Creating A Moroccan Riad Environment In Unreal Engine 5

1. Introduction to Class: Hello everyone and welcome to this new course. In this course, we will go over the entire process of creating this Moroccan real environment using Unreal Engine five, blender and Substance Painter. We will go over modelling in Blender, texturing using Substance Painter and setting up the scene, lighting and materials in Unreal Engine five. This course includes over nine hours of content and we will go over each and every step in this course together and nothing will be skipped. The course does not have any kind of time lapses so that you can follow every step easily. You will also be provided with all the source files required to complete the course. This includes all the reference images, textures, blend files, unreal project files. This course is perfect for students that have a basic knowledge of modeling, texturing, and want to learn how to create environments. Everything in this course will be explained in detail, but some prior knowledge of the software would be helpful. You will learn everything you need to know to create the final results that you've seen, the images and trailers. The same techniques can be applied to almost any type of environment. The main focus of this course is to teach how we can create multiple assets and combine them to create a larger scene. We will start by gathering some reference images to gain some initial ideas and the mood for RC. We will arrange these reference images in a free program called pure ref. After this, we will move onto blender and start modeling our assets one-by-one. We will model all the assets that you can see in the trailer and the images. We will be creating different pieces, billers, balconies, doors, windows, etc. After we had murdered all our main assets, we will export them to Substance Painter to texture them. After texturing, we will move to Unreal Engine five and set up our scene and lighting over there. We will make use of the new features of Unreal Engine five, such as human, to get realistic lighting and global illumination in our scenes. Then we will spend some more time creating some small props for our scene to further enhance the look of the scene. We will end this course with setting up different camera angles, taking high-resolution screenshot for our portfolio. Some put, some post-processing and compositing. I hope to see you there in the course. Thank you. 2. Going Over Our References: Hello guys. In this new course, we will create a complete Moroccan courtyard, or better known as rewards, from start to finish. In this very first lecture, what we will do is we will go over our reference images and learn how to organize them properly with the help of a free software called. I'm pretty sure most of you guys already know about it. For those who don't know, Let's quickly install it. I type in pure ref in the search bar, and click on the first link, head over to download and select your operating system. So I am currently on a Windows ten PC. I'll select this one. And although it is a free software, you can pay for it if you want to support the development. But right now I'll go over to customer mount and set it to 0. You can just pick download as I've already downloaded and installed this software before, I won't do it again. So you can just click on this file and install pure RREF if you haven't already done it. I'll just open it up from here. Now, let's bring in our reference images. So just select them all and drag and drop them onto the period referendum. First, we will go over some basics of pure ref. We can hold a right-click to move our periodic window over our screen. We can also increase or decrease the size of the pure ref window just by moving its edges. Next, go over, hovered over the periodic window and just right-click and you can access all the functions from here. First, let's save our scene. Save our scene. So we'll do save, and let's save the file limit reference. The next thing is, when you right-click first, let's save this. Now if you right-click, Make sure your mode is set to always on top. What this will do is whenever we open up Blender, this pure ref window will stay on top so that we can, for example, easily work while viewing our reference images in PRF and we can also work in Blender. Next, if you want to minimize this, you can just right-click, go over to Window and minimize this. Either use the shortcut Control M. Just use the task bar from here to minimize or maximize it. Also, there are a lot of functions. We actually don't need all of them. You can just experiment it on your own if you wanted to go over some of the functions of pure ref. One thing that I will tell you, if you want to focus on a certain image, you can just, for example, double-click on it and it will become full screen on the left window. If I wanted to work on this particular image, I'll just double-click on it and it will focus over. Alright, so first let me organize my reference images. These are all the images that I, for example, found on art station and Pinterest. Obviously, right now, there are not a lot of them. But as we keep moving on further with the course, I will keep adding more reference images to these. You can get all these reference images from the course files that I've given to you. You can use them from there. Also. You can add some of your reference images if you want to. Create a little bit variation of your own, that would be great. Right now. There are not a lot of them, but we will add more of them as we keep on working. All right. I'm just an ending. All of these, these are some of the images of arcs and windows and pillars that these designs we will create. So I've just downloaded them from Pinterest only. This is the kind of environment that I'm actually aiming for. What we will start with this first, we will create all the pieces that we need to create this environment, for example, we will create these art pieces, these pillars. These are all these floors, doors and windows, and we will assemble them and then we'll texture them and everything. In the next video, what we will do is we will start by creating this arc over here. I have found this design on the Internet and I will clear this one only, but there is no limit. You can download any image, any arguments from the Internet, and you can create your own design of the app, or you can follow just mine only. It does not matter. Alright, so I think this much is enough for this video, and I'll see you in the next one, and we'll start with that modelling part. Thank you for watching. 3. Creating the Arch : Hello guys, welcome to the second lecture of this course. In this video, we will create our art piece. So I opened up a new blender scene. As you can see, I've also turned on my screencast keys over here in the bottom left corner so that I performed, if I perform any of the shortcuts, you can easily see what I am doing currently on my keyboard and mouse so that you can easily follow me. So let's just delete all of these existing objects. So press a to select everything and then there's delete. Next, let's add our reference image, which would be this image to Blender so that we can recreate it. So I press one on my number back to go to the front orthographic view. And this is a 2D view from the front side of a model. We use this when we're working with reference images so that we can easily create them. You will just see what I'm talking about. We can move into different views. For example, one is for front orthographic view, three is four, right? Seven is four top. And if you hold Control, then you can just reverse all the views. For example, one is for front and control plus one is four. Back view, you can see over here, three is four right view and control plus three is four, left view. And in a similar way, seven is four top view and control plus seven is four bottom. So I'll press one to move to the front orthographic view. Press Shift a and go to image and add a reference image. Just select this image, go over to where your reference images are saved and just double-click and this image will open up. As you can see, it is aligned with my front view, which is very handy. Next, let's add a plane. So press Shift a and either plain press R to rotate it and press X, lock it on the x-axis, then press 90. Again. Let's move it over here and also enable this X-ray so that you can easily see the image also at the backside. Now I'll press Tab to go into the Edit mode, select these left side edges and move it over here, matching with these gardener edges. Now let's select the bottom vertex and move them over here. Now select this right side vertices and move them over here. Next what I will do is press Control R and add the edge loop right down the middle. And select these right side vertex and press X and delete these vertices. Why I did this was because I will mirror this left side over to the right side so that it is easier to work with. So go over to modify it and let's add up mirror modifier. As you see, it is not mirroring properly. And that is because our origin point is currently at the wrong location. So we need to move an origin point over here so that it mirrors properly. So how we do this is I will. But estab Br2 for Edge Select and select this edge. Press Shift S and closer to select it to move the cursor over here. Next, what I will do is while this plane is selected, go to Object, set origin and check the origin to 3D cursor. This moves this orange point from here to over here. And now if I made it my plane, you can see it emitters perfectly because you see how the mirror modifier works is it mirrors the model piece along the, if I choose the x-axis so it will move along this origin point. We need to have an origin point at the right location. So now let's start by tracing all the tracing this outline of the piece suppressed one for the vertex select and move this vertex over here. And let's just delete these vertices and select this vertex, press E, extrude this resulted to lock it on the z-axis and move it over here. And now just keep on pressing E and displacing all the vertex along the edge of this reference image will just quickly trace this complete our cout. Also one more thing that I wanted to tell you. For example, if I press E and you feel like this movement, movement is too fast of the vertex. You can just hold shift. And it will move a lot slower so that you can do precise movements. If you want to place it like very properly. You can just press E and then hold shift and then move it like this. Next, what I will do is as you can see now if I press E, you see both of these are overlapping. To avoid this, we need to just enable clipping. And now if I press G to move my vertex, you see it will properly joined. And now let's move it here. Alright, Next, select this vertex at the top and press E. Press X to lock it on the X and join them. Alright, now at peace is done. Let's move this reference image at the back, press G and then y to move it over here. And also let's move it to a different collection. So press M and select New Collection, and let's name this collection reference images. We can put all our images that we bring into Blender. This reference images section collection. Sorry, let's just delete, disable this for now and work with a model piece. Press Tab to go into edit mode, press a to select everything, and press F to fill in the face. Next, what I will do is what I will do is I will add a solidify modifier to give this piece a bit of thickness. You see if I increase this, I'm giving you a thickness, so I will give it a thickness of one meter. Right-click, Shade Smooth this. You see all the shading is now weird and messed up. Don't worry, there is an easy fix for this. Go over to normals, are sorry. Go over to Object Data Properties in normal section. That is auto smooth. So you should enable auto smooth and this fixes all our normals. Also, if you want to see all these edges properly, you can just go over here and enabled cavity. It just highlights the edges more properly and it is better to look at and also able to shadow. Alright, next what I will do is add a bevel modifier. Go over here, you see the edges right now look very harsh because we enabled auto smooth to fix, test, fixed that, yes, enabled hard normals. This will smoothen out your edges. Yeah, now it looks much, much better. Alright guys, so next I will press Control a and apply the scale of my model piece. So we need to remember that anytime we change the scale of any model, we need to apply the scale. What I mean by that is, for example, I have added two cubes. I will scale both of these cubes. So press S and X to scale it on the x-axis. And I will press three on my number pad to scale it three times on the x-axis. Similarly, I will do the same thing for the another cube. So press S then x, then I will apply the scale for this model based control a, and apply the scale. And I will not apply the scale for this one. Let's add a bevel modifier, both of them. Now if you increase the bevel modifier like this, you can clearly see that this cube, the bevel modifier looks very weird. Bevel is very stretched and not at all uniform. And this cube, it is uniform all over. If right now I select this cube and press Control a and just apply the scale for it. The bubble will be back to normal and it is uniform from all sides. Now, this is the thing we need to remember that anytime we change the scale of an object, we need to apply the scale. So just press Control a and apply the scale. Alright? So again, I will just apply the scale for this model, press Control a and scale. Next what I will do is press, press N on my keyboard and this menu will appear. You can go over to the item section to check the dimensions of this model piece. So we will just correct it a little bit. For the solidify modifier, I will go with a thickness of 0.5 rather than one because 11 would be too thick. So 0.5 here. Next, just press Tab to go into edit mode. Press two, The Edge, Select, select this edge and move this over here to just squeeze it up a little bit. I just wanted to get this x dimension it around 2.5 meters. Just push this a little bit more. Now I can just select it and target 2.5. All right, I think this is fine. Alright guys, so I think this much is enough for this video. We will detail our art piece a little bit more. So we need to create one more RPs that would be a little bit longer one. So we can do those things in the next video. So I'll see you in the next one. Thank you for watching. 4. Finishing the Arch Piece: Hello guys, welcome to chapter three. So let's continue from where we left. But before that, let's save our Blender files. So just hit Control S and I will save my file over here. Just name it. Limit sin. Hit, Save blender file. Make sure you keep saving your files regularly. All right, so now let's start. There is one thing that I wanted to mention. If you just select your model press Tab to go into edit mode. Just make sure none of your vertices are too close to each other. For example, these two, these two right now are very close and that can cause some issues. So let us just move them a little bit further apart. I will just press one to go into the front orthographic view, press G to move it. And you can see how the bevel modifier is reacting because the Boolean modifier times to not work correctly if the vertices are too close to each other. So I'll just keep this one over here somewhere. This one, I think over here. Now if I just decrease the bevel modifier to assert an acceptable amount, you can see our model looks much, much better. So just make sure there are no two vertices very close to each other. Alright? Now I will select my model, right Shift D to duplicate it. While I have per shift DoD Breast X lock it loved the movement on x-axis and move it over here. What we will do is we will create a longer version of this arc just to create a bit of variation. So press Tab to go into edit mode. Let's bring in the right side menu, press N to bring it up. And you can see currently the x's 2.5. I want to maybe double it to maybe five. Just press Tab, press one for the front view. Let's enable X-ray and select all these vertices except these two. Press G and then x, and then move it over here. Let's check the length. It is 5.14. Just decrease it a bit. When it is like very close to five. I can just selected and type in five over here. Alright? So this can be a longer version of the arc. What I can do is again press tab, select this particular vertices and then press Control Shift and B to bevel this particular vertices and just smoothing out this edge. I think this looks much, much better. Also, I'll select these vertices and bring it down on the z-axis. Right? Now I think this is fine. Let us give it a little bit more detail. Both are RPCs. Select this one. Right now if I press tab, you can see our model is currently just this single plane because we are using the solidify modifier. If I just disabled this, you can see it is just a single plane. So we can't really edit anything. For example, if I try to in circuit or extruded something, you can see it is going on. It is going to be a very weirdly. Before we make any edits, a model, we need to apply some of the modifiers. So just select the first module. Let's apply the mirror modifier and the solidify modifier. Both of them. We don't really need to apply the bevel modifier right now because we might want to change the bubble amount at a later on stage. So I just keep it. This will only select the first apiece press Tab. And now as you can see, I can select any of the phase of the model. And now it is a complete 3D model and not just a single 3D plane. I'll select both of these front phases. Press I to insert it and just insert it this much. I think this is fine. Also, for example, if you don't want to insert it like this on the edge, you can just press I once again. If you press i2 times, it will insert the individual phases. So I will instead display, I think this much is fine. And now press Alt E, extrude it and extrude faces along normal. Let's extrude it does match, I think. Yeah, just fine. Next what I will do is press tab, select these bottom phases. Again, press I to insert it a bit. Again, extruded along the normal. You can do the same thing for this piece also, estab to go into edit mode. Select both these front faces, press I to insert it. Again, Alt E and extrude the phases along the normal. Both these bottom faces and Aldi. First I need to insert the face, extrude faces along normal mixture. Both of them have similar amounts of extrudes an insect because we don't want to make them too different, but a little bit of variation is fine. Now select this piece and let's rename it to arc one. This one to R2. All right, so yeah, I think this much is enough for this video. In the next video, we will create some more pieces like the maybe the pillar or something. I'll see you there. Thank you for watching. 5. Creating the Pillar: Hello guys, welcome to Lecture four. So in this video, we will be creating this pillar model. Let's bring in this reference image into Blender. For now I will hide my app models suggest click on this icon and hide them both. Press one on the number pad. Let's add the reference image. Press Shift a image and reference. Now let's press Shift a and add a plane. Rotate this by 90 degrees on the x-axis. First, I will create this top piece, so enable X-Ray mode. What I will do is press Tab to go into edit mode, run for vertex select. And I just need this one vertices. I will select all these three. Press X and delete the vertices because I just need this one. Place it over here, then press E to extrude this downwards. Then extrude this here. And let's just trace this complete boundary. These are just representative tasks, so you can just skip this ahead and do it on your own. So now we have computed it next. What I will do is press Tab to come out of the edit mode. Select this image and let's move this a little bit back on this piece. Press Tab to go into edit mode, press a to select everything, and then hold e. Then press Y to extrude on the y-axis like this. Alright, so this piece will go over the top of the OCT pieces. Let's just place it right now. I will rotate it 90 degrees from the x. Like this. Bring this over here. Scale it. I'm just testing it out how it looks. Now press Tab to go into edit mode. Press two for the H Select and select this top edge and this one pre-survey top view. And then let's extrude this again on the y, like this. Like this edge. Let's enable vertex snapping from here, plus g. Then why to move it on the y, then hold Control. And if you hover over here, you can snap it along with the vertex, that they are completely in line. Now again, select this edge and select this edge, press F to make a face. Then press one for the vertex select. Let's hold Alt and click over here to select this complete loop. And then again press F to fill in the face. Similarly for this site too. Alright, so now let's add a bevel modifier to this top piece. Enabled hard normals and also enabled auto smooth from here. Alright, next, let's create a pillar piece. Again plus one. Let's hide all of this again. Select this image, press M, and move this to reference images. Now press Shift a cylinder. I've seen even exiting. Bleed, please the cylinder over here, matching with this top plane of the cylinder. Tab. Select all these bottom vertices and move them over here on the z axis. All right, now we just need to add a bunch of edge loops and scale them in or out to make the shape. Press Control R. And let say the edge loop here and scale this down to match with the reference image. Another one over here. Now I will just keep adding edge loops by pressing Control R. It's cleared the shift quickly. This is a prediction task, I'm just pressing Control R and then you receive S to scale it in or out. Just matching it defends image over here. So let's disable x-ray and see how it looks. Right-click and shoots. Move this again, enable auto smooth. Alright, so yeah, I think it looks pretty good. Next what I will do is press Tab to go into edit mode, press three for free, select and hold Alt and select this complete phase loop. Before we need to press Control a and apply the scale. Now, selecting this complete face loop, they say to insect this and press I again to insert individual phases. Obviously we don't want to insert this much. I think this much will be fine. Now press Alt and extrude faces along normal and extrude this inverts. I think this. Next let's add a bevel modifier. I think it looks pretty good. Enabled a hard normals, an auto smooth. We have already enabled, disabled the reference images and enable all the rest of the PCs. The pillar looks really small compared to an art piece. Let's just scale it according to I'm just checking how much we need to scale. So press Control plus seven, or the bottom view, Let's place it somewhere here. Scale it up. I think this much is a much better site. I didn't look, this looks much better. Double-click over here and let's rename this to pillar. I don't know what we really call these pieces. I'll just call this a wall piece. I think this is enough for this video. We will continue from here in the next one. Thank you for watching and don't forget to save your scenes. Thank you. 6. Creating the Layout For Our Scene: Hello guys. Welcome to chapter five. Now that we have made a few props, what we will do in this video is we will arrange these props to create a rough layout of our scene. Let's start. First, I will create a corner piece for these arcs. To do that, just select this piece, press Tab to go into edit mode. And let's select this face, Shift D to duplicate this. Let me down on the screencast keys. Let's start again. Tap for rigid mode, select this face, shift B for duplicate. Now when you press shift D, you can move this phase however you want. But if you hit right-click, it will go back to this location only it's still there. But if you hit right-click, you can cancel the moment. For anything Like, for example, if you are rotating something and you just hit right-click, it