging hand grips that you can hang over here on the side. And they are just like those like the rubber straps, basically that you just hang there. I'm going to add the light that we've added here, I just need the artists do the back wall because having my camera in such a dark area actually affects how the rest looks. I'm going to duplicate the entire environment, and I'm going to go ahead and remove this window and then continue this environment on. And the reason I want to do that is I want to hopefully give it the effect that there's more depth in here. This might give us conflict with our fork, but we will see how it goes. I want to go ahead and make the window frame metal brighter and stand a bit more out. That is this frame over here and also make it stand out more compared to the home that we have over here. Just in general, I want to do improvements to the bare metal material. Maybe I'm going to add some graffiti branding, which is it's roughly the same as what we have over here. Only then we will use a mask. I want to go ahead and improve the Oh, yeah, improve the dull metal. And for the rest, just do some general polish, improve things, and just see where I can improve everything in general. So it is quite a list, but most of the things are quite small on the list. So that's the stuff that we will be doing in real time, or in time laps. Because we are doing this in the time laps, I consider this pretty much already my outtro. So we will do those things. They are just general polish. I will not really cover techniques that we have not covered before. And as always, I will also have this in real time in a separate folder, only without the audio. Depending on how long it takes, I might narrate this or not. And just in general, so far, already, the scene is looking really good. So we got already really nice looking scene. So let's just push it that last extra mile just to make sure that everything is perfect. Also, one thing I forgot to add to it is that I'm going to make this line a little bit thinner. Yeah, all that stuff, it's really fiddly. It takes long sometimes, like just doing the small pulging because it's back and forth, back and forth, nonstop. It can take you like an hour or something. But in general, if we fly around here, especially at the higher resolutions, I feel like we have done a really good job here. Just press G, and you can see, I have a lot of programs open right. Just in general, we've done a really good job to capture that grimy look while still having some color differences and still have, this really nice quality that we have for these types of things that just even up close, we still have nice quality going on S. Here we can go up close. We still have some bolts. We have some scratches. We have all those small little details just ready to go. So let's continue with the final push in our next chapter. 54. 53 Final Polish Timelapse: Okay, welcome to the final chapter. So this chapter, we will be jumping back and forth between a lot of things because we are just going to do final polish. I'm going to get started by grabbing all of our small pieces over here, and what I'm going to do is I'm going to move them temporarily away from each other. This is so that I actually can see what I'm doing when I'm going to texture this stuff. So later on, I just don't save my scene. I just basically close Maya or I close or I reload the scene after I've done the exports that it is all back to normal. See? Now we go, and now we are back in normal. But at least now we have something that we can throw into substance painter, which we are going to do here. And making this texture, it is very similar to making the texture for our chair. It's pretty much the same thing as that we only did for the metal part of the chair because all of these pieces are metal. So we bake some maps. We throw on a metallic looking like a smart material or something like that, and I'm just messing around, seeing which one I like. And once we've done that, we are just going to go ahead and just play around a little bit more with the material properties. Add a black mask and then move on to the next one, which is going to be like plastic. So that's for the overhead, the speaker. We just need some beige looking plastic over here like that. Add a black mask, and then finally just some red for which we are going to go ahead and we are going to add an emissive map in our channels. And then we can just go ahead and we can basically just throw on an emissive all in our color, and that's it, just that we have something there that looks like an emissive light. Now it's just a matter of using our polygon fill to select these pieces, and then it's just going to be a matter of balancing everything out. That's literally it. On our bolts, what we're later on going to do. So for now, we are just going to paint in that colours in light. And then for our bolts, we are going to use the same technique as how we created our Atlas version to just give it some depth. But you will see me doing that right after this. Over here, I'm just doing some simple selections using a hard brush just to paint in some of the lights, remember, I'm holding shift for this. And then it's just a matter of adding this quickly selecting that last bolt that I forgot. And now just add a fill layer that just has the height map selected that goes downwards, and then we can just simply go in and we can use our brush to basically click one until you can see the outline, see? So you can see me just messing around with the correct brush size to do this. And then it's just a matter of placing it and then going to your polygon fill and deselecting, setting your polygon fill to black and then deselecting your bolts that they do not are included in the height map. Next to this, duplicate your normal map bump, and this time, use a paraboil Alpha and simply place this on top. And then we can create a little bit of the bolt types that you can see here. And I'm just placing these just to add, once