will cancel the moment. I will hit P and separate the selection so that now it is a separate object. So this piece is different and this certain phases different array now Tab to select the ability to extrude this and let's extruded 0.6 meters. Okay, so if you're wondering how these numbers are appearing, you need to just go over here, volume the edit mode. We'll go ahead and enable edge length. I did this while I was working off camera. So it is really helpful. It tells the measurements of all the edges. But first you can see we extruded it 0.6 meter, but it is coming out to be 0.607. Actually, this is because this does not work correctly if we haven't applied the scale. So just press Control a and apply the scale. Now if you press tab, you can see all the measurements are accurate. Now, if you just select this piece again, press Tab and let's hide this 1 first. Yeah, I will select this piece, go into edit mode. If you select this edge, you can see that this is 0.5 meter length. So we need to create a face over here that is of 0.5 meter. How we will do that is pressed tab. This whole edges of 0.6 meters. Let's add an edge loop over here. Now both these edges are 0.30.3. Select this edge or by holding Alt and it's complete edge loop. Press G and X to move it on the x-axis and move it by 0 into meters. Now, we have a face over here of 0.5 meters and it's linked to affair of 0.1 meter. Now I will select this face and extrude it by 0.1. From everywhere our calculations are accurate. Measurements are accurate. This is 0.10.1 and this edge is 0.5, and this edge is 0.5. Why I did this was because when I just duplicate this and for example, rotate it by 90 degrees, I will place it this way so that it comes perfectly. That's why I made this agent decision of same length. Let's delete this. Alright, so now our corner pieces done next, what I will do is let's open up pure ref from here. Right-click. Go to load, and let's load recent. Alright, so I will create something like this, this courtyard scene, as you can see, all are very similar. We can just follow any single one of these. Now, let's select this piece, risk control plus seven, the bottom view. Shift D to duplicate this and press X to lock it on the x-axis. And let's move it around here. I'm also mentioning this again. If you hold shift, like if you are moving, if it is moving very fast, you can just hold shift and it will move a little bit slower, so you can do precise movements. Let's place it over here. Next, let's select this one and press shift D, G, and X and move it over here. Something like this. Next, let's duplicate this corner piece. Now. We need to just flip, flip this canopies because right now it is not in the correct orientation. But before that first, if you see, if I tried to scale this, you can see the origin point is located in a weird place. That's why it is scaling. Weirdly. You see if I rotate this, rotating from this particular origin point only. So we need to change the location of the origin point to do, to do that, select this piece, go to Object, Set Origin, origin to geometric. Now it is fine. What I will do is press S, then x, and then hit on number backtype minus one. To flip it in the opposite direction. Now it is correct. Now select this one and this one also. Press seven for the top view, press Shift D to duplicate this. Let's move it over here and rotate this by 90 degrees. Pleased with this face over here. Select this one again, duplicate this. I put on the y-axis like this. Now select all these pieces except the pillar and Shift D to duplicate them. Press R to rotate it by degrees, and play with this piece over here. Alright. Now, select these three d x over here, again rotating by Wednesday. Just look at your complete model. If everything looks right. Now, Let's bring back the piece that we had earlier so we can just click this button over here. All weekend. Hit the shortcut alt plus H to bring back any of the hidden objects. All right, so let's move it over here. Then press S, then x, scale it on the x-axis. Let's scale it till here I think. Again, duplicate this press shift D, Right-click. Rotate it by 90 degrees, and place it over here. Press S the next. Scale it down like this. Duplicate this again and move it over here. Rotate this around and type in 180 on the number pad. Make sure they all are correctly placed towards the edge of the RPCs. The last one, just duplicate this one, move it on the X, rotated when you two degrees. This is fine. Next, let's duplicate our pillars in a similar way. Okay, So I forgot to turn on Screencast keys. Press Control plus seven. Select this press Shift D Lockett on the x. Move it over here. Again, do a similar per shift. Select all three of them should be, and this time move it on the y and place them. Just check if everything looks fine. Just select this one. Over here. These pieces, I will just move it a little bit in words. Over here. Select this one per shift, the place it on this corner to now select them both and move them towards the other corners. Again, vary the predictive things. We just need to duplicate them again and again. We have created a basic structure. Let's move this. Move D objects to a proper collection. Select all the pillars. Press M on the keyboard, moved into a new collection. Let's name this collection pillars. For the top one, select all of them. Press M, move them to pieces. Alright, Next, select them all. Shift D and duplicate all of them and move it. Just at the top of this overhead. To create two floors. We will have two floors of this 40-odd that we are creating non way. We will create floors and everything, but for now just duplicated this way. Okay, so now what I want to do is I want to create the ground for this building that we have created or the structure we have created. I want to create a plane exactly at the center of this structure. So to do that, we need to move our cursor point that is currently located over here to the center, over here of center of this complete thing over here. What I can do is just select all of these pillars. Then press Shift S, and then select because the two selected, this will move this cursor point to the center of all these pillars that we have selected. Exactly the center of this thing we created. Now press Shift a and let's add a plane. Let's move this reference image somewhere over here and decrease the size of it. Now, over to this item section, press N to bring up this menu and go to Items section and just check the dimensions on the plane. I will scale it up. I think around 0.5 meters, maybe 30.1716 meters, maybe on the light, around maybe 23 on the x. Move it downwards over here. The base of all the pillars. All right. We can always change this later on. For now I think I will go with this. Now select the tab to go into the Edit mode of this plane. We can disable this edge length. We don't need it anymore. Best a to select everything and then hit E to extrude this. Let's extrude this deal here. Just for the sake of easier working, what I will do is I will delete one face of this building. From this face, I will delete it. So press X and then select faces. I have just deleted this face temporarily because if it is there, it is difficult to work at because we need to zoom in again and again in this cube. So I will just delete this face for now and we will fill it later on. When we have finalized the module completely. For now, I've deleted it. Next, I will add loop, press Control R to add an edge loop. Then press F to fill in the face and move it over here. Now press Tab again, select both these phases. 34 fifth, select and select both these phases, 74, top view and enable X-ray. Pressed I instead both the phases. Instead them in-between anywhere this boundary over here. Then press X and delete both these phases. And we have got ourselves a basic structure. So this will be open from all, so that light can come in, as you can see in all of these reference images. These are open from the top. We can have a gate over here and some doors or windows. Doors and windows for rooms. Obviously, we won't create the rooms from the integers. We will just create this courtyard scene. So we can have some windows and doors over here, all over this courtyard, as you can see in the reference images, we have some doors, windows at the top in the second flow too. Again, we will also create these railings and everything. So yeah, I think this much is enough for this video to create the basic structure. In the next, what we can do is we can create some, most of, you can see most of them have a pool in the center. So we can create that in the next video and maybe add a few more things, will keep bugging. Now, thank you for watching. I'll see you in the next one. 7. Creating the Balcony: Welcome to Chapter six. So in this one, we will create our railings. For the second flow, we need to have railings or over the border over here. So we will clear them in this video. But before alerts getting these pieces a bit, they are not aligned properly with the pillars. I'll just select this building peace. And first let's rename it to building maybe and just hide it for now. Select this piece, best tab or the edit mode, 34 fifth, select, and select this face, press G and then x. And let's move it over here. This face. Select this piece and move it with outwards. Let's do it similar, similarly for all the sides. I think this is fine. Now. Next, let's create our railings. So first what I will do is select this pillar, this pillar, and this pillar also, and press Slash on my number to isolate them this way. This is a very handy shortcut in Blender. If you press Slash on the number, but you can easily isolate any object. This shortcut is especially helpful when, for example, we want to work on a single piece, for example, this, and we don't want the other pieces to distract us. We can just hit Slash on the number pad and we can easily isolate it and work on it. If you press Slash again. And then we will come out of the isolation mode. Now let's select this pillar, this pillar and spiller, rest slash rest one for the front view. This pillar and spill up press Shift S and closer to selected to bring the cursor in the center. Let's add a cube. So press Shift a and add a cube. Now let's cleared, sorry, scaled accordingly, I will check the dimensions first. Though, maybe 2.5 meters here. I think something like this is fine. Next, select this piece press Control a. Let's apply the scale press tab for rigid mode. Press Control R. And let's add an edge loop over here. Press three for Fe, select and hold Alt. And just click over here. Sorry, let's isolate this single piece for establishing and hold Alt and click over this edge to select this loop. Press salty and extrude faces along normal. I will again isolate all these pieces. Move it somewhere over here and first, replicate this. Rotate it by one or two degrees. Let us just join both of these pieces. So select both of them and press Control J. Okay, So select this piece estab, and let's select enabled this x-ray. Just select this top piece and let's bring it a little bit down. Now select this piece over here onto object and set origin, origin indigeneity. Press Shift S and causal to select it to bring the cursor over here. Now let's create a railings. So add a cube. Next, scale this down, something like this. Upon something like this. Select this again, Control a and apply the scale. But estab for a gig mode and press Control R. Let's start the loop exactly in the middle. Enable axially and select these bottom vertices. And I will press X and delete these vertices because I will be middling this piece. Now go over to the Modify tab and let's add a mirror modifier and select z-axis, middle it on the z-axis. Now if I just added it over here, for example, I just move this vertices. You can see it is not mirrored over the z, so it will be easier for us. Let's add an edge loop, press Control R, and use your scroll wheel. To increase the number of edge loops. I would like to edge loops. Press S and Z. Scale this down and let's bring it over here. Press three for facilities and hit Aldi and extrude faces along normal. Something like this. Then again press S and Z, and let's scale it down like this whole piece. Then press S and then Shift plus z. Just scale it on the XY plane. Right? Now I will select this piece again, press Shift D, press X, and move it a little bit over here. And let's just create a little bit of variation. So press Tab enable actually select all these vertices and let's move them over here. Next, what I will do is just joined both of them to select both of them and press Control J. Next I will add, add a modifier. Just keep duplicating this. I think this will be a railing. We are already done. Now. Just select them all by Shift D, G, and X and move them over here. Railing piece press Tab. Enable X-ray. Select all these vertices and move them over here in the corner. Now, we need to increase the number of, we need to increase the count of the array. I think a railing looks fine. Now what we need to do is we need to just make this into a single piece. What I will do is select everything instead of just going one-by-one and applying all the modifiers. But I will do is just press F3 and type in hair convert mesh. And now just join everything. I selected both of them and pest control J. Similarly for this one also, select everything, press F3 and select Convert to mesh. Then press Control J. Doing convert two meshes like a shortcut of applying all the modifiers of all the selected objects. So we don't have to, we don't have to select each and every object and go over here and apply the modifiers to select them, press F3 and convert to mesh. Now we can join them press Control G. And these are our two balcony bigamy pieces. Let's name this balcony one. And this one is balcony. Move long. This one is value can eat sharp. Alright, so now it is just a matter of duplicating these pieces. Press Slash to come out of the isolation mode. Select this piece by Shift and move it over here. This one, move it over here. Now select all four of these per shift D. I move them onto the y-axis or the right side. Alright, select the short one, press shift D, rotated on the z-axis. So press Z and type in 97 for the top tube. Enable X-ray. Please. Carefully over here. You can select the rotated on z axis by 90. Place it over here. Just checking if they both match properly. I think this is fine. Now select this one, press shift D, and move it over here on the y. Now select all these three pieces per shift and move them over the last one. Over the last side. Balconies are done. I think the blue pretty nice. I think they go well with the scene. Let's select all of them from here and put them into a single collection. Press M and new collection, and move them to balcony. Alright, so we are finished rid of balconies. So I think this much is enough for this video. We continue from here in the next one. Thank you for watching. 8. Creating the Entrance Door: Hello, Welcome to chapter seven. In this video, we will be creating a large door that will be here at the center. If you go over in your reference images folder, you will find a door image here. So let's bring this in. First. I will hide everything to just disable it from here. Press one for the front view. Now press Shift. And select goes there to world origin. This will bring this piece over here at the center of the world that is the origin. Now press Shift a and image, and let's add a reference image. This one. Now press Shift a plane. Rotate displayed on the x-axis by 90 degrees for rigid mode. And let's scale this up. Enable remote from here. Line all these vertices up with the reference image. Registry for face. Select, select this face and let's insert it now. Press I. Scale this inverted on the x-axis. We need to match it with this line. Press two for H, Select and select this bottom edge. And let's delete it because we don't need it. Suppress x and delete this edge. Now press one for vertex select and select both these vertices. Let's enable vertex snapping from here. Then press G. And while moving it, hold control and snap it with this vertex. Now press three for facilitate and select the center face. And let's dilute this outer frame is done. Let's move this reference image backwards on the y-axis over here. Now select this, and let's extrude this. So press Tab, press a to select everything and then just extrude this backwards. I think this much we can always change it. Let us give it a little bit of bevel, press Control a and also apply the scale, adjust the bevel amount. Enabled hard normals and obviously auto smooth. Okay, so now let us move further best one again. Next, let's create this inside piece. So press Shift a again, and let's add a plane. In a similar way, match it, match all the vertices with the reference image like this. Now what I will do is just press Control R and add edge loops. Now press three and just delete rest of the phases. X and delete faces. The bevel modifier to this also. Now let's work on our main tool, press Shift a and add a plane. Again rotating by 90 degrees on the x. We will just create a single, match it accordingly. With this dot on the left side only and the right side, we will just use the mirror modifier, Item minute modifier to this. Make sure there is a little bit gap in-between both of them. Just move them backwards over here and alerts just extrude them. Now. Again, apply the scale and I the bevel modifier. Now, let's create the shapes. So again, I will add a plane. This by 90 degrees. We can do is just for now done off. Did I stop the objects maybe except reference image? Now scale this down. Let's line this up for a select and let's delete this age. So press X and delete edge. Now press one for vertex Select. And now just extrude this by pressing E. Raise this complete line out. Alright, now let's select these bottom two vertices. Press shift D, then z, and let's move them over here to extrude them and present block on the z-axis. And move them to press a to select everything, then press F to fill in the feces. What I will do is I will use this mesh to create a cutout of it on this particular mesh. And Azure already mirrored this particular piece. We don't need to merge this one again. Okay, to do that first press one to go into front view. Select this model, then select this dual model for stab, and then press a to select everything. Then press F3 and search for knife project. Press enter to select this knife project command. Now we can do is just delete this. Let me just create it. Now if you select this piece and go into the Edit mode, you can easily see that we have created this cutout over here in this particular machine only. Let's create the shapes now. Press I to insert this. Then press E to extrude them. Inverts. Again reside to insert them. Then press E, extrude them outwards like this. Now let's create this piece side of the cube. Skim this down, enable X-ray and let's match the vertices. Now if we try to mirror this object, you will see if I add a modifier to mirror modifier. You will see this is not mirroring properly. This is because the origin point is over here. For all the objects that we mirrored, the origin point was right at the center. So to mirror this piece, what we will do is just go over here in the mirror objects section. Select this dropper tool and select any one of these pieces that have the origin point, the center, maybe this one. Right away, we have mirrored piece over here. Press Tab to edit mode enable X-ray. And let's add a bunch of edge loops. Now, restrict for facilities and select all these faces to insect them. First, let's apply the scale. So select this press Control a, and apply the scale. Now please, I want you to extrude backwards. Again insect. Then extrude outwards. Side the bevel modifier to this. Alright, next, for this outer frame, did not create these ridges. Create them now, press Tab or the edit mode risk control. Loop right down the center. Press Control V to bevel this scroll, your mouse will just once to add edge loop right down the middle. So there are three edge loops and just give it a very small level like this. Now what I will do is press Select and just hold Alt and select this. Middle edge loop of both of that is in the center. Now press Alt S. Scale it like this. The milliliter. I will add more edge loops. Again. Make sure there are only three bevel segments. Again, select the middle edge loop by holding Alt, then press Alt plus S. Let's do it outwards like this. Now I will add a few more of them. Alright, maybe something like this is fine. Let's create our last piece now. Scale this down. Elected press until a and apply the scale. Estab for mode. Select this front face I to insert it. Let's match it with this inner tube. Like this. Again, I will extrude this backwards first. Then press I to insert it and extrude this outwards. Left side the modifier. I think we are done with a dome model. So first let us save a blend files. Okay, so the last thing that we need to do is we need to create a door handle. Press one for one for front view. And let's move, move this reference image into the reference images collection. So press M and move this over here. Now let's add another reference image. So press Shift a and this handle limit. Scale this down. Let's the cylinder now press Shift a and add a cylinder. Scale this down and let's match it with the reference image. I think this is fine. Now, first let's apply the scale. So press Control a and apply the scale, press Tab. And best Control R and add an edge loop right down the middle. One for vertex select and delete all these vertices. Now I will use the mirror modifier on the z axis that we don't have to repeat every process two times. So we'll just make this top part and the bottom part will be done by the mirror modifier. Press tab, select all the vertices, move them up here. Now we just need to extrude and scale to match our reference image. Suppress. Move this upwards, extrude. Guest match with the reference. Then scale it out or scale it inverts according to the image. This is very representative, just I'm just pressing E then basically you to extrude it, then scaling it inverts or outwards. According to the reference image. You guys, maybe you can pause it and try to do this on your own or just follow me. And also it is not like necessarily that you have to follow this particular reference image that I have provided for any model. You can just go over on the Internet and find something of your own reference image does not match properly, but I will just kind of eyeball it like this. Maybe. All I'm going to just come out of the X-ray mode. You can focus on any object by passing the full stop button that is on the number by Keep this leg, you can focus on any particular object. So again, press Tab, press three for facilities. Let's select this top face. Press I to insert this. After inserting, Let's extrude this upwards and scale it this way. Alright, yeah, I think this is fine. Now let us move our reference image into the reference image collection. Right-click, Shade Smooth, enabled auto smooth. From here. There's one for the front view, and let's move it over here like this. Maybe we can scale it a little bit on the xy-plane. So press S, then Shift plus z, scale it on the x-y. Scale it a little bit just to move it inverts like this. And what I will do is I would like another mirror modifier. This time what I will do is I will mirror it according to this object so that it mirrors on the left side door also, we can do this like we have to mirror modifier this time. First. This is mirroring it on the z-axis, then on this particular axis according to this object. Now let's select this press Shift S and closer to select it, add another cylinder. Scale this down, located on the X by 90. Again, I will mirror this piece. Let's add a mirror modifier to this. I will choose this as the mirror object. And on the z-axis. Again, another minute modifier. Let's use this one. Alright, so I think our model is complete. So first let's select everything and press M and move it into a new collection. Let's name it. Enabled everything back. I will place my door now. First, let's rotate it on the Z suppress art and z and 90 minus 93. Risk control plus three or two viewed from the side. Let's place it here somewhere. Moving backwards. Like this. Now we need to scale it up because right now it is very small. Writing something of this size maybe. Yep, I think it looks pretty good. I'll scale it a little bit more. Alright, so I think this much is enough for this video. This video was a pretty long one, so we'll continue from here in the next one. So thank you for watching. I'll see you in the next one. 9. Creating Another Door: Hello, Welcome to chapter eight. In this chapter we will create another. Right now we created this large door, that will be our entrance door, but we have to create those for a room. Rooms also, that will be along this direction only and on the second floor also, if you go into the resources folder, you will find this image. We will be creating this dough. It has a more traditional loop to it. So let's bring it into blender. Again, I will hide it. One for the front view. Shift a, and let's add, Let's add the image. Now the process to create this door is pretty similar to the last one. Again, I will add a plane rotated 90 degrees on the x. And first let's create this art piece that is altering the front press tab. And let's just line up the vertices. First, let's add an edge loop right down the center, elute all these vertices, and just use the mirror modifier to duplicate it on the right side. Let us delete this vertices. So just select this one, press X and delete vertices. Select this word c plus EEG to extrude it, and then press X to lock it on the x-axis. Somewhere around here I think again, I will extrude this, move this upwards. Now we just need to trace the a complete reference image. So I will just press E and keep on moving along the edges. If it is not really visible to where the line is going, you can just eyeball it and place it approximately where you feel like the line would be going because it does not really matter that we have to exactly follow this reference image. We can just roughly follow it. Now, we will see these two lines are crossing each other. We don't want this to happen. So just enable clipping from here. Now if I join them, they will join right at the center. Alright. Now press Tab, press a to select everything. Then press F to fill in the face. Let's move this reference image at the back. This over here, extrude this, press a to select everything. Then you to extrude this, like this. Right-click and change mood. Enable auto smooth. Let's also add a bevel modifier. Crosstab 34 Face Select, select this top face, press I to insert it and make sure we are not overlapping something, any of the vertices, for example, this way, if you insert it too much, you see all the vertices here are overlapping. We don't want this to happen. Suggest instead it, I think right about this will be fine. Then just extrude it inverts like this. Next one again. Let's create this door now, press Shift a and add a plane. Let's again use the mirror modifier. And this time I will use the middle object function and select this one. I selected this art piece because this has the origin point right at the center. So this will mirror. Are those correctly? First, let's apply the scale modifier to this. Also extrude our doors. Like this. Reduce the bevel modifier, and also enabled harder normals. Now let's create the shapes. So press Tab. I had a bunch of edge loops. Now select all these phases. Again. We need to just insect and extrude a couple of times. Insert again. And this time what I will do is select all these face loops for hold Alt and select this face loop and extrude this like this. We weren't like you can detail this even more. I can even insects this face loop once again and extrude this backwards to create something more interesting, but I will not go that far. I think it's fine. Next, let's move this a little bit inwards. Let's create this cutout next. To do that, I will add another plane. Let's hide both of them for now and just rotate this plane first. Again, we basically just need to press everything out. We can delete this edge and start tracing from here. I'm just pressing E and moving the vertices. Whereas a to select everything. And let's fill in the face, bringing back both of these objects. And again, I will create that cutout that I created in earlier door. I think no press tab, index moves vertices a little bit upwards over here. Follow exact same steps. Make sure you are in the front view. First, select this object, then select the doors, press Tab, press a to select everything. Then press F3. F3. Search for knife project. Now, I will delete this object. Just hit delete. And if you press tab, you will see we have created this cutout. Now. Just press I to insert this and let's extrude this inverts this way. Also right-click on the right-click on the door and hit Shade Smooth. Press Tab again, and let's delete this face. Press X and delete face, select this face also, and just hit Delete because we really won't be able to see it from the back, so it does not matter. The next first create this. Let's create the outside frame. It is not in the reference, but I will just create it like I did in the last. Suggest add a plane, rotated 90 degrees. Move it in the front. Is something like this. Now press Tab and then press first. Let's apply the scale. So hit controlling, apply the scale. Let's insert this face now. I think something around here. Press two for the edge select, let's again delete this edge, press X, this edge. Select this edge. Make sure that is selected to vertex snapping. Move it on the z-axis. Z, hold Control. And just hovered over this vertex. It will snap all in line and then press three enlarged dilute the center face. Now I will just extrude this backwards till here. Now add a Boolean modifier to this lecture just a bit and modify it. Enabled hardened normals are too smooth. Estab and let's start again, a bunch of edge loops to select it Control plus b, two, bevel them. Scroll to give it. The number of segments should be three. Just tighten the bevel a bit. Let's select the middle edge loop. Hold Alt and select this. Then hit Alt plus S and alerts, move this outwards like this. Just decrease the web for this too much. Again, I would like to more edge loops. Shift and select both the loops. Control plus V. Again, Veblen like this. Let us select the middle edge loop for both of them while holding Alt, hold Shift also to select both these edge loops. Now Alt plus S and move them inwards this time. I think something like this is fine. You can add more if you want. Invert, I will decide this majorly. Alright guys, so the next thing to do is let's enable the reference image. And if you see here these like grilled designs that we can also create. But the thing is, if you create something like this, the amount of vertices would go up by a lot. And I actually don't want that. I will create something very basic. But before that, if some of you want to create something like this, I will just show you quickly how it can be done. Just press shift D, Let's add a plane. This time. What I will do is press tab and let's delete all these vertices except one, please. This vertices over here. Just quickly. Trace this out this way by pressing E and just lining it up with the reference image. After you have created something like this, I will just clear this one piece. If you want to clear this complete, you can just duplicate this and rotate it and keep it, place it everywhere. I will just show you how to create it further on the grid design. There are two ways to do this. The first would be to just press tab, select everything, Prezi, an extrude this a little bit on the y-axis like this. And just use the solidify modifier. Now. You can now just to solidify modifier. And we have our design. You can now just duplicate this however you want, then create the design that you like. And other way to do this would be, let's just undo everything. This time what I will do is either skin modifier. So go over here to modifiers are the skin modifier. Everything is very much Deb I know, but it can be easily corrected. Just press tab. Let's select everything then press Control a, and you can adjust the skin modifier. I think skin modifies the one that you might need if you wanted to create something like this, enables smooth shading and also auto smooth from here. You can also select this word CAN just to keep on extruding it to create something like this. As I said, I will, I will not create these grid lines, so I will just delete this, bringing back everything again, and I will just start something very basic. I will add a cylinder, scale this down, scale it up on the best S, then Shift plus z to scale it on just the x and y plane like this. Alright, next I will go over here into modifiers and add, modify it. Now just increase the count, like this, and I will just duplicate this over here to the right side also. Write something like this also looks pretty good. I think as much as the enough for this video, what I will do is just select everything and press M and move this to a new collection name door, door to. I will select this reference image. I move this to a frenzy mix section. Alright, so just hit Save on your Blender files, and I'll see you in the next video. Thank you. 10. Creating the Windows: Hello guys, welcome to a new video. So in this one we will create our notes. Let's start. If you go into the reference image folder, you will find this image. This is the window that we will be creating. It is pretty basic, but we'll go with that. Let's start. I will first hide everything. Let me down on the screencast keys. The procedure is pretty similar. Redshift day. Let's add the reference image first. By now we have created a lot of props. We have created two doors in many pieces also. If you want, you can try to create this window piece by yourself. First. Then you cannot make it. Then you can watch the video and follow me. Let's start. And let's start the cube first. Enable X-ray. Post. I will add the mirror modifier, press Control R. And let's add an edge loop right down the middle. I will delete all the right side vertices. Let's start the mirror modifier. I'm just lining up all the vertices. Now. Let's move these top vertices around. You can see I match this edge with this particular vertices around here only. And then select just this vertex. Also makes sure to enable clipping and move this here at the top, like this. Okay, so next what I will do is press two for H. Select, select this edge, rest one again. And now press Control B to bevel your edge like this. And now increase the segments by moving your scroll wheel. Just match it with the reference in which you can add as many segments, but try to keep it low so that we have a low number of vertices and polygon that our model is optimized. I think this image is fine. It looks pretty similar with the reference. Let's disable x-ray. First. Let's move the reference image over here at the back. Right-click. Shade Smooth Model enabled or the smooth. And obviously we'll add a bevel modifier. Apply the scale, adjust the bevel. Next I press Tab, press three for free. Select, let's select this face and give it a thickness of around. Maybe something like this. Again. Now I will select this top face. Let's select both of these phases, the front and the backbone also know plus one and it I insect. First, let's enable X-ray. Now the tie. Make sure to press B. B does it. You won't get this boundary. You can see over here, if you just go over here, you can see the boundaries of right now. So if you press V again, violin setting, the boundaries now on, it will instead this week, this will create two separate races, but we do not want that. So I will just key boundary of like this. Alright, now, let's press X and delete both these phases. Press one for the vertex, select hold Alt, and select this edge loop. Then hold Shift and Alt, and drag this back edge loop. Then hit Control Plus e and select bridge edge loops. This will join like bridges the edges and create this the type of structure. Let's decrease the Babele bit. Alright. Next, this piece is pretty basic. I will just start a cube, scale it down, enable X-ray. Let's quickly match it with the reference like this. Move it over here and obviously decrease the thickness of it. Also apply the scale and bevel modifier. Alright, so again, select this piece and select this piece also press Tab, press three for free. Select hold Alt, and select this complete edge loop, and then select this face inside them. Let's insert it this much E and extrude faces along normal and extrude them downwards. Decrease the tech necessarily little bit more. Yeah, something around here. Make sure to apply the scale every time we change the scale. All right, For this piece, what we can do is press tab over here. On this piece, I add an edge loop, press Control R, and add an edge loop. Here in the middle, hold edge loop, hover over this edge and add a blue. Then I will press B and separate the selection. What this will do is this will create this edge loop or different object name this piece. Let me do that once again, I first started at edge loop. While this edge loop is selected, I will press B and then separate the selection because only this edge loop are selected. Now it is a separate piece. Now press one again, press tab for mood in a flexor. Press one for vertex. Let's delete all these bottom vertices. Vertices, press X and then delete the vertices. Let's select this vertex and press E and just move it over here. Members II again, and then move it on the x-axis like this. Alright, Now press Tab, press a and then press a to select everything. And then F2 will the face like this. Bring it over here. Then again, the process is pretty similar. First, let's extrude this backwards. Here I think. Again face select, Suppress three, select this face. This time I will press B and I'll give the boundary on to create two separate facing texts like this. I forgot to match it with the reference. But actually it does not matter if you don't follow the reference exactly, but let's follow it here. So something around year I think, extrude this backwards. Then again in certainly still here. And again extrude backwards. Not decrease the globe. Celebrate it is I think, too harsh. Something like that. Alright, so very basic windows, Window Model piece is done. First, let's move this reference image into the reference image collection. And the next thing that we need to do is we need to add one more piece to this window. If you see in the reference images. I don't know if you can see properly, like these windows have these types of grilled designs. So we will create something like this. So I found image on the Internet. There are a lots of them, but I chose this one, this kind of design. You can find it in the reference images. We will create this one. So let's bring this into the blender now. Press one for front view. Let's press Shift a, go to image reference. And let's select this one. Alright, for now, I will just hide everything except the reference image reservoir. Let's add a play. Now, shift a lane. This time, what I will do is just press Tab one for the vertex select, select everything, press a to select everything, then press M and merge them at the center. There is just a single vertex remaining. Let's select this vertex and move it over here to exactly at the center of this image. Now what do we need to do is, as you can see, the vertex is at the center of this image or this grid design, but the origin point is currently at the cursorily. We need to move the origin point at the same location as this vertex so that we can better this on all four sides. It is easier for us to create this design. So just go over to Object, set origin and set origin to geometry will say the vertex and origin point at the same location. So this is what we wanted. Press E to extrude this just a little bit so that we can see if the mirror modifier is working. Next, let's go to the Modify tab and add a mirror modifier. Enable it on the zed also, it is working. It is not matching with the reference image completely, but that's fine. We will just follow this one particular side and rest of the three sides. We will let the mirror modifier handle them. Let's just extrude. Keep on extruding and match with all the lines that you can see in the reference image. This is pretty simple. I'm just pressing E and aligning it with designing the image. Also one more time, I will tell you that if you want to make precise movements when you press E or any of the blender command, you can just hold shift so that you can move your vertex slowly so that you can easily place it. Next. Let's start from here and just keep on pressing E. Make sure you enable you to flipping so that when your mirror modifier minutes, you can just join them this week. Let's go over from here. Also. You can just go here and right away at the skin modifier. The skin modifier is a bit too much right now. Just press a to select everything violin, the edit mode. Then press Control a and just adjust the skin modifier. Something around here, I think. Now it is like a little bit easier to follow the thing. I know. Like you can see the are not exactly following the difference image because the reference images symmetrical. But because of our middle modifier, everything in our model is pretty symmetrical. You can see it looks pretty good and we cannot even tell if, if you are not following the reference image because no one knows what kind of reference image VR following. Let's just continue. This will only select the plane press tab again. Let's talk from here maybe. All right, I think all the major parts are now covered. I would just leave it at that only. I think I agree. Design looks pretty nice. You can just select it, press Tab, press a to select everything and hold. Then press Control plus a and just adjust the thickness of it. I think something around here is fine. The main problem that arises with this type of workflow is that our polygon has won by what we can do to reduce this. What we can do to reduce this. Let's add another modifier, and this time I will add a decimal modifier. So what this does is this will optimize our model a little bit by trying triangulating. It suggests enabled triangulation. Decrease this to see it affects our model. So if you see, if I go to completely 0, our model is a completely ruined and we do not want this to happen. So just keep on increasing and just see at what point, at what point we are satisfied with the result. I think something around here looks pretty nice. If you just done off to see the changes and the changes are pretty negligible. I cannot even notice that we have applied the decimate modified. But if you see very closely, there are changes. If you see around here, around the edges and corners. It I think I will go 0.3 if you just disable this now, you can see our vertices are around 7,200, and if I just enable it now, they've dropped to 2 thousand. So I think it does a pretty good job. Alright, so the next thing would be is let's enable the reference image again. Let's create these rectangular things too. I will add a plane rotated on the x by 90, scale it up, enabled, obviously x-ray. Press two for the edge select and I'm just matching it up with all the lines in the reference image. Estab, then press Control a and make sure the scale is applied. Select this face and I to insert this like this. Again, hit I. And magic with the inside face. One small like this. It did not matching from a few slides of over here because I think this is because of the image. The image is not perfectly orthographic view. It did not matching up, but I think this will be fine for our model. Just hide the reference image for now. Let's select this face, this edge loop, and then this phase, I selected this phase loop by holding Alt and then clicking over here to select this, then hold shift and select this face rest x, then delete the phases to create something like this. Let's scale it up a bit around here, I guess. Now I will just extrude them backwards like this. Design is done. I will increase the thickness a bit more. So the design is bit more obvious. Sector decimal 2.4.3 is too low. I think. Yeah, this is fine. Let's enable everything back on the reference image. Let's move this to the reference image collection. Select the grid design, rest one for the front view, and just scale this down. Let's match it with the insights of the window. Second, yeah. I was wondering why it is scaling down a weird manner. The reason of that is because right now we have selected a scale according to individual origins. Select these two bounding box, bounding box, and then select them both. And now I can scale them in an even manner. Now just press S then x to scale it a little bit on the cover, the entire window like this. Right? I think our window is done. It looks pretty nice. What I will do is I will add another plane, rotated 90 degrees, move it over here. This can act as our glass, or maybe your glass B, something like that. Let's stay over here. Now. Let us just select all of them, press M, and move them to a new collection. And let's name this windows. Window. Alright, so make sure to save your Blender files. And I think this much is enough for this lecture. We'll continue from here and the next one. Thank you for watching. 11. Finalizing the Scene: Hello, Welcome to chapter ten. So in this video we will be doing a bunch of things. So let's start. First. Let me enable the pieces and just select this piece. And this piece and disable everything except this piece. What I will do is I will like this is a whole big model. I will divide it into a bunch of smaller models. So let us do that. So press Tab. First, I will select this ground, select this press P, and then separate the selection. This way. These are two different pieces. Now the ground is different and this whole big pieces different. Next I will just hold Alt, select this loop, and then press B and separate the selection against similarly for this top of float also, I'll just select it then press P and separate. All right, the next thing to do is let us give both these floors a bit of thickness. First I will select everything and apply the scale. So press Control a and apply the scale. For thickness. We can either just select it. First pre-step to go into edit mode, then press a to select everything, then just give it a little bit of thickness by pressing extrude. Another thing that we can do is we can just add solidify modifier and increase the thickness. 