again, a little bit more interest to our scene. Over here. So Easy does it. It's not too special. I'm just making sure that all of them are nicely placed together, and maybe like here, have some smaller ones like that, just so that they are somehow being bolded against the ceiling. And that's about it. The rest is some random balance. We can go ahead and we can start by exporting everything to NVL engine. Unreal engine, we just need to quickly add the amissive to our unique master and just also add a quick switch where we can just turn on and off if we want to have a mask to change the colors, but you will see me doing all of that later on. So I got my maps. I can just quickly go into UnwelEngine over here. Add all of my textures, open up my unique master, and over here, we can already, assign all of our texture maps. So I'm just creating a material instance. I forgot that I also had to export my ambient occlusion, which I'm just going to drag in here. And now we can just quickly, drag all of this stuff in and edit our actual master material to make sure that everything fits. So if we go into our mask material, first things first is just adding static switch parameter so that we can switch between having our chair color or not having our hair color, and then adding another static switch parameter, and this one is going to be for he emissive. And if it is false, it is just a constant that is zero, which means black, and if it is true, it will use our map. In between our map is just a simple multiply with a scalar parameter, and this is just to control the actual emissive amount. So we keep it at zero by default. We can go ahead and press Save. I forgot to set my switch to false, my switch between the hair color, but I will fix that soon enough. First of all, I'm just dragging on my material over here to all of my assets. There we go, set to switch to false by default so that our chairs are looking correct. And then it's just a matter of doing some random balancing over here. Like I'm turning on my emissive channel and setting it to around three. And what I'm going to do now is I can see that my roughness contrast is a little bit too strong. So knowing that and you see me like, Okay, doing it like this, I look at it very quickly. But of course, in time laps, it looks even more quick. But in any case, what I'm doing here is I'm now just going to go ahead and I'm going to give this a nice overlay, and this overlay will basically just control our roughness and a bit of our base color, which means that it will basically reduce the base below it. So we just set the opacity channels of our roughness and our base color to basically reduce the strength of the color variation that you can see. That's all I'm really doing here, so that now it all looks just a little bit more subtle, and then we can just go ahead and re export this and reimport it into real. And then you can see that here, it's a little bit less strong, and for the rest, it should look totally fine. So yeah, save your scene. And now what I'm going to do is I'm just going to go ahead. For above our window, we have that hole sitting there. I'm just going to create a very basic thing with some text, like next stop or something like that, is what I call it. I'm just going to basically throw that in there. And then also I was also going to make my manhattan sign a little bit smaller so that it will fit a little bit nicer together when we look at it. Next, you save our branding. We quickly need to jump into Maya and just duplicate one of our pieces over here and then go ahead and assign this to our new next stop, and then we can just use the cut tool to basically cut out this piece like that. There we go. And then go ahead and remove everything else. And that's one we can now go ahead and just already export it in reel. So this is very quick and easy right now. So we can go ahead and export this to reel. Once we are in reel, we can just over here. Let me just quickly do that. We can start by placing it around. I noticed that it was not long enough, so I'm just going to increase the length after this. But for us, it is pretty basic stuff. See, over here, I'm just setting up this one model, placing it here, scaling it up a little bit, and then I can see that I need to make it longer. I'm doing this simply by adding an extra loop around and then simply moving my piece down without turning preserve vivon because it is black, it doesn't matter if the UVs are stretched because you will not be able to see the difference. And once that is done, it's just a matter of placing this all the way around like over here. So, yeah, we are placing this around also on the other side, and that's already it. So that adds something because ESA just feels a bit off that we just have this random bits sitting in. So that looks quite nice. So yeah, you can quite clearly see it. Now, I'm just to kind of go ahead and just turning off the shadow for all of those details, like I said I would do. And I'm going to create a very quick plastic normal, which is basically going to be a pearling noise. On this pearling noise, I'm going to go ahead and add a transform, and I basically just stretch this transform out, and then I'm going to add a make it tile photo just to make sure that it's still tilable. And then I will just add like a quick lure behind it and then the normal. So this will overhear it will just give me a very basic effect as if there are like winkles in there. Then I just add an output, set it to normal, exput it like normal, and then should I'll be ready to go. And then we can just input it. And then in here, all we need to do is in our plastic material, we just need to go ahead and very quickly add a norm map to this because we have a norm map slot. I also just add the flat and normal so that I can have control over the strength. Because I didn't really like the strength of it. So first of all, taxi coordinate, same setup as before, just with the scale perimeter so that I can control the tiling. And