0.30.25, maybe. Both of them. This way like non-disruptive and we can change the thickness at any point that we want. Alright, so the next thing is to, again select this piece press tab. Let's move this edge loop tool and move this edge loop over here somewhere. And I will create two separate floors. Let's select the walls of the bottom flow. So press and hold Alt and select all these three, then press B again and separate the selection. Now if we see there are 123455 different pieces. That way it will be easier to work with even when we textured everything in Substance Painter. It will be easier to texture everything because everything is separate. Now let's open up your ref to view our reference images. Right-click and load. And I will load reset my reference images. If you take a look at all these reference images, you will find that most of these courtyards have a pool at the middle of them. So let's create that. Now. You see, we will be creating that. Let's enable It's back. The objects. Select the ground. B7 for top view alerts enable X-ray, press tab, and press three for facilities. And let's move this over here. Select the single-phase press I to insert this. And let's insert till here first. It should be just in the front of all the pillars. So I think I will just scale it down a bit more. Press S then Shift plus z. Now let's extrude this downwards, suppress E. Extrude this delay here I think. Next let's add a bevel modifier and apply the scale. Adjust the bevel modifier and enabled hardened normals and smooth. Next press Tab again, select the smaller face in the middle. I will again insert this suppressed. I again, I think a pool of this size would be fine. Something like this. Now I will just extrude this downwards again, like this. Now press Control R to add an edge loop and add edge loop here and move it very close to our pool. Now press three for face select, hold Alt, edge, like this. This one over here. Let's extrude the support like this. I think this looks fine. You can change the scale of it to your preference. You can just press seven, press tab and select all these vertices and just scale the scale of it however you want. You can make it smaller one, maybe even a large one like this. It is totally up to your preference. I will maybe make it a little bit more smaller. Also, if you see this weird shading issues coming, just select the piece, right-click, Shade, Smooth, this will go away. Alright, so the next thing to do is we can maybe add a bunch of stairs, like you see in this reference. Let's add them right now. Press shift D. Let's add the cube. Move the cube over here, scale it on the y, and let's move it down on the x. I will do is I will select this ground piece, then select the stairs and press Slash on my number pad to isolate the, this way I can easily work with them without any distractions. If I wanted to come out of the isolation mode, I can just press Slash again and I will come out of it. This is especially helpful when all these objects that again and again causing distractions for me to work with these particular objects. I can just select any of the object rest slash, and I can easily isolate it. Let's do that and select this object and this one, and then press Slash. Let's move this piece over here. The size of it accordingly. Okay, so the next thing to do would be best tab. First, let's apply the scale dab and add edge loops. Around here, maybe press three for free, select and let's extrude this outwards this week. Let's create one more step. I will add a bevel modifier to this to smoothen outages. Let me just see if it looks fine. I will just decrease the scale of it a bit on the x-axis. So press S the next, scale it down this week. Alright, I think it looks, it's much better now. The next thing that we will do is just enabled this door and window that we just created. And let's place them now. First I will replace the windows. Collect them all. Rotate on the z-axis by 90 by minus 1937 for top view. And let's play along with the main gate. Decrease the scale of it. I think this is fine. Now let's just press shift D and duplicate it over to the right side. Here. By chance forgot the plane that was acting as a glass plane for these windows. So I will just quickly undo everything, select the glass plane, rotate it by minus 90 on the move this over here. Alright, now I'll just duplicate this over to the right side. I'm using Shift D to duplicate and move it on the y. Alright guys, so let's work on our model now. Enabled the collection and just select all of the pieces. The easy way to do this would be to just open the collection and hold Shift and select all the objects like this. Impressed slash to go into the isolation mode, as there are a lot of objects in this model. And we don't like, we don't want to again and again select all of them and duplicate them. The easier way out of this would be to just click on the Collection, duplicate this duplicate collection. Let's disable the old one. Name, the new collection as door to light. What I will be doing is I will apply all the modifiers to this model. What I mean by that is, for example, right now if you just select any of the model, for example, I want to change the bevel on this particular model. I can quickly do that just by editing the bevel modifier. In a similar way. If I want to increase the count of this particular thing, I can increase it to any number, decrease the distance between them. I can do that. This is because I haven't applied the modifier. But if I just go ahead and for example, I select this atom order, sorry, I select this and modify it and go over here and click this arrow and hit Apply. I can no longer change a count of this added or the distance or anything. So applying modifiers means that I have permanently applied the change that I cannot edit from now. So applying modifiers is like a big step. Make sure you're happy with your model, then only apply the modifiers. That's why I like to separate instance where the door for the dual model where none of the modifiers are applied. So that if we wanted to change something, we can just go back to this model and change it. Let's disable this dog2 and enabled applied one. Select all of them. And the quickest way to apply all the modifiers is just hit F3 and search for Convert to mesh. Now if you just select any of the model, you can see none of the modifiers appeared. That means all the modifiers have been applied. Now let's select all of them and then just hit Control plus J to make them into a single model, makes sure auto smooth is inhibited. And now all of them are joined in a single mesh. If I just select it, it will be easier to move and duplicate. That's why I did this. Let's scale it down backwards over here. I think this is too small, so just increase the scale a bit. I think something like this is fine. Now I will hit Shift D to duplicate this and place one over here also. Now select both of them. Now select both of them again, then hit Shift D and just duplicate them to the top floor also. Just to see how everything looks. I'll select all four of them. Let's just join all four of them. The middle, modify the middle object as this ground plane maybe, and select the accidents. Why? There's just check. Everything looks fine. Now I will select this huge door, please. Hold Shift and select all of it to remove something from selection. Just hold Control and do this to remove it from the selection. Now just press Shift D to duplicate here at the top. All right, the next thing that I will do is I'm going to add two more doors over here because the space looks quite empty right here. Also one more thing that I wanted to tell you guys, this, this is very experimental and you can say a blog called stage to see how our final scene is gonna look like. So you can make any kind of changes. It is not like necessarily that you have to follow me. For example, like if you want, you can add this window or hair also Arabia had three doors over here and add some windows over here. Like it is completely up to you that how you want to make the scene. Obviously this is not defined the state, we might change this later on as we keep moving further. This is block out just to see how our final scene is gonna look like. So for now, I will just select these doors. Press Shift D to duplicate them. Let's move them on the vibe first. Remove the middle, modified because we do not need it. Let's rotate it on the Z by 90 degrees. Minus 90 degrees plus suppress our than z and minus 90. Hey, so press three for the right side view and let's place them around here. Obviously, I will remove the doors from the bottom flow. So press Tab, enable X-ray and just select all of them. Make sure you enable X-ray and select the bottom to those, press X and then lead the vertices. Now for the top ones, just move them back for seven for top view. And just move them around here. Alright guys, so if I look at my scene from around here, I think it looks pretty nice. Our seniors coming along pretty nicely and the assets look good together. So I think this much is enough for this video. In the next video, we will create one more piece. Maybe I will create a huge like a fountain arc over here. Yeah, I'll see you then. Thank you for watching. 12. Creating the Fountain Arch: Hello, welcome to Chapter 11. So let's continue from where we left. As you can see, we've created this complete scene and the last video. But as you can see, there is kind of a little bit of an empty space right here. So I think it does not look that good. We will create something to fill out this space. If you go into the reference images folder, you will find this argument. We will use this to create our arc over here and fountain Lake thing. So let's do that. First. I will just turn off everything. Move both of these to this collection. Let's rename this collection to building because this has all the parts of the complete our building knowledge, just the same level of thing. Press one for the front view. Let's shift it and add the reference image. Okay, so this will be very similar to what we did in the earlier would use. If you want, you can try to create this arc completely on your own and then watch the video. Start press Shift a and add a plane. Rotating this on the extra 90 mirror modifier to this. I'm just placing the vertices according to the reference image. Mixture began to do is add an edge loop over here. One like this. Select this edge loop and press X and delete the vertices. Now I will just select this edge loop from here and press E to extrude this. And let us just move this black line will be easier for us to follow. You can enable this so that you can see both the sides of the mirror modifier and also enabled clipping that you joined it right down the center. Like this. Next, let's add an edge loop over here. And just select these vertices plus a0 and then X to lock it on the x. Let's fill this face by pressing F. I selected this edge and distressed F to fill in the face. In a similar way, we will fill this complete phase. So just select this press F, we join them. And now let's select all these vertices. Press F to fill the face. Next, let's create in the bottom. Ok, so I will just select anyone dizzy, press shift D and just duplicate that. Place it, place it over here. Then extrude this on the x like this. Again, I'm just tracing out using the reference image. Now let's start again from here. They're just delete this vertices that we created earlier and join them this way. And then press a to select everything. We don't have to select everything because right now both of these are as the same object. So just hold Alt and select this edge loop, press F to fill in the face. Now what we can do is just press Tab to select everything and let's extrude this backwards. Move this reference image over here. Let's shoot mode. This enable artist would obviously we'll add a modifier, apply the scale. The next thing that we can do is we can make them as separate objects. So to do that, Let's tab to select everything, then press B, and then separate by loose parts. Now there are separate, they are separate objects. Select this piece and let's adjust the bevel on it. Next. Also make sure to enable hard enormous step over this piece and let's give it the insect to select all these phases. Rest. Insert them. Looks extrude this backwards. One thing I will do not want lake when we insect, I do not want this partition to happen to avoid that risk. And then just press V that the boundaries turned off. Now we can properly extrude this backwards. It looks good. Next let's add the pillars. The pillars we will use the same pillars that we created for the main courtyard scene. So just enable them. Let's select one of them, press Shift D to duplicate. Let's move separately over here, press M and add this to seem collection so that when we turn off pillars, it stays on. Suppress one. Let's scale this down. Place it over here. I think this is fine. Next, let us just mirror it to the right side. So add a mirror modifier. And right now, it does not matter in properly because the origin point is over here. Now let us use a different mirror object that has center point over here. Select the eyedropper and let's select this arc. Now. Miller's work correctly. All right, so the next thing to do is this is done. So let's move this reference image into the reference image collection. If you go into the folder, you will find another image of this function will create something like this. Now I will add this into Blender suppressed one. Again, press Shift D, image reference size of around. This would be fine. First let's add a plane. Or the plane on the x rotated on the extra 90. Let's place it over here. Hide the reference image for now. Make sure it is not overlapping with the pillar. If you want, we can just move it a little bit back. Alright. One again, Let's enable the image. Shift the outer plane, rotated 90 degrees. Move it in the front of the image. And let me just select all of them and then press H to hide them. Well, let's let start the mirror modifier. Not I'll just move the vertices according to the reference image. And then again, just trace them out. And let us just do for excellent. And let's just delete this edge. Start with this vertex e to extrude. Again, we need to just keep on extruding to praise this out completely. Again, enable clipping so that they joined at the center. Alright, let's just delete this vertices in the middle. Select everything, and press F to fill in the face. The next thing that we need to create it will also create this inside structure. Again, let's add a plane and follow a similar procedure. This world to see. And let's just delete this and quickly trace this out. Flipping to avoid this. So press tab and let's fill in the face. Let's move this reference image to the folder for now and enable everything back on. You can also press Alt H as an alternative tool to quickly just make everything visible again, just hit the shortcut or voltage first one. And let's hide this for now. Just select this one and this plane, and we'll create a cutout of this object onto this plane. We also did this earlier, so we'll do it in the same way. Select both of them. Press tab and press a to select everything. And then F3 and search for life project. Now we can just delete this. We have created this, this particular plane, this cutout of the earlier object. Now let's bring this back on. Select this and this. Then press a to select everything. Then F3 and knife project. Now we have created two cutouts. Let's start working from the press Tab to go into edit mode. Now, let's select both these phases. Let's extrude them just a bit in the forward direction like this. Next, let's select this inside face. First, move it on the y. Then press I to insert this. Now instead of extruding this backwards, what I will do is I will just move this face in the backward direction. Plus g didn't write and move it back like this. Then press I again. Move this face even for the back like this. Right-click, Shade Smooth. This enabled auto smooth. And let's add a bevel modifier. Next, estab, enable X-ray. First select all these vertices and move them here. All of them. And let's move them here. They're not visible. Next, let's select this plane, press Slash and isolate this seven for the top view. And let's add a cube around here. Scale it up, slash to come out of isolation mode just to see how everything looks, press Tab again, and let's move this face over here. Alright, Next, select the Cube, press Control a, and apply the scale estab again. And let's select both these edges and press Control B to Babylon. Give them a few amount of segments like this. Right-click, Shade Smooth, enable auto smooth. Just the pivot to a low amount like this. Tab again. And let's select this face. Press I to insert this. Now let us just extrude this downwards. This way. Estab, enable X-ray seven for top view. Select all these backwards Cs and move them back that they are not visible. Alright, next let's create a small bipartite like tea. So to do that, I will just add a cylinder. Rotate this 90 degrees on the x, scale it down. Somewhere around here. Click and chips mode this and also apply the scale bevel modifier. Alright, so press Tab, press three for Face. Select. Next, insert this and extrude this inwards. Insert this again, extrude this, scale it down first circle, and now extrude this outwards. Let's just isolate this super slash to isolate 34 right view. And now I will use the Spring tool to do that. Press tab, select this phase three, then hold Shift and use right-click to move your cursor, ellipse, move this around here. There is no precise location. Just move it around here somewhere just below the face. Select the spring tool. Now try to spin this and see if you get results like this. Now let us just extrude this downwards in this week. And we have something looking like for something maybe from where water can come on. Next. Establishing the select the spline tool, select the selection to login. I insect and move this up my extruding. There are some artifacts being caused because of the bevel maybe. So let's just reduce this. Apply the scale. Alright, I think we are good to go. Now let's press Tab to come out of edit mode, select everything, and press M to move this into a new collection. Let's name this form Dana arc. Now, let's place it. So turn back on everything. Right-click on the phone. They knock and select objects so that all the objects are selected of that particular collection. Move it over here somewhere. Let's scale it up. What do we need to do now is like a stab. Not this. Select this volume behind the Funding up press tab. And let's add an edge loop here somewhere. And add another edge loop here. Now, I will add one edge loop like this, this edge loop and move it a little bit on the right like this. Then just select this face, press three and select this face as x and delete this, sorry, delete the face. Now what we can do is we can just select all the objects of the form t naught. And we can now move them backwards without being interrupted by the wall. Will move them around here, I think. All right. I think our scene looks pretty good now. Just save your Blender files. And I think this will be enough for this video. I'll see you in the next one. Thank you. 13. Creating Another Fountain: Hello guys, welcome to Chapter 12. So in this video, we will be creating another fountain that we'll be going over here just in front of a bool. Because if you just look, because if you just look at it this way, the space here kind of looks empty. So we'll create a fountain here right before the pool. So let's start. Just hide everything for now. First let us move out, goes up point now you can see to the world origin. So press Shift S and closer to the origin. There's one for the front view. And if you just check in the reference image folder, you will find this fountain to image. We will be creating a founding of this kind. So let's do that. I will add the image, shift a image reference. All right. There are two ways to create this fountain, or one of them would be to just add a cylinder. Best stab, risk control at the edge loop, and then just scale the edge loop according to the reference image that we can just match it with the reference image and create something like this. This process is quite tedious and there is a better way to do this. Press Delete, delete the cylinder, press Shift a, and add a plane. Rotate this plane on the x by 90 degrees. Press Tab, press one electrode rating, suppress a. And then we have to merge all of the vertices into a single one, just press M. And while everything is selected, press at center. Now we have one vertices. I will place it around here at the bottom, right here. Now, we will just extrude, keep on extruding this vertices and just trace the complete, you can see this boundary of this fountain and then we'll work from there. So first let's keep on extruding and trace this boundary. Just keep pressing E and then place the new vertices according to the reference image. This is pretty simple. Take a bit of time, but it is nothing complex. So just keep on pressing E and aligning the vertices with the reference image. Let's create these ridges. Also place these vertices over here. Press E, G, and Z to move this over here, like this. Again, please. Even zag and E and X mood on the x. And let us just keep on extruding. Again, you can complete this on your own. This is quite basic and we have done this quite a lot of times. Now. Again, whenever there is a straight line, I'm just pressing E, then aligning it to the axis by pressing X, xor z plus e then z to move it up like this. Otherwise, just use your mouse to place the vertex. We are almost done now. Just extrude a few more times. Now I will just finish it right here, press E, and then move it like this to the half of it and we are done. Now what we can do is we can move the reference image at the back over here. And how I will create this shape using this, just the outline of this spontaneous, pretty simple. We're just going to add up new modify, that is screw. So add this to your object. If you just disabled X-ray, you can see everything is messed up because right now we have chosen the wrong axis, suggests choose y as your access. And you can see we have our fountain. And it looks perfect. How does modify boxes? If you just see I reduced the angle. If I said the angular 0, this was a model that we created. And now if I just keep on increasing the angle, you can see how the screen modifier is working. We wanted at 360, like this. Alright, next, let's enable auto smooth. From here. I will add a new modifier. So instead of adding a bevel modifier, because you see if I add a bevel modifier, our vertex count would go up by a lot. So instead of a bevel modifier or what I will artist, I will either weighted normal modifier to smoothen out the edges. As you can see, it works pretty well. If I just disable it from here, you can easily see the difference. But you can see it has caused some weird shading issues over here and here. We will solve these issues after we apply the screw modify. So let's take care of few things before that. First, as you can see, the model is not looking like realist mode. You can see these steps over here. So to solve this, what you can do is you can increase this steps viewport and the render amount from here to something big. And as you can see now it is looking pretty smooth. But the thing is, our vertices count has gone up by a lot and we don't want this to happen, so we will keep this at a low number, maybe at 3232. It looks quite smooth. And I think because we will see at found in, from a distance, I think this works fine. We can even decrease it a little bit more. Maybe something like 2828 works fine. Next set the renderer amount 228. Now what I will do is I will just apply the screen modifier because I want to make some changes to the model and I cannot do that before I apply the screen modifier. So right now if I press tab, you see I can just see this vertices boundary that we just created right now. To edit all these phases and everything, I have to apply the modify it. So go over here and apply it. First. Let's solve this shading issues. Just press Tab. It's Control R and add two edge loops like this. Press S then Z, and just tighten up that there is no shading issue. Similarly over here also, I would like to edge loops, scale them up on the z, and rest everything is fine, I think. Next press Tab again, hold Alt and select this edge loop. Press F to fill it. Let's press Control R and add an edge loop over here. Let us join this phase also hold Alt, select this edge loop, press F to fill the face. I think this is fine. Now press Tab again, press three for Face. Select hold Alt and select this complete face loop. Then hold Shift and Alt. And select this face loop also. Press I, and let's inspect this like this. I think this is fine. And then press E and then extruded the downwards direction. Sorry, one edge loop over here. Won't really be visible, but let us just do them. Right now our fountain is finished. Next, let's add a huge cylinder. Scale it down over here. Establishing press three, and let's move this face over here. Right-click and shade smooth. This enable auto smooth left side, the bevel modifier. Apply the scale. This phase, insert this and let's extrude this non-words direction. I think this is too thin, so there's three. Hold Alt and select this edge glue, press S and scale it inverts. I think this is fine. Let's move the fountain over here. Alright. Let's create it. Let's make this big cylinder a little bit more deep. Around here. I think it's fine. Establishing the big cylinder press tab to insert this. Insert it over here, and press E to extrude this. Let's do this one more time. Two edge loops over here, and let's move them at the top and the bottom. Press three, and select both these edge loops by holding Shift and Alt, Alt E and extrude faces along normal. All right, now I think our founding set is complete, so let's move this reference image to the reference image collection. Select them both. Let's bring everything back. Not this door two. Alright, so press seven for the top view. Also, if your viewport is a bit laggy, you can go over here and disabled both shadow and cavity. Now let's place this over here somewhere. Reduce the size of it. Enable X-ray. Alright, I think I will scale this down a bit more. If you want. We can place it exactly at the center to do that for shift test and closer to select it to move the cursor to this ground plane. Next, select both of them. Shift S selection to Causal. Now both of them are exactly at the center of this pool. Let's move this fountain up over here. Also, I will enable back shadow and gravity because it is a little bit difficult for me to work. Alright. Now I think our scene looks pretty good. This much is enough for this video. We'll continue from here in the next one. Thank you for watching. 14. Making Some Adjustments: Hello, welcome to a new video. We're almost done with the modelling section of our course. This is just a quick video to make some changes and corrections to our earlier models only. So let's start. First thing that I will do is select this ground plane and let me enable the screencast keys. So now select the ground plane rest slash. To go into the isolation mode. You can see this daylight thing for this swimming pool that we have created. I will just delete this. I have no particular reason but just a preference thing. I'm not liking it. I'm going to delete this. If you think it looks fine, you can keep it, but I'll just go ahead and delete this. So press Tab, press three for Face. Select, hold Alt, and select this complete loop. Press X and delete the word sees. Next, press one for the vertices, select hold Alt, and select both these loops by holding Shift and Alt. Then press Control E. I'm bridged edge loops. Next, press seven for top view and hold Alt and select this outer loop. Press S The next. Let's scale it up a bit. Then S and Y and scale it like this on the next slash to come out of the isolation mode risk control. And let's add an edge loop around here. The reason I'm adding this edge loop is because when we export all our models to Substance Painter, this will help us with texturing because you can easily select these faces and give them the different textures that we want. So that's why I'm adding this a division. So I suggest you guys also do this. Next, I will press Control R again and just add an edge loop close to this, like this. Next, yes, let me check. Alright. Next I will select the door model slash to go into the Edit mode. If you see these railings like this, I'm really not liking them, so I'll go ahead and delete them. But again, if you want, you can keep them. It is really a preference thing. So all of this is just a single model. How can we select these railings? Press Tab to go into edit mode. Enabled actually. First, let's select all of this and press full stop to focus this. Next rest 34 fifth, select. When you hover over any of the cylinder, press. This will select the complete model. So just quickly hover over each of the cylinder and press L on your keyboard. To select them. Make sure you hover over the correct thing. Now just press X and delete the vertices. Now I'm going to add a plane, press Shift a and the plane. Move this plane over here. Seven for top to rotate it on the x-axis and place it here in this down. Alright? So as you see all these other models already have these railings. We don't have to go over to the each model and delete all of these because in Substance Painter we will just be exporting this one single DO model. Either ways we are going to delete all of the rest. So I will just leave it at that. Because in the next video we will just export this single door model. Alright, so the next thing that I will do is select both these waltz slash. Let us just quickly select both the edges. Press F, select this edge, this edge, this one and this one, and press F. The pill in the phases we call, obviously I will not going to leave this open because when we export this into substance or Unreal Engine, we don't want the light coming in through here. So I will fill this up next for establishing this wall piece, press Control R and add edge loop over here. Move this down here. Add another edge loop close to this, like this. Okay, so the last edition that I wanted to make is select the wall piece again. Add an edge loop over here at the bottom. 34 phase, select hold Alt and select this complete loop. Next, press Alt E and extrude faces along normal and extrude this just to vote here, I think. Also let's adjust these edges from here just to enable the X3. Move them on the x-axis like this, and select this one also. Alright, so yeah, I think now we're done with all the changes. So in the next video, what we'll be doing is we will finalize our assets, apply all the modifiers and UV, unwrap all the assets and export them to Substance Painter to texture them over there. So I'll see you in the next video. Thank you for watching. 15. UV Unwrapping the Assets: Hello guys, welcome to Chapter 14. So now that we're done with the modelling section of our course, in this video, we will apply all our modifiers and UV, unwrap all the assets to export them to substance painter. Let's start. The first thing that I will do is I will create a duplicate of this particular blender file. Just hit Control Shift and S. Let's name this duplicate as applied modifiers. Because we will be applying all the modifiers. The reason I'm doing this is because as I've told you before, after applying the modifiers, we cannot really make any change to the model. Maybe if something goes wrong afterwards, or maybe we want to make a certain change to a certain model. We can go back to this scene file and make that particular change. So that's why duplicated them. Now press a to select everything best F3 and search for Convert to mesh. This convert to mesh command automatically applies all the modifiers for all the selected objects that we don't have to select each and every object and apply the modifiers one-by-one. Now all the modifiers have been applied. The next step is to delete all the duplicate models. For example, you can see all these pillars. Obviously when we export everything into Substance Painter, we don't want to like texture each and every bullet again and again. So for this reason, we will delete all are duplicates and export only single models to Substance Painter and actual them over there. Then we can reuse them over and over again. Now let's start by deleting all the duplicates. First for the pillars. Let's just disable everything except the pillars of collection. Now, I've selected this one pillar and now to invert my selection, I will press Control plus I. Now all of the pillars are selected except this one. Now I can press Delete to delete all of them. Let's enable everything back, not the reference images. We can even delete the defense image collection. Select everything, press Delete, and delete the collection also. Next, let's remove all the duplicates art pieces. We need this piece, this piece, this piece, and this one, these four pieces and rest all of them are duplicates. So press Control I to invert the selection and let's delete all of them. Also, we do not need this door to collection. Let's just delete this and delete this door to collection. Select all of these pieces. Let's move them over here. This one also. Let us separate all of them a bit so that it is easier to texture. Next, let's delete all the extra links. So we need this piece and this piece. Now press Control, I rest of them we do not need, okay, sorry. First we need to disable all the collections and only enabled the balcony collection. Now I can invert my selection by pressing Control. I then press Delete. That's also move them over here. Let's work on these doors Next. Actually, this one in the last video. So we will just need this door rest all of them. We do not need, so press a to select everything. But before that, these two doors are separate objects so we can just hit Delete to remove both of them. And now for these doors, press Tab to go into edit mode, enable X-ray. Just select this door that we need. And the rest of them we do not suppress control. I do invert the selection breast x and delete the vertices. And we have got our similar tool that we needed to enable everything back on and move this piece or here. Alright, so next. Next let's remove one of the windows. The same level, the thing except the window collection. Select this right side window and press X and delete this. Select all of them. Looked, all of the window pieces. Move them outside over here. Let's rotate them on the X-axis by 90. Okay, so next for the building, we do not need this top flow because obviously we're just going to duplicate the bottom float over the top. Don't need to texture it again and again. We will just share this bottom fluid and duplicate that as the second flow. Similarly, this door, we only need one of it. So select of the thing and press Delete. I think these are all the assets that are unique and we need protection. All of them. We can create a whole scene by just using all of these assets by duplicating them again and again. Now, let's add materials to all our assets. First, select all these, and let's give this a material. Go over here, click on New. And let's name this material as art pieces. I want to apply this material to all these objects and this pillar also. Let's select everything. Then select this piece that has the material. Then press Control L link materials. This will automatically copy the material to all the selected objects. So as you can see, all of these objects have now the RPCs material. You can also see these five written over here. This means that this material is being used by five different objects. 12345. Next, let us give this the let us give this a balcony material. This piece press Control L. Make sure this one is the active object. The active object is the one with the yellow outline. Make sure the one you added the material to is the active object. Segue both of them and make this the active object and press Control L and link the materials. Next let's apply, let us apply a new material to this. Let's name this door, windows. Select all of it. Make sure this dog is the active object and press Control L. I linked the materials. Alright, Next, I will select this ground plane, the stairs and the fountain. And let's put all of them into a single material, like New. And let's name this material is ground. Press Control L, and then link the materials for the walls. Select this piece and this piece. Click New. And let's put this in the walls collection or Control L and link the materials. Now select all the dual pieces. Make sure you're not selecting the wall. Just hold Control and deselect it this way. Now they're just give it a new material. First, let me check if everything is selected. Click on New type in big dog, press Control L, and link the materials. The last material will be this found Dana makes sure you make sure you have selected everything, then hold Control and deselect all the unnecessary objects. Press New, and let's give this material press Control L, and link the materials. All right, so the only thing left is to UV unwrap them. So let's start. Now before we start UV unwrapping, we must apply the scale of all the objects. Press a to select everything, control a and apply the scale. This is necessary because if you don't apply the scale, it can cause some weird scaling issues with our UVs and affect the textures. So make sure you always apply the skill before you reenter rapping. Now let's move on to the UV Editing tab. We will unwrap our UVs according to the material sets we just created. What do I mean by that is all the objects having the same material would be unwrapped together, will be on the same UV map. So for example, all five of these objects have the same material, that is the RPCs material. So all of them would be unwrapped together. To do that, you can either just select all of them or there is another way to do it. Just select any one object. Then press Shift L. This is the shortcut for select linked. Then you can select all the objects with the same link, the material. So select material. And now it will select all the objects that have the same material as this particular object. All right, Now press Tab. Press a to select everything. Make sure you go over here and enable display stretch. This helps us in visualizing whether are you results stretched or not. For example, if I just select some of the vertices and try to move them, you can see how the color is changing. If I stretch it too much, the color changes to red. And if it is a deliberate strategy that is yellow or green, maybe the color that we are aiming for is this blue color, this dark blue kind of color. If you see this colored in your UVs, that means your UVs are not stretched and they are correctly UEN dragged. So yeah, let's start. Also makes sure you enable this. What this will do is if I select some of the vertices here, those same vertices would be selected in at UVU. And I also, let me just select like this, the same vertices that were selected here. I have also been selected in this viewport also now press a to select everything because you and then hit smart UV project. This is like an automatic tool. This will help us in UV unwrapping all our assets. So hit Okay. Make sure you don't click anywhere and open this up. And just increase the island margin just a little bit to make sure that you reserve, like governing whole of the area and not just in a corner like this, just increase the island margin to something like 0.01 maybe. And I think this is good. As you can see, all of our UV islands have the dark blue color, except this one. This much stretching is fine. I think it does not matter. It should not be extreme like red color or maybe green or yellow is something you should worry about, but this much is fine. So we will proceed from here. Now let us move on to the balconies. Select both of them. Estab press a to select everything. Then again, you and smart UV project hit Okay. And let's decrease the island margin. Something like this is fine for the balconies. Now let us select all the doors and the windows were established in press a to select everything. Then you and smart UV project. I think this is fine for the SEC. Next, let's keep moving. I will select both these walls. Only these two objects have this volume material, this piece and this piece. So press Tab to select everything. Then hit U and smart UV project. For this year, it does not really matter what type of island margin we use because it has large phases. So maybe something like this is fine. Okay, so next, I will UV unwrap the phone. Dana said all of it. And make sure you select all these volts. So hold Control and deselect them. We have selected everything now press Tab, press a to select everything. You and the smart UV project. Hit Okay. Try increasing it a bit. Something like this is fine. Next is the ground. Let's select the ground plane, press Shift L, and select link, then hit material. All of the objects will be selected with the same material. Now press Tab, press a to select everything. You and smart UV project. Something like this. The last set that is remaining, the big door one. I will just select one object from it. Press Shift L, and then hit Material. Tab. Select everything, and then you and smart, if we project, I think this is fine for this one. Now we have UV unwrapped all of our material sets. Let's move back to the layout tab. Save our files. Yeah, I think this much is enough for this video. In the next one, we will export the model to Substance Painter, and then we will start with the texturing process. So I'll see you there. Thank you for watching. 16. Exporting to Substance Painter: Hello guys, welcome to Chapter 15. So in this video we will be exporting all our models in Substance Painter and we will make our mesh maps and then we will start with the texturing process. Before we export, we need to check for one thing and that is based orientation. So you can go over here, enabled face orientation from here. The blue color here means that the normals of the object are correct and we do not need to make any changes to it. But if it is in red, that means the normals are flipped and we need to correct them. To do that. As you can see, this piece has a lot of red colored pieces, so we need to turn them into blue. So to do that, press Tab, press a to select everything, then press Shift N to recalculate the normals. One of them is still red. So press Tab again. Now just select this single plane only. Then press Shift N. Open this up from here and enabled inside to flip the normals. Next, let's select this piece, press Tab to go into edit mode, press a to select everything, then press Shift N. Next. Let's correct this fountain. Again, select it, press Tab to select everything. Then press Shift to recalculate them. As you can see. As soon as I press Shift Enter and we calculated the normals are shedding became all weird as you can see. So to correct this, there is a pretty easy fix. You can just go to the Modify tab and add a weekend normal modifier. This miter might not occur for you. If it occurs, you need to just add a weighted normal modifier and now just apply it enabled back the face orientation and everything is correct. Now. Next, let's correct this door. Suppress tab. Select everything shift in. I wouldn't do it for every piece. The next is the ground selected press Tab to select everything. Shift pen. Now for our walls, as our walls are completely black 3D planes. So once I wouldn't be blue and the other one would be right. But the thing is we will be viewing our volts only from the inside, like this. So we want the blue color to be on the inside and the right to be on the outside. So let us quickly flip the normals press tab, there's a big shift in. And if the normals don't flip, you need to just enable inside. And now we have blue color normals on the inside and the incorrect ones on the outside. If you want to have correct normals on both the sides. But we need to do is we need to give a wall some kind of thickness. We can do that by adding a solidify modifier. Now if you just increase it a bit and adjust this, you can see we have correct normals on both the sides, but I won't do this. I will just remove the solidify modifier because it does not matter. We will not be viewing our models from the outside in this way. We will just reviewing them like this. Let's proceed. The last piece remaining is this one. Select it, press Tab. Then shifting. Now all of the models have correct normals. You can disabled the face or the addition from here. And now let's export all of them. Press a to select everything and go over to File Export. And I will be exporting as FBX. Make sure you first, you have selected everything and then go over here and select FBX. Alright, so I will save it as applied modifiers only enabled selected objects. What this will do is it will only export the selected objects. So that's why selecting all of them is necessary. We enable this because we don't want any unnecessary objects to be exported with the models like the camera light suddenly enabled selected objects and go over here and select mesh. We're just exporting mesh only and not anything else. Alright, so now that everything is done, just hit export FBX. Now let's open up Substance Painter. Before we export our models into substance painter, let me show you something. You don't have to follow me for this. This is just for demonstration purpose. I'm going to show you what would happen if we will actually export the model with a Flip Normals? Let me just deliberately flip unnormal of disbelief. So best stab a to select everything. And I will be shifting. Then flip the normals. Press a to select everything. Now let's export this quickly. So export FBX, I will name this wrong. Normals. Just hit Export. Go back to substance. You don't have to follow me for this, create a new project and I will select an important. Now I will import this wrong normal FBX and hit Okay. As you can see, look at the pillar. You can see the normals are flipped a weekend only see the backside of the fillet and not from the front. Rest all the models looking correct. But this particular pillar, the normals are completely flipped. And as you can see, we can see right through our volts. But don't worry if you go inside and see from here, we can see everything perfectly. But from the outside, we won't be able to see our walls because they actually don't have any thickness. This is what will happen if you export the model with drawing normals. Let's quickly create a new project and export the correct file. So just double-click on this applied modifiers. Rest. Everything remains same. 1024 OpenGL and hit Okay. Discard, I will, I will not save this project. Alright, so let's quickly search for any kind of shooting issues. If there are any project. If you can't see this arc right here has kind of a weird shading. So let's see what we can do. Let's go back to Blender. First, I will look back the normals of the pellet. So press a to select everything and shift pen. Let's disable the sodium addition first. Now, there is a chance that you might not face this exact same issue, but some other object of yours is having a shading issue. So make sure you check properly. But to solve these kinds of problems, I have a few sex solutions, so let us go over them now. This was the piece that was having shading issues and Substance Painter. So the first thing that I do is I will add a weighted normal modify it. Enabled keep shot. First, let's apply this. Now let's export everything again and see if the issues are sought. Mc, if the issues are solved. Let's import everything back again. Select. If you can see it is still there, so that did not solve it. The next thing that I usually do is select the model, press Tab. To select everything. Then just press Control T. This will triangulate your model completely, and then I will press Alt plus j. The first step, completely triangulate all your faces. And the next one just reduces some access triangulation. So that will help us. Now let's export everything back again and see if the issues are sold. I think they will be solved now. Alright, so as you can see, the shading issues are now gone and objects look completely perfect. Let's check some more if there are any other shading issues. Even this piece has some glitches going on over here. Let us quickly triangular discipline also. This generally happens when we have N once and everything. And our model has this big 112 and launch. Just select everything by pressing a, then Control T, and then Alt G to remove the excess triangulation. Let's export everything again. And actually when, whenever we export our models from blender to substance, we have to go back and forth like 34 times until we get everything perfect. Now the shading issues are gone. So our most shading issues are being caused by N1. So adding triangulation to the phases would solve pretty much most of them. I think rest of the objects do not have any kind of issues now. Alright, so let's, let's move further and be caught mesh maps. Now, to make the mesh bags, you need to go over to the texture set settings. If you do not find this. First, let me place this here along with the layers only. Alright, so if you don't find your texture set settings, you can just go over here in the window views and enable textures set settings from here, scroll down and you will find big mesh maps. Is click over here. I won't change much of the settings because the default ones are pretty good. We don't need to change much. Just disabled this ID maps because we won't be using id maps. I will set the output size to somewhere around two k. You can go higher or lower it depending on depending on your configuration of PC, if you're good enough, you can go for to care for k. And if you have a low spec computer, you can go for one K. But I suggest to go for Duke. The Big comes out nice. Next, I will enable this applied diffusion and use low poly mesh as high poly. An anti-aliasing you can say to somewhere around four X4. Again, if you have a good enough computer, you can even say to eight by eight, but it actually does not really matter much. I will say two to four by four and you address everything I will keep on default only. Let us take big selected textures. Now. It might take a little while, depending on your computer. Just got the video and continue when everything is done. Alright, so now begging of HashMaps has been done. So the reason we bake mesh maps is actually because of a substance has a lot of cool features like smart mosques and smart materials. Without breaking the mash mash, we cannot really use them. Whenever we export something to Substance Painter, it is necessary to first check for any kind of issues in your export. And then the next step is to pick the mesh maps and then we can get on with the texturing. Next, I will go over here in the display settings and enable and put it into releasing. All right, Let's save our project, hit Control plus S. And I will save it over here only. Let's name it as textures. Alright, so I think a big came out pretty good. Just quickly check if there are any issues with your bake. This BIG came out pretty good. I will finish the video here. We will continue from here in the next video. Thank you for watching. 