then over here, you can see me messing around with material and I needed to add the flat enormal that I can control the strength. And now I have every building block that I need to get this to look correct. It is just a subtle effect. It's more an effect for if we are moving around that we can see it. So here you can see me messing around with my normal and you can see that it can become very strong. Yeah, it's quite a subtle effect. I set it to minus around -50 or -100, just to see if I can get the effect to show up properly. And I can from specific angles, you can nicely see the effect showing up, and that is about it. So over here, I'm just going to go ahead and ignore this, actually. This was just testing something out, but you can ignore it because I removed it again. So that's the thing when I feel like I have the freedom. I just try some stuff out randomly, even though I know it will probably not work. I just I just change the shine a little bit from our base branding to make sure that everything just looks correct, like you can see over here. But yeah, for rest next ds is just going to be changing some materials. L over here, you can see me just messing around with the roughness strength to make sure that it is not too intense, all that kind of fancy stuff, just general balancing, basically. Small balancing out here and there, just to make sure that everything looks nice. I'm duplicating over this light that we have over here. And placing it nicely into position just to make sure that the entire environment from every angle looks correct and not just from one angle, even though our camera is not looking at this area. I think it will still be nice if we just have that all looking quite solid. I'm going to over here make my poles a little bit thicker, so I'm just making them thicker on two axis, and then I'm simply copying the scale over. As you can see over here, there we go. So that extra thickness it just looks a little bit nicer having that because they felt a little bit too thin. Let's see what's the next thing I do because I forgot. Oh, yeah, I'm just messing around with my window metal doll to see how it looks if I made it a bit brighter. I actually looked better if I made it a bit brighter. So I just then went ahead and I just messed around a little bit more like my roughness variation and my dirt to just get it to show up just. Over here, you can see we're messing around with the collar just to get a little bit of, like, the dirt in there, which is quite nice if you have, like, a close up or thing like that. And over here, I'm just replaying rounds with, like, my chairs, just to see how strong I want them to be and everything like that, and just seeing if I can get a nice effect. I went for minus four. However, later on, I switched it back to minus two. So I would say go for minus two if you want to avoid needing to change it again a little bit later. Now once we've done this, I'm going to open up my floor texture because I was going to go ahead and I'm just going to make this small line thinner and also make it less warped, just to make it a little bit more straight. And I do this simply by setting the scale in my tile sampler, my scale to basically make it a little bit thinner. And then also your shape that you use as a mask, you need to go ahead and also compensate that by setting that one a little bit thinner to around 0.09, and that's it. Now you can export that, and that's now also done. Yeah, this is a small detail. You don't even see it from my camera angle, but at least it is a nice detail to have. So that's now also working totally fine. Now, in here, what we're going to do is we are just going to go ahead and I'm going to get started by creating my plastic handle that you can use to basically hold in order for, like, support. Now, in this point, what you can see me doing is I was like, messing around with things, but it was not going very well. So I started over and I tied again because I made the handle in one way. So over here you can see me just removing the old one, and I'm just adding the new one, which looks a little bit like a Yeah, I don't know exactly what it looks like a handle. So I'm just closing off my shape by going into surfaces and an open close. And it was a little bit tricky to get it white just because it's a bit of like an annoying shape. So you will see me messing around with this a little bit more just to get it white completely. But I had the time because I was doing a time lab. So I think in real time, this did cost me a little bit longer than expected. But it slowly got to correct shape. And when it did, I was able to just keep moving things around, manipulating them. And then later on we are going to go to create and sweep mesh to basically add actual geometry to this to make sure that it all looks correct. And then what we're also going to do is we're also going to, like, add a quick cube, and that cube will basically cover like a grip. It basically just holds everything together. That's what you see me doing here. I'm already, adding this cube over here. So this cube will just be in center because I had some reference on my other screen just from Google. And that reference was about how this roughly looks, and you can see that it basically just all gets crammed together into this little cube, and then this is where everything gets held together. So yeah, for the rest, it is still a basic spline. It's just a little bit messy to work with it and make sure that everything looks correct. So that's why you see me just keep going back and forth between these pieces until I got something that I like. And then I'm adding my sweet mesh, setting my wit and height, and just also the optimization. And now it's just a matter of once again selecting my mesh, playing around with this, and I decided to just, like, move all of that stuff up, but it's starting to look quite good, as you can see. So it finally got closer to what I was looking for. And over here, sometimes it's okay to just