17. Fixing A Small Issue: Hello. This is just a very quick video to mention an issue that I did not cover in the last video. So let's just quickly go over that. If you just zoom in over here, what our edges of every single object, you will see that edges have some kind of weird sharing going on. And I'll just zoom into different objects. And you can see like there is some kind of we're changing over all our edges even on this object also. Let us just quickly fix that. Again, there is a very easy fix for this. Go back to blend it. If we zoom in over here on this edge, you can see that in Blender also. We can see the same shading issue going on over here also, but it is really small, so I did not notice at that time, again, very simple, fixed, just add a weighted normal modifier. As you can see, the issue is already gone. Now the next thing is to copy this modified to each and every single object. We don't have to select each and every object and then add this, modify it. There is a quick shortcut, but first for that you need to enable the add-on. So go over to Edit Preferences. In section search for the copy attributes menu 30. Yes, this one enable this add-on copy attributes menu. Now, best a to select everything. Then select this ground plane that is having this within normal modify it, then press Control plus C. This menu will appear and go over to copy selected modifiers. Now here we can select this modifier, we can normal and it and hit, Okay. Now each and every single one of our object is having the weekend normal modifier. We can just quickly check that. You can see. Alright, so this modified might cause some issues in some of our objects. Like if you just zoom in over here on this object, you can see the shading has got all weird because of the weekend normal suggest enable keeps shot for these kinds of objects and it will solve itself. Let's search for some of these objects that are having these issues like this one also there is a little bit of shading issue, just enabled keep shot, and it will solve itself. This object we did not enable auto smooth, so let's quickly do that. Now the shading is all weird because this really happens in the objects that are having flat shading. Just enabled to keep sharp for them and it will solve itself. Enabled auto smooth. Alright, so I think let's stop. The objects are fine. Maybe for this piece also I will enable keep sharp. All right, So I think the rest of them are fine. Again, I will export this quickly, press a to select everything. For the volume piece also, we did not enable auto smooth. Enable keep shot, and now let's export this first save your Blender files. Go over to File export FBX. Let's replace this file only. Now hit Export. Now that we have saved that substance painter file, we don't have to create a new project every time we can just go to Edit Project configuration. And we can select the file from here only, and it will just automatically replace everything itself. We don't even have to bake the mesh maps again. So that is pretty handy if you just zoom in now or the normals are not fixed. But if you still see some glitches or something, you can just quickly rebuild the mesh mats, which I will be doing. So you guys can do that too. But aside from that, I think rest everything is fine. We don't have any motor issues now. Finally, we can start with the texturing in the next video. So thank you for watching. I'll see you in the next one. 18. Texturing the Floor: Hello, welcome to Chapter 17. So let's start with our texturing process in this one. In this video, we will be texturing our ground plane. If you see this texture second list over here. If you do not see this, you can just go over to windows, Window View and enable this texture set lists from here. This is actually all the materials that we exported from Blender. So now they are divided into different texture, sex in substance painter. For example, if you are working on this art pieces or texture sec, we can just click over here. This will isolate this particular texture is set for us and hide all of the other texture sets so that we can easily texture these models. You can just click over here again to enable everything back on. This is quite handy. That's why we divide. That's why we divided this into like different materials or texture sets. So like we are working on ground so we can disable everything and easily work on this ground plane without any of the other models like obstructing our vision. The shortcut key for this is Alt plus H plus q. Rescues for isolating the texture, say, Alright, so let's start with the ground plane. So first, let's open up your ref. Take a look at our reference images. Right-click and load the reason file. If you will notice most of these reference images, the grounds and floors in these reference images have different kinds of tile designs, which is very common in these types of ideas. If you see in these images, you can see that there are three different types of tiles, even in this also there are two different title designs here too. We will try and replicate this. So first, let's start by downloading some of the textures that we will be using. So open up your browsers. I will just close pure ref for now. And in the search bar, search for ambient CG. Click on the first link that pops up. This is a really great website. It has a lot of free textures and models. And the best part is we can use all of them like for commercial purposes also. So that's where it's really great. Let's click on materials because we are looking for textures, search for tiles, and hit Enter. There are a few titled designs that I have shortlisted and I will be using in my project. But this is really a preference thing. You can choose any kind of title designs that you find, that, that you'll find will look good in your project. So it is really up to you what kind of textures you will use. The ones that I have finalized that one of them is this. So right-click and let's open this new tab. One of them is this. The last one is this one. Alright, so let's download them in for K. You can just click over here for all three of them. Download them in for K. Or maybe you can go lower to kill also. But I wanted to go for the highest quality. So I, so I chose for architectures, but actually I've already downloaded them, so I won't download them again just to save some time. When you will download them, you will find these three ZIP files. So let's just copy them from here. And let's paste them in our tutorial folder only. I will create a new folder. And let's name this textures. Click and paste. Now let's export all three of them together. Or I mean, extract all three of them. Alright? The next part is to bring them into Substance Painter. So to do that, first, let's open this up. So there are various different types of maps, but we just need 31 of them is the colormap. The other one is the roughness, and we will use the normal of OpenGL format. Actually there are two different forms, two different formats of normals. One is the direct text one and the other one is OpenGL. We will be using the OpenGL when there is no difference between them. But in one of them, like the green channel is flipped. So like devote that actually went and the same thing. So we will use the G L1. Now, drag and drop this onto substance painter. Select all three of them together, like this, dragging your mouse this way. Or you can just press Control a to select all three of them. Click over here and we will export them as textures. Right? The last thing is to import your resources to the first one is current session. If you import your resources to the current session, that means that these textures would only be exported to this particular session only, which means if few clothes Substance Painter right now after exporting them and then open up, open UP Substance Painter again, you won't find these textures because you have only imported them to this particular session. Only. The next one is. To project the particular project. That means if you try to find these textures in some other project of yours, maybe you are working on something else later on. And if you try to find these styles texture, you won't find them because they are imported to this particular project. Only. The last one is to import these resources to the library. That means they will stay in your library forever for all of the projects that you will be working in the future. Also, I will just select the project textures because I will be using these textures in this particular project tonally. Now I will hit Import. Now all three of them are here. Let us quickly export all of them. Again, I will select the color, that roughness map and the OpenGL. Drag and drop this into substance. Select all of them, share project and import. Alright, so now all of them have been exported. So let us start with detection process. First, we need to select the ground texture sec. One way to do that is to directly click over here. Now we're working in the ground state. And another way to do this would be, for example, if you are currently in a different texture sets like this one out pieces. And I want to go into the ground texture sec. I will just hold Control Alt and right-click over the ground. Now the ground texture set has been selected. This works for everything. If I select, if I click over here while holding Control Alt and right-click. Now the fountain architecture set has been selected. Now do big door one. So yeah, you get the point. Just hold Control Alt and right-click over any object to select that particular picture set. Now click over ground. First, I will delete this layer. Just click over here to delete the layer. Now let's add a fill layer. Click on this icon to either Philip. Affiliate is essentially a type of layer that fills the texture set completely with its content. So for example, if I change the color to something like read, it fills the ground texture sake, with the red color completely. And we can also change the properties like roughness or metallic NAS, but we won't be using that. We will use this layer to add newly imported textures. So let's search for tiles here. The texture I want to add first is this one, title 75. This is the color map. So I will drag and drop this onto the base color channel. Now are complete texture set and all its objects are filled with this fill layer. Let's add the other maps also. Next I will add the normal map, drag and drop it here. The next is the roughness map. Right now this layer is covering the entire texture. But actually we don't want that. We want to add this fillet at this swimming pool portion only. Let us do that. So to achieve this kind of thing, we will use something that is called masks. If you have used Photoshop, you will understand the use of them right away. But but if you haven't, let me explain it to you. So I'm asking Substance Painter is essentially a black and white image that decides where and where not to show particular layer. I will just explain it to you with a practical example. I will add a black mask to this particular Fill layer. So go over here and add a black mask, you see the whole layer disappears. So the thing is, you can understand it. This black means everything would be invisible wherever there is black color, the particular layer won't be visible, but as soon as, as soon as we painted with white, for example, if I take the brush and right now I'm painting with white color onto this ground plane. So as I'm painting, wherever I'm painting with the white color, the texture starts to appear or the failure starts to appear at that portion only y, it means visible. And if I just go down here at the bottom and choose black color, then I'm removing this. I'm filled in. This explains what I just said earlier. Mask is this is the mask. Mask is like a black and white image. If I just print it with white, you can see this is this black and white image with which we are painting. White means the one that texture to be visible at that point. And black means we don't want the texture to be visible at that point. So let's just undo everything. Now I want to texture to appear only at this swimming pool area only. So we won't like painted with white color. Very precisely. Obviously we cannot do that. You'd won't even look good. There is a perfect tool for these kinds of tasks. Go over here. And select this tool. This tool is called the polygon fill tool, and as the name suggests, it feels black and white color into the, into our masks according to four different modes. So let me just explain it to you by showing it. So make sure you have not selected this fill layer, but you have selected this mask. Click over this mask. This tool only works with masks. Alright, so the first mode is the triangle fill. As we know that 3D face is divided into two parts, into two triangles. If I just click on this one huge phase, it will fill like this into two triangles. It divides everything in two triangles. Feels like this. This is sometimes handy and sometimes not, but I mostly use this one. This is the polygon fit. These fields complete phases at a time. So if I just click over here, you can see I'm just easily filling a white girl into my mask with the help of this polygon fill. The second mode is the one that I use the most. The third one is mesh fill. Symmetrically feels complete 3D meshes at a time like this is usually not very handy. So you see it will feel a complete mesh at a time. Fill this whole complete ground plane. It feels a complete mesh at a one single tiny polar, just undo everything. And if I just select the fill, I selected all four these phases. I want the extra to appear here, like just for example. But for example, if you want to remove texture form some part, you can just select this polygon field, set the color from white to black. And if you click on this face now, the texture is now removed. So this tool is very handy and it will help us a lot. Now back to our original task. That is, we want this failure to appear at this swimming pool portion. So click on this mask, make sure you have selected the polygon tool. And then select this polygon fill mode. And carefully just select the faces. One more way to fill into phases is we can just make a selection like this. First, we need to change the color to white because we are, because right now we want to make the texture visible and not invisible. So we want the color to be white. We can make a selection this week and you'll see we are coloring multiple phases at a time. Alright, so next, I want to, I want to texture at this phase also over here on these phases and the stairs also on this face. I will also add it to this loop also. Now you will understand why I did that loop at that time. Now you can see how easily we did that and added this bilayer at this exact portion only that we wanted. Let me show you another use of this polygon tool. For example, let's consider, I want to remove this from these tiers. How I will achieve that is, instead of using this polygon filled, I will just select the mesh field because I know for a fact the stairs are a separate mesh from this ground plane. I will just select, sorry, I need to change the color to black. And now I can easily remove from these tiers this texture by using the polygon film. We just need to use their heads went to use the right mode. Let's fill it back again. Change the color to white, and fill it back. All right, so now we have achieved our tasks. Let's change the name from Fill Layer one to maybe pull tails. All right, so now I will add a new fill layer. Everything suddenly disappear. So don't wait. That is because this failure is overriding this fill layer because it is on top of it. So if I just bring it over here, you see this comes back. But I will just bring this down because otherwise this failure won't be visible. Alright, so let's add the other textures to this fillet. So let's start this one. Drag and drop this color onto the base color. Next, the normal map to the nominal channel. Roughness, roughness. Again. First, let's change the name to something like outer tiles because I want these tiles to be on the outer area only. Again, I will add a black mask, go over here and add a black mass in, everything disappears. And now we can select the polygon fill and choose where we want this particular failure to appear. I want this failure to appear only over here. So select this face. Sorry, we were currently in the mesh fit. Next white fill the complete mesh is go back to the polygon field. Also one thing I forgot to completely mentioned was that is one mode more, that is the UV chunk field. I rarely use this. But let me tell you what it is about. If we select the UV chunk field, it will fill the mask according to the UV islands. So let's press F to bring the 2D view also. If I just select the fill and now click over here. You see it fills this complete UV Island at a time. The first more fields according to triangles, it divides one phase into two and fills two triangles at a time in a single phase. The next one is the polygon fill, and it fills one phase at a time. The next one is the mesh way. It feels a complete mesh at a time. And the last one is the EU, which amphi, that feels like one UV Island at a time. So this is one big island. So when I selected just this face, it filled this complete island at a time. If I select this loop, it will fill this complete loop. So this is the UV chum field. I rarely use this. I mainly use the second and the third one. Again, I will select the second one and start filling these phases. Let's press F2 to go back to the 3D view. And you see how easy it was. Also, I will select this pool tiles again, Google select the mask of the pool tiles. And I also want this pool tiles to appear in this loop. Again, I will click here, here, here, and here. Like create a partition between two different tiles. Let's add the third one. Now, again, I will add a new fill layer and it overwrite both are older failures, but don't worry, we'll just solve that. I will add the color channel. This is the color channel only at somehow input two times. Next is a normal hand. Last one is roughness. Again, I will add a black mask in the rest of the area I want this to appear. Choose the polygon fill only. And let's start willing. I'm just dragging my mouse to make a selection. To fill multiple phases are make sure you don't accidentally select some phases. You don't want to like if I increase my selection to hear it. These spaces also come into the selection that are actually of the pool tiles layer must be extra careful while selecting our feces. Right? So I think all the phases are selected. Now, let's change the name to something like inner tiles maybe. Alright, so now we have a texture dark ground plane, but the texture still don't look very good. So the next thing that we need to do is we need to set proper styling for our layers. Let me select the ground plane. First. Let's select this outer tiles. And to change the tiling of the texture, we need to just increase the scale from here, hold Shift to increase it slowly. We can just increase it bit by bit. Maybe somewhere around well, maybe somewhere around, maybe three. I think this looks fine. Again, this is very much according to a preference. You can set any scale you want. Also, if you are feeling like the texture is looking very blurry. The reason is, right now the size of the texture is one key only if we go and just increase it. From here. You can see now the texture is looking sharp. If we can even increase it to fork. But obviously now working in substance painter would be a lot slower compared to working in 1k. Then we will export the textures, we will export them in for K. But right now let's just work in one Q only because it is pretty quick and snappy. Alright, so next, select this inner tiles. Now, if we increase the scale of these styles to create something nice, we will face a problem that as you can see, if you look at the scaling, the tiling over here feels different and here it is completely different. Next slide detection looks completely disconnected and it looks very weird. So again, that is a very simple fix for this. Instead of the UV protection, we will select try planar projection. And now when we select this, you can see a complete texture is now a single one over the whole. Overall, overall the phases. Now we can just easily adjust the scale to get something like this may be just degrees. This a bit around here maybe, again, this is according to your preference. You can set any scale you want. Last left, select the pool tiles. For this scale really doesn't matter much. Let's see if, what if you like degrees, the scalar load, the texture would look very blurry. So I suggest you to give it a little bit of tiling. I think somewhere around this is looking good. Now, I'll ground plane looks much better. Now we are done with the basic texturing of the ground plane. Obviously, we will add more layers to this lake, roughness variation, dust and everything to build up upon the texture and make it even look more realistic. But first what I want to do is I want to add the basic materials to all of the textures. So I think I will end it here in the next video, we will be adding base materials to all the remaining assets. First, we will add base materials to each one of them. Then we will add more layers and build up upon it to make the textures even more realistic. I'll see you in the next one. Thank you for watching. 19. Texturing the Walls: Hello, welcome to Chapter 18. So let us start from where we left. In this video. Let's picture some of our other assets. So I will start with these art pieces. For all these models, I will just use a single material that would be a concrete texture. Let's download that. Open up this website again. Click on Materials and let's search for concrete. Now there are lots of options to go for. But I wanted to go for something clean. So I chose this one, right-click and open it up. I will download this in for K. All right, so the download is finished. Now, let's copy this file from here, and I will paste this into my textures folder. Right-click and extract it. Select the color map, the normal map, and the roughness map. Let's drag and drop this into Substance Painter. Select all of them. We will export them as texture. I will import them to my project. So let's delete this layer and add a new failure. Let's name this filler first concrete. Now I will drag and drop these maps into the channels. So first the colormap goes into the base color channel, anomaly map into the nominal map one, and the roughness into the roughness. Alright, so the next thing is, let's scale this up a bit. Maybe around five would be fine. Maybe let's try, try putting a prediction to see how everything looks. In this case, try playing or UV really does not matter. There's a little bit dry planar only. Scale this down. Alright, so the next step is that right now the color is very dark. I don't want to go for this kind of ballot. To change that, what I need to do is I need to add a filter. So go over here, click this, and add the filter. And the type of filter that we're going for is HSL. Perceptive. With the help of this filter, we can easily change the hue, saturation and lightness of this particular layer only. Alright, So I will say the lightness first two maybe a little brighter. I think something like this. Next, saturation. First, let's change the hue, a hue for you. I want it to be somewhat like light yellowish. Let's see. It is around 0.26, maybe. Something like this and saturation. I will increase it to maybe completely at one only. This looks fine. Let's increase the lightness of 0.79 maybe. Again, if the texture is looking to bloody, that's because the size is low. If I increase it to k. Now the textures look pretty sharp. Alright, for now, this much is fine. Let's move on to the volts. I will also use this same texture over our vaults. Also, press Control Alt and right-click to select the voltage set list. Select the texture set. Two layers. Let's again delete this layer. Now one thing that we can do is we can just Control Alt and right-click on this art pieces texture, and copy this concrete layer and directly paste it onto our Waltz. Just right-click Copy layer. Again, I will select this texture sec and just paste it over here. Let's increase the size a bit to view things properly. I will scale this down just a little bit. Alright, so next. Next let's add a black mask, because obviously we don't want this concrete material all over our walls. We obviously don't want to do over here and also not on this bottom. Let's add a black mask. Select the polygon tool. Now, make sure you are using the polygon field. And now let's select faces that we want. The concrete material. Where we want the concrete failure to appear. Over here. Next, I will also add it on this phase, this phase, this phase and this phase also follow these top faces. I will just use this diet actually only because this, because all these top faces will act as the floor of the second float or maybe the first float. So we will use this outer tiles texture or the layer, and we will copy it over here to use it on these phases. For these bottom tiles, I will maybe use the swimming pool texture. So let's do that now. Click over here and again I will just copy paste it. So let's select the ground texture sets. So Control Alt and right-click over it. We will copy the outer tiles, fill it and the pool tiles. So hold Shift to select them both. Then press control C to copy them. Now let's select the wall structure sets. So Control Alt and right-click. Now I'll just paste them over here. Make sure to just right-click and clear mask that we are starting with a fresh mask. Now for the pool tiles, I want them to appear over here. Make sure you're selecting the phases properly. Alright, so now all the phases are selected. Now for the outer tiles, I want them over here. This looks kind of weird right now, but don't worry, because these phases will be acting as the floor for the first float. So when we will export everything into Unreal, then it will look fine. Again. First let's set the tiling. Increase it a bit so that it at least matches some work with the bottom flow. I think somewhere around here is fine. Let's select the pool tiles. Increase their tiling a bit. Maybe the last one was fine. You to three only. Okay, So now I will download another texture that I will be using in a waltz only. Let us go back to ambient CG website and search for the one that I will be using is this one right-click and open it in a new tab. Just hit download. The download is done. And again, let us quickly copy this and paste it into my textures folder. I will extract it over here. Also, if you go into your resources folder, you will find this download links, Notepad file where you can find the links to all these textures that I'm using so that you can easily just copy these links and paste them and download the textures quickly. If you want, you can just go over and use this file. Now, I will drag and drop these textures into substance painter. So select the color map, normal map, and the roughness map. Select all of them, protest texture into the project, hit Import. Now I will quickly create another fill layer. Let's name this fill layer green tiles. And I will drag and drop these maps onto the channels. First is the base color. Next is denominator map. Now the roughness. First, let's add a black mask. Select the polygon tool and fill mode. Now I just want this green tiles failure to appear over here in this loop. So I will just select this phase, this phase, this phase, and this phase also. Maybe these phases also for now, I will see if I can add something else to them later on. But for now let's add this green tile section only. Alright, so next, let's click over here to change the settings of the fill layer. First, let's increase the scale Because right now it is very large. Maybe somewhere around 15. Let's select dribbling a prediction. This is much better. Alright, So now we have added that these materials to the walls, to the ground, to these pieces and now only some pieces are left. We will continue from here in the next one, save your files. And thank you for watching. 20. Texturing the Remaining Assets: Hello, welcome to Chapter 19. So before we start adding textures to the rest of the remaining assets, I wanted to fix up a few things, go into the world's texture set. And right now the dollar of these voltages kind of light yellow. I wanted to change it to white. So to do that, I will just increase the lightness, maybe around 0.9. Next thing that I want to do is the normal detail that you can see the scratches and bumps are looking at degree too much on these walls. So to reduce them, there is a pretty easy, you see here this base color and this opacity value. If you reduce this to 0, then the base color would be completely removed from this failure. In a similar way, we can select any channel. For example, if I select now the normal channel and reduce this opacity value to 0, you can see all the normal details have gone and now our walls are completely plain and flagged. Obviously, I don't want to do that. I just wanted to remove them a little bit. So maybe I'll put it at around 50, that we have a good amount of details and also they're not too harsh. The next thing that I wanted to do is if you just see over here, right now, Let's go back to first the base color. Alright, so the next thing to do is that we need to remove all the phases that have the green tiles from the concrete mask. What I mean by that is if I just disabled the green tile layer for now, you will see that it still has the concrete layer below it. We need to remove all these phases that have the green tie lit from this concrete mask. The reason we're doing this is because if we don't remove these faces, the height information and the normal information of the concrete layer would still be visible over our green tiles. So let me show this by an example. I will just increase the normal opacity to 100% just to show something. Now if you just look over here on our tiles, now I will just disable the concrete layer and you will see the difference. You can see that the concrete layer is still giving off some of the height information over our tiles. Do you see? To prevent that, we need to remove all these visits that have the green tile from the complete mosque. So quickly let us just do that. Disabled the green tiles. Select the concrete mask, go to the polygon fill. And I will set this to black to change between two interchange between white and black color. You can just use a shortcut that is x like this. You see I'm flipping between black and white. So I will choose black and select this face, this face. All of those visits that have the green tile lecture or the failure. Now it's done. If I just come back here, enabled back the green tiles. Now, if I, now if I just try to enable and disable my concrete layer, you will see there is no effect on the tiles. That means now the compute layer is not giving off any of its information onto the, onto any other layer. Alright, this is what we wanted. Now let's segue back the normal value to 15. Next thing is to go back to the green tiles, and I will add another filter to this. Click over here and add a filter. This time the filter that I'm adding is a sharpened filter. This will enhance our texture. That it looks much better. You will just see right now if I just type in here, sharpen and enter this filter, you will see now the title set popping a lot mode. But actually this is too much. I want you to keep it at maybe 0 for something like this. And now just enabling disabled the sharpen filter to see its effects. You can see the tiles now pop a lot more. And I think this is much better. We can maybe increase the projection to 17, bring in more tiles. I don't know, I think this is fine. It is really like a preference thing. Also, let us go back to the base color. I will decrease the lightness a little bit, just to have a little bit mode of yellow color too. So maybe set it to 0.87. All right, this is done for now. Next, let's move on to the ground plane again, hold Control and Alt and right-click. I will try to align these textural deliberate mode, these inner titles. One. The way I will do that, it'll open up 3D projection settings. Make sure you are. Make sure you have selected dribbling and projection. And we will try to offset this a bit. Now increase the x-value a bit to align these structures may be properly little bit more. Somewhere around here, 0.07, I think. Looks fine. Next, select the outer tiles. For these lead. Select dribbling a prediction instead of UV. And I will increase the scale a bit. Maybe around here. Six is fine, I think. Alright, let's do the same for these top tiles. Back to the wall structure set, select the outer tiles in a prediction and try to just match it with this. I think around 4 something. Let's try 445, I think is fine. Yep. Alright. So these were some of the changes that I wanted to make. These changes were like based on my preference, how I liked things. If you don't like these changes, you can just skip them. Now let's move on to the texturing part. Let's start with this fountain, OK one. So I will hold Control and Alt and press Delete. Let's remove this layer. And for this textures that I will use the walls familiar only go over the walls. And let's copy this concrete fillet. I'm pressing Control C, and let's go to the fountain architecture set and paste this. For now. Let's remove the mask. Now, I will show you one more type of mask that is the geometric mass. That is like pretty basic to use. Just click over here. Now we are in the geometric mask of that particular field. Now, whichever mesh that I select, this geometry mass can only, only be used, don't match it. So if I click on this mesh, now this fill layer is automatically removed from this particular mesh only. So if I click on this now, both of these objects are removed from the failure. And the Ford here means that this filter is being applied to four different objects. This 1234. This is basically used when you have two separate a fill layer from different objects, but it cannot be used for faces. If I just add a black mouse to this black in a black mask, you can just add a fill layer to a single phase like just this face only. This is not possible with geometry mask. Black masks like give you final control. Geometry, masses like fall. If you wanted to do stuff quickly, just click over here and let's click on exclude all. So now the filter is not being used by any of the object. So now if I click on it again, whichever object I select, that object will have this particular field later applied to it. So let's select this one, this one, this one and this one. These four objects. And these two objects I will either separate familiar, alright, for this tablet, use the gold type metal thing. So add a new fill layer. We can create this on our own. Let's take the metallic value to one, roughness to maybe 0.25 and color to a yellowish. Like this. We can't do this with a black mask also. So let me show you that first I will add the black mask, select the polygon fill, and this time select the mesh. Geometry mask is basically like a mesh fill. Only. Now we have used the black mass to only apply this golden material on this step only if he had to do this with the geometric mass. So now I will remove the fill, remove the mask. For diametric mass. I will just click over here, right-click and exclude everything. And just click on the tab now. And now I'm using the geometric mask. A geometric masses basically like the mesh fill of the polygon tool. Let's move forward. Also one more thing that I want to tell it. If you don't want to make your own familiar like this, there is a gold pure material in our shelf only we can directly use this one also has the accurate properties of Bolden Everything and the color also is nice. So let's use this one only. I will remove this fill layer. Click here, let's exclude everything and select the tap. So now for basic things like just separating different objects from affiliate will directly use the geometric mass. And if we weren't like final control, we want to select faces and everything, then we will use the black masks. All right, for this thing, let's use these styles only these black color tiles. Control Alt and click on the ground. Let's select the pool tiles. Copy this, select this texture set, and let's paste it here. I will remove the black mask. For now. Let's use the geometric mask. Exclude everything. Select this. Alright, so this is fine for now. Maybe later on state I will add more stuff to dislike designer or something. But for now, we're just adding the base material. So for now this is fine. Let's try UV protection. I think for this UE prediction is much better. Let's decrease the scale a bit. 2.5. Let's try 2.5. This is fine, I think. Next for these balconies, if you search for steel in the shelf. If you search here, these are like basic materials, but if you click on here, you will also find some smart materials. Also, smart materials are like they have stuff like roughness, radiation does thrust all these things added to them already. If you find a smart material that is that matches your needs directly, use that. It will save a lot of time. Let's use this dark. Keep it here. Alright, let us move to the balcony. Now if you open up this folder, you will see it has two layers already. The scratches have already been added to this particular left. So if I enable the scratches, you can see maybe for the balconies we will go with this. Let us remove this layer. Alright, let's move on to the fountain. For the fountain, I will download a marble texture. Maybe. Let's head back to the browser. Search for Ambien CG. And this time let's download a mobile material. Again, like a lot of options to go for. Maybe I will go with something like this or this may be, I think this one will look better. The download is done. Now, let's copy our zip file up. Ps2 denied access folder extracted. And now let's import this substance painter. Import all of them as textures to your project. Go back to the ground. I think, I think the fountain was the part of the brown texture. Sec, yeah, let's press Alt plus q so that we can isolate it. Failure. Let's drag and drop these textures onto the respective channels. Select, try planar, maybe alerts reduce the scale. Maybe you will only use was much better. Let's try eight, increase the texture size two things properly. Let us use the geometric masks because we only have two, separate these two objects from the rest of them. Click on, click here, exclude everything, and select both of these result Q again, to bring everything back, and I don't know if it looks good or not. Maybe let's try another one over here and let's download this one. Download is done. Let us again quickly copy everything unexplored. And extract the textures out. Right now I'm just trying stuff out how everything will look together. Let's export this one and see how this one looks. Let's quickly replace these textures, will drag and drop the color on the color. Normal over here. Roughness. Let's try, try playing it again. Okay, I think this one looks a little bit better than the earlier one. Again, I cannot really tell at this stage after we export everything into substance and see how everything goes in the engine with the lighting and everything. Then we will finally be able to tell if the textures are looking right or not. They're looking good together. But for now, let's just go with this one. Again, I will give you an oxygen if you just go over here and add a filter, Let's add the HSL perspective perceptive to this. If you want, you can maybe change a little bit of its colors, increase the lightness, change the saturation, or the hue of it. But again, I won't get into these things too much as of now. So I'll remove this. We will do these things later on. Like if you find in Unreal Engine that something is not looking good, then we will try and fix that. But for now, let's just, let's just add base colors to everything and move on for now. The last thing that is remaining is these doors and the windows. For them, I will be using a wood material, so let's download them now. If you go into the resources folder, open the download links, Notepad file. You will find the link over here. Just copy this link and open it up in your browser. So these are a bunch of free smart materials. All of these are pretty good. I have already purchased them. You can type 0 here and purchase them. Get new content. Just simply download them from here. So again, let's just bring this into our Textures folder only. Extract this. You need to select SPSS files, select all of them. Just drag and drop them into Substance Painter. Now it has already recognize that it is a smart material so we do not need to change anything. I suggest you guys that you should import these resources to your library so that you can use them for future projects also because wood is something that is pretty common and you might need to use some of these materials. Again, I suggest you that you should import them to your library. I will import them to the current session because I don't want to import them two times. I already have them. So yeah, let's just hit Import. Select the door and windows texture sec. So it is pretty basic from now, there are a bunch of different wood materials you can drag and drop and see what fits your needs. Let's just try some stuff out. I think the first one that I tried was pretty good. You can go for any material that you like according to your preference. I think maybe I will go for this one only. Just drag and drop this over here. Also let us drag and drop it over here on this big toe. Hold Control and Alt and right-click. Delete this layer and this crossover here and search for gold. Let's drag and drop the gold pure one. Because for these handles we will be using the Goldberg material. Click over here, it excludes. Select this object. And you can also hold Shift and use your right-click to rotate the lighting. If you are like feeling like if you're feeling like it is too dark, you can just rotate the lighting to check your objects from your check your texturing from all angles. All right, let's move back to the door and windows. We don't need to change much for the door. It pretty much remains. This will only let us see for the window. First, let's delete this layer. Click on the Geometric Mask and just right-click and exclude everything. I want wood over here on this one, this one and this one. And for these, we will choose something like a metal or something because these are like railings and everything. Now let's add the new familiar. Give it a dark color. Set the roughness to 0. Against click here, exclude everything. I will apply this fill layer to this plane over here to give it a glass-like feeling. Let's rename this to gloss only. Right for the railing. Let's create new fill layer and give this metallic value of one. Maybe 0.2 of roughness. Let's give it a grayish dark color. Exclude everything and give this relate to the Rayleigh. Make the color a little bit lighter. Rename this layer to metal. Alright, I think this is fine for now. We will add some more stuff to this. Or just for base material, I think this is fine for now. So I forgot to add the metal fill layer to the other. Really just click over here again and let's also add this piece, the metal failure only. Alright, let's move to the big door now. Hold Shift and right-click and rotate our lighting a bit. Hold Control and Alt and right-click. Select the door. Extra. If you see, if you open up your good wood folder, you will find there are multiple, multiple failures to help detail the smart material. There is like grunge, see dirt and SVR also. So what I wanted to do is I want to change the styling of the door a bit. Rest, everything is fine. So select the fill layer over here. We need to just increase the scale a bit. Maybe at around five or six, maybe. I think six looks much better. Be increased digest. If you just increase the size of the exercise to see stuff properly. Yeah, I think this is better. If you want, you can even dial the texture on the small door. So let's select this. It up over here, it to six. Let's try six. Over here. It really does not matter. Let's put it at six only for uniformity. Alright, so now we have our base textures to each one of our objects. We will add more layers over this to Lake further details, textures even more. But for now I think this much is enough for this video. Thank you for watching. I'll see you in the next one. 21. Adding Dust: Hello guys, welcome to Chapter 20. In this video, we will be adding dust or our textures to give them a more realistic look, a little bit of variation. To add those two, we will be using smart masks. That is a feature of Substance Painter only. This is a really great feature that helps us in adding natural and realistic looking dust edge. We're most rust and many other things. So we can use them to create a variety of realistic looking materials. So a smart mask is essentially a type of mask only. But it, but it uses different mesh maps that we baked earlier at the start of our texturing process, like the ambient occlusion mesh map of the thickness HashMap. So also you can view all your maps by pressing M, by pressing B. Right now, I'm doing the ambient occlusion HashMap. If you keep pressing B, it will keep switching between all the mesh maps. This is the thickness, this one is the normal world space normal ID. We did not build index where it is empty. This one is ambient occlusion. Now if you want to bring back your material, you just need to press M. All right, so let's start by adding dust. First, I will add this to this volts. So click over the world texture set. Let's add a new fill layer. Rename this to dust. I will set the color to black. And let's increase the roughness to somewhere around 0.67. Alright. Next I will add a black mass to this. And now we do not need to do anything. Now just go over here. Over here in the smart Mask section. There are a variety of smart masks that we can use, but let's search for dust, the one we will be using it. There are also different types of ducts that you can use. But the one that we will be using is this one That's the occlusion. Now just drag and drop this over our mask. Now you see automatically that is being added