turn these pieces from Bezier to Bezier corner. And for the rest, it's just like some moving around, making sure that everything just nicely fits together. Over here, like a little bit clipping, so I had to fix that. I try to also mess around a little bit more with my geometry, but I end up just selecting that and then moving it back like that, and then going for the cube. So now we're going to go into the finalized stages, which will mean that for this cube, I'm going to go ahead and select the corners, and I'm going to just give them a segment and make them a little bit round and then select the top and bottom and just give them a small bevel over here, and that's about it. For us, turn it into a hypol that we can later on just convert. I'm going to add one cut here and here just to make it easier for me to later on place some segments in the center. And now you can see me just placing my supporting loops on these sides over here and pressing three. And for this one, it's very easy, just two loops on either side and one in the center, and then you can also press three, and that's looking pretty good. So we got that one. I just double checked and for the cube, I did an automatic UV. However, for the other piece, it was already fine. So I just assigned the correct materials. I did an automatic because this is just like a very quick prop, that was already fine. So at this point, I ed it to its own layer, and I just placed it into the center so that we can properly place this into our environment. And then it's just a matter of exporting it to reel, setting it up, creating a yellow rubber material just by duplicating the old rubber material and placing it. And then for your placement, first of all, just do an easy placement, once you've done that, you can go ahead and you can add small rotations to dd variations. I also end up changing the scale and making it a little bit bigger, but you will see me doing that in just a second after I've done the base setup. And that should be about it. So here we can assign a metal doll, duplicate a rubber, call it rubber underscore yellow, give it, of course, a yellow color. That would be nice. Maybe also mess around a little bit more with your roughness amount, make it a little bit more shiny. And now once you've done that, I forgot to quickly convert this to actual polygons. So that's my fault. So I just did a quick reexport on that. And re import. There we go. That looks a lot better. I went for 4/bar, and then in the center bar, only two. So that's basically what you will see me doing mostly. And after that, it's just going to be basic placement. I did not like the scale, as I said before, so I just quickly redid the scale, and then I went again, four, two, and then four again. Over there, you see me doing three, but I add a lot of one later on because I only decided on the amounts at this point. So I was a little bit late with, like, the first one because it was just trying out. I didn't have any reference. I just kind of like guessed because I was not really in the mood to look up reference because I was doing this very, very quickly. I just wanted to quickly get this done and not have like three time lapse chapters or something like that because that would not really be any fun. This point, it is just going to be very small rotations. Just turn off the snapping and rotate it side to side, but also rotate it back and forth a little bit. It might seem like a very smart thing, but when you have so many in a row, having them all perfectly in the exact same rotation, it just does not feel right. So doing small stuff like this will actually look a lot better. Yeah, and then I just, of course, made sure that it did look better. And now I just apply the same thing to this one over here just to make sure that everything looks nice. And once that is done, we are also ready with these models. And then we are officially ready with any modeling and I believe also any type of texturing. Here you can see. So the next thing would be to duplicate our entire train card. So I'm going to start with just doing some organization and just cleaning up my scene, adding the assets to the assets folder, lights to lights folder, et cetera, et cetera. And then what I'm going to do is I'm just basically going to first of all, duplicate all of my assets and then immediately throwing all those duplicated assets into another folder so that I can easily organize them. And then I'm just going to basically duplicate the entire train card. So here you can see me pressing select and select children. I press duplicate, so contraz Contra V and immediately adds to a folder. You can see. And then I'm just deleting the backdoor over here because this is just like a fake thing. It's just so that we can look through the back. So I'm just giving it nothing in the back. And then I'm going to dit it or select it again. Move it into place. And then quickly just also go into my lights, duplicate my lights, and do the same technique where I move them around, and then I just mess around or I just add a light. And then over here, I'm just deleting that center window and just make sure that everything looks nice. And this looks really cool. So it really gives a much better depth effect like that. So I will like that. I'm happy with that. And it will also for our videos, because we have like flight roof videos, it will really help. So at this point, I'm just slowing down. But at this point, it's just going to be having a look at my render, seeing if there's anything I can remember that I still want to do or if there's any type of balancing. Like here, I'm just kind of messing around with my lights a little bit, but it's nothing special, nothing noteworthy. And just in general, I think, here, I was looking at, like, why that strip is so light, but at the end, I just took peace with it because it was just an ancorate reflection. And that's it. So I really hope that you enjoyed this tutorial course, and I hope to see you in my future courses.