to our walls. But obviously this is way too much. We don't want to add this much. We will decrease this. We will decrease this. So the great thing about these masks is that we can completely adjust their various parameters. Now if you click over here or this one dirt, you can just change the dirt level from here, you see. You can also increase the contrast, will make the dust a lot sharper. Alright, so let's set this up a little bit. Let's set the DOD level to somewhere around 0.1. This is still a bit too much, but we will reduce this. I will show you how we increased the contrast. No, definitely not want to increase the contrast. Let's decrease the contrast somewhere around 0.05. Also, one more thing that you can do is you can also view your mask by just going over here and selecting mask. As I told you, a mask is essentially a black and white image. Only the white section means that the failure has to be visible over here. And the black part means the filled it has to be invisible over here. So if now I go back to my material by pressing M, You can see over the white areas with this black colored display ads showing up and over the black areas. If you go to mosque again, the dust is invisible. This is how masks work. Alright, so now let's head back to our material and adjust this a bit more like a bunch of other settings also like the grunge, if you increase the orange than the amount of dust particles would increase. But obviously I don't want to make it too dirty, so I will decrease this. So let's just keep it at default only. I think the default value of 0.51 is fine. Next, I will increase the contrast to somewhere around 0.3 to five. Maybe. I think this looks better. Obviously, this is again like a preference thing. You can increase the dust on your walls if you want, and you're going to decrease them if you do not want them at all. Next, what I will do is obviously still I think the dust is too much, but instead of decreasing it from the DOD level of contrast, I will just go over here in the opacity value and degrees you to somewhere around 60, maybe 65 something. Maybe 65, something like that. Yeah, I think 60 is fine. I wanted us to be settled and not enough faces. I think this looks better if you just enable and disable the dust layer. Now you will see the difference that it creates. It makes the wall to look much more realistic. Alright, so we will just copy this layer. Selected press control C to copy this. And now we will one by one, just paste it over every texture set so that every texture set hazardous layer. We will adjust them according to each and every texture sec, but I think this one will be fine too. Now let's go over to ground. Let's rename this to mobile. Based. Based on dust fill it. It is not visible right away. But if you just disable and enable this, you can see over the corners that the dust, it's showing its effect. Alright. I think this is fine for the ground. Also makes sure that you keep the dust layer at the top. Like for example, if I bring the marble layer above the desk layer, you will see now the dust is just affecting the ground only and not on marble fill layer. So we need to keep the dust layer at the top so that it affects all the failures below it. Next, let's move on to the fountain. Ok. The dust filled and you see immediately it looks much better. We can also maybe increase the DOD level of big no, I think this is fine. Next, let's move to this big door. I'm using Control Alt and right-click based. Industry will increase the contrast a bit for the doors. Something like this. I guess. You see how much of a difference that it creates. Next, let's move on to the rest of the texture sets. Select paste the link over here. And now let's adjust this. I will increase the DOD level somewhere around 0.53, I think. Next, I will increase the scaling of the concrete. Also, let's rotate the lighting and check it from all angles. Just hold Shift and right-click. I think it looks fine. Now let me tell you about one more thing. So for example, you are happy with how your dust looks, but maybe you want to remove it from a very small part. So how you will do that is just click off your mask and add a paint layer to this. Now make sure you're selected the brush tool. Now we just need to paint over and you'll see I'm removing the dust very easily. If you press X, that means your brushes turn to white. Now you are painting back the dust. So x is to switch between black and white. So black will remove the dust and white will add even more. The thing is, we don't want to remove dust this way. We want to remove, in a more natural way to do that, go over here, and let's select some of the dirt brushes like this one. Now you see we have applied the dirt brush to change the scale of the brush. Just hold Control and use your right-click or change the size from here. Alright? Now, you see it is black right now. And if I print it, you see I'm removing dust in Laker, very organic and natural way. That it looks good also if you try to remove the dust. And now if you press X to change it to white, you are now you are not like painting. Even more dislike, for example, you want to add some dust, do some of the corners and not to the whole model. You can just add up paint layer, use a custom brush like any other brushes or any other one. Make sure you are in white color. Just press X to switch between black and white. And white means you are painting more layers to this. All right, so I just wanted to show you how to do this, but I will just undo everything or simply remove the paint layer because we don't need this extra information. Alright, now I will move over to doors and windows. Let's paste the desk layer. I will increase the DOD level and also increase the contrast. I think something like this is fine. Obviously I'm not worrying about this too much because right now, because first I want to export everything to Unreal Engine just to check how everything looks, then I want to make more decisions. How I want to change some of the textures. But first I want to export everything to Unreal. Let's add this to this one also. This piece. I don't think the dusk matters statement because the color of our dust is black. If you increase it too much, you can see it because it has a difference, because it has a different roughness value. Let us increase it around here. Increase the contrast also little bit. For this one, I will reduce the opacity to 50, change to the roughness channel. And for this also, if you just move the opacity, you will see how it makes a difference. I will set the opacity to 50. I will say capacity to 254 roughness also. Alright, I think this is good for this layer. I don't want to put too much just over these balconies. Alright, so I have added this to all of the texture sets. Now first, before adding more layers, I want to export everything to Unreal Engine just to see how everything looks. And then we will move on further from there. Do I add more things on more layers to our textures? Or maybe if you wanted to like change some of the things, maybe some colored is not looking properly. We can change it after, after just checking everything in unreal, how everything looks together. Alright, so I'll see you in the next video. Thank you for watching. Make sure to save your files. 22. Importing to Unreal Engine: Hello, welcome to Chapter 21. So now that we're done with the basic texturing of all our models, in this video, what we will doing is we will export everything into Unreal Engine and set up our scene or the just to see how everything looks, then we will move further on from that. So let's open up Unreal Engine. So I will be using Unreal Engine five to use the new features that are human in the night. Now click on games. Select a blank project. Let's name this project as you can choose the project location wherever you want to save the project, I will just liquid stare default only. Rest everything remains same. Also, if you have RTX graphics card, you can enable retracing. We won't be using that, we will be using human. Using human, you actually do not need redressing graphic card. You can, you just need a normal graphic card. But if you have RTX graphics card, you can just enable this and hit on Create. While it opens up. Let's close substance painter for now, don't need it. Saved the changes. Alright, so now unreal has opened up. You can hit update over here and we can just dismiss this. Alright. Now right-click and create a new level named this scene one. We will be working in this double-click to open it up and hit Save Selected. Right now, everything is black, you can see nothing. So first let's add some lights to our scene. You can go over to Create. First, let's add a directional light. This light, this light will act as our sun. You can see even though we added a directional light, nothing has happened. Next, we need to add atmosphere. Instead of going over to create again and again, I will just go to Window and enabled place actors. Now I can search for atmosphere, drag and drop sky atmosphere. All right, Next, select your directional light. Just search for MOSFET. In its properties. You will see here atmospheres and just hit enabled. So that the Indian knows that this one is the atmosphere sunlight it as soon as you enable this, you can see now we can see our sky and everything. But below this middle part, everything is black. So to solve that, you can just add an exponential height fog. All right. Let's reduce the fog density. Low number. One more thing that we need to add is a skylight. Make sure you enabled real-time capture for your skylight. Alright, so now in the new Unreal Engine, you can just hit Control L, control plus L, and you can just move your lighting this way, adjusted. You can see that is pretty handy. We can adjust our lighting just by hitting one shortcut and moving our mouse. All right, so let's place our Sun like this for now. Okay, so the next thing to do is open up your resources files. If you remember, we exported this applied modifiers FBX file to use in substance painter. Let's bring this in now in Unreal Engine. So to import things into Unreal Engine, you just need to hit Add on your content browser. If by chance you don't see your content browser, you can just press Control plus. And the content browser would pop up. You can just hit L so that it stays on here. For now, we can remove the place actors window or maybe before that just add clouds also looks at clouds also search for volumetric and drag and drop volumetric clouds. Alright, so now let's remove place actors. Hit Import to game. Let's bring in our export. Before that, I need to create a new folder. Let's name this model. Now I will export everything here. So we generally don't need to change anything. We can just we can just hit import all. You need to wait a little bit. Violent, jealous processing everything. Alright, so now everything has been exported correctly. You can see all our materials also have been exported with us. So it will be easier for us to just add textures to these so that we can easily texture our models in unreal. Now while everything is selected, just drag and drop this. On 200. You can see our whole scene has been brought into unreal. Now we are faced with one problem. And that is that we need to create a complete scene. Again, we need to just select everything and move it over here. And now we need to again and again duplicate this to create the complete scene. So now we're faced with two options. One thing that we can do is we can just, again and again duplicate everything and set up everything in Unreal only just by using these heads. Just by using these assets only. Or the another thing that we can do is we can open up Blender. Now I will just open my applied modifiers blend file from here. This one, which has all the modifiers and use everything applied. Now, I just need to quickly create that whole scene again by, again and again, duplicating everything. So the reason I'm doing this in Blender is because of handling everything in Blender and moving and duplicating stuff is easier than blender. So it will be much quicker creating everything back in blender again and just exporting everything into Andriod rather than just duplicating stuff in unreal. Because like moving around in maneuvering In Unreal is kind of a bit difficult for me. If you are comfortable in Unreal, you can just duplicate everything and create that whole scene again. But I will do that in Blender only because it is one and the same thing. I will just create that whole scene and export that complete scene directly into Unreal. Let's start. Instead of working in this file only, let's just hit Control Shift and S and create a new file by the name of complete scene. Now we just need to duplicate and place everything back at their original positions only. So let's start. So let me open up screencast keys. Let's start. First, I will select these three pieces. Rest seven for the top view. And let's move them over here. Let's move this piece over here, select this one and just connected with this piece. Now press Shift D, press X to lock it on the x-axis, and let's move it over here. Now before we just duplicate this, press Select Object checked origin, and take the origin to geometric. Now, we can just duplicate this. Move it over here. Press S then x minus one to flip this. Alright, so this side is done. Next, let's select this piece and move it over here. Make sure it is aligning properly. I think this is fine. Next, I will just select all of them. While you're selected all of them, just press shift D, duplicate them. Write lock on the y-axis. And let's just rotate them by two degrees. Enable X-ray to just see properly where we are aligning things up. Around here, I think is fine. Next, let's link this piece and this piece. Move them over here and let's rotate them by one degrees, 90 degrees. Place them over here, matching with this piece. Like this. Now to select this piece and duplicate this over here. Select all of them. And let's just move this a little bit backwards. Like this on the x, that just everything lines up properly. Now I will select these three pieces again, press Shift D and duplicate them by one or two degrees. Now I need to just line up this piece over here. Alright, so now all the pieces are lining up correctly. Select this top piece and let's just duplicate this. Move it on the y-axis, and move it a little bit on the x out in the front. We can also reduce the size of this a bit. But I think it is better to keep it that way. Only. Pressure of D again and large duplicated over here also. All right, next to the return of the pillars. I will do is I will just hide the wall. All these extra objects that could just easier to place them. Select the pillar, press Control plus seven for the bottom view. Let's move this over here. Duplicate this again. Enable X-ray and let's place it correctly like this. Make sure to check once everything lines up properly. I think this is fine. So I'll just quickly duplicate everything. Both of these pieces press seven for top view, enable X-ray and alerts. Move them over here also. I'll just keep duplicating everything. Let's select this pillar and move it to all the corners. Select both of them. Press shift D again and move it to this, these two corners also. Select all three of these pieces or Shift D and move them over here. Now let's just check everything. If everything looks fine, I think everything is static, so press or attach to bring everything back. Press one, enable X-ray. Let's select everything over here except the founding these tiers and the ground. Because we need to duplicate it for the second flow. Select these pieces also. Express G to move them once and check everything. Now press right-click to cancel the moment Shift D to duplicate this and place this over here like this. We need to correct these pieces. Press S and scale it down on the Y. Allele for this one on is less than y. Sorry. Need to increase the size of this on the x. All right, so everything looks fine for now. Place the railings. Now. I'll select this one and let's just hit duplicate this one and place it over here. Select all four of these. Let's move them over to the right side pillars. I will select two of these, educate them on the x. Now let's select these three pieces and move them over to the last side. Alright, So the remaining thing is the doors and the windows. Let's select our dough. It is a single piece only. Let's move the origin to genetic tree. Placed one over here. Duplicate this, and place one over here. We can also increase or decrease the number of these doors at a later on stage also. So let us just keep it like this way for now. Duplicate them and move them over here. Over here also. Select all of them. Seven for top view. Shift them on the zed. Before rotating them just enabled individual origins so that when I rotate them, they all rotate over their individual origin and not like a single object. Let's just place them like this. All right, So the only remaining thing is the Windows. Reason they advocating in a weird way is because we have enable individual origin, we now need to move back to bounding box. Rotate this by minus 90, I think. Yes. Place it over here. I'm really pressing everything. Very lovely because I can always change the location of these things in unreal. Let's duplicate this and move this over to the right side. All right, So now we're done with the whole scene. Let's just select everything. First. Let's save this. And let's just export our complete seem to unreal. Now, I will go over to File export FBX. Let's export this into our exports folder, selected objects and mesh. I will name this complete scene only and hit Export it vx. Let's open up our Unreal Project. Control a. Control a to select all these applied modifiers object. Because we do not want to delete our lights. Hit Delete. Just delete the complete models folder also that we can export everything from new. Alright, so let's explore that new FBX, import and complete import. All. It is going to take a bit of time. Now the compute export is done. Now while everything is selected, Let's just drag and drop this into an unreal scene. Wait for everything to load up. Now our complete scene is in Unreal Engine. If you want to know how I'm moving in Unreal, just hold right-click and use your WASD keys to move in the unreal scene. Next, what I will do is I will send the location of all these assets to 0 comma 0, comma 0 at the origin. Make sure each and every asset is selected so that they all get moved to 0 comma 0, comma 0. Alright, so now there are a couple of issues with our model. Let us just quickly fix them first. So the first thing is these pieces have been exported as completely black. And these two also, surprisingly, these two are fine and these two are also fine, but only these four have been affected. Let's just solve that right now. When I was earlier testing of camera, this same issue appeared, so I really don't know what is causing this, but we can easily fix this just by deleting them both. From here also. Now select this piece. Hold shift and select this piece also. Now press Control G to group them both together. And let's just press Control C and Control V to duplicate them. Move them over here. The scale section in the y scale type minus one, so that they get flipped on the y-axis like this. Now let's just move them to the position. It was this easy. Now select these two also. Press Control G to group both of them. Then press Control C and V, you duplicate them. Let's move them over here and make sure to flip them on the y-axis like this. All right, Now these issues fixed. The next problem with models is that as you can see, some of the walls and some of the other models not casting any shadows. That is because they have been exported as symbol 3D planes. There is again, a pretty easy fix for this. Let's just open up our walls material over here. There is an option that we need to enable and it will fix this just enabled two-sided, which tells the Unreal Engine that this particular model is a two-sided. Just enable this and hit Save. And you will immediately see the results. You see now all our walls are casting shadows and the lighting is looking much better. Next, let's enable this two-sided for each and every material of ours. Now if you see this fountain art is also not casting any shadow. Now we will enable two-sided for this. Now the shadow issues fixed. I will just quickly one by one enabled this for each and every material. Alright guys, so now we have enabled two-sided for each and every material. We have exported everything into unreal correctly. Now, I think Ms. Much is enough for this video. You can also press Control L, and they would delighting a bit. As you can see, lighting is updating quite responsively. We can create various moods using just this lighting. We continue from here in the next video. Thank you for watching. 23. Applying All the Textures: Hello, welcome to Chapter 22. In this video, we will be exporting our textures from Substance Painter, and then we will bring them into unreal and apply them on all our models. But before that, there are a few more issues that we need to fix. One of them is if you see in these corners, you will see that light is leaking to them. I don't know if you guys are facing this issue or not, but let me just solve this right now. In all these corners, you can see there it is. You can see that light is leaking through. So to solve that, there is no like a solid, fixed but pretty hacky way. But I will do is I will create a cube. Go over to Create and add a cube. Move this Q over here at the outside. Just scale it on the x and the z, like this. Now if you'll see over the right side of a vault over here, as you can see, there is no light leaking issue because we have added a big cube over here that is acting like a shadow box. Maybe it is casting shadows so that no light gets through here. We can see that clearly light is leaking through over here, here and the rest of the corners. So let's just quickly add four cubes on all the four sides. Control C and Control V. One more cube over here. Make sure it does not overlap with any of our geometry. Let's just copy paste this again, rotate it 90 degrees. Now again, copy paste and move on Over here. Now you will see in any of the corners now no light is leaking through any of them. So make sure you add these big cubes on all the sides of the walls so that you don't have that issue. Let's just move our lighting press Control L and check if there is any limiting issue. The lighting and everything. If I put it like this, then we can see some of the light leaking issue again. I think we can just move the lighting a bit. Press Control L again, and let's move the directional light a bit so that there is no light leaking. All right, So now I think that issue salt next. We forgot to change the scale of these big pieces. So let me just select both of them, delete them. Delete both of them, and then select these two pieces from here. Copy them, and paste them, and let's move them over here. If anything is not lining up properly, you can just enable snapping from here so that you can move things freely like this. Alright, Next I will select all of these bulk. Nice. Let's just, let's just bring them down a bit. You can also press Control G to group them together. Now just move them over here. Like this. Alright, so I think this is fine. Next what I will do is I will add a camera so that we can place our camera and then we will view our scene from the camera view only. Go over to Create in cinematic camera actor. Now we can easily replace our camera first, move your view by using the right-click and WASD keys. And please, please the scene, how you want your camera to look like. Maybe this angle is fine, like this. I think this angle is fine. Next, what I will do is from the World Outliner, select your camera, right-click on it. Select Snap object to view. Make sure you select Snap object to view. Now let's right-click and pilot so that we can view our cameras. So now we are currently viewing through our camera. So as you see, it is not like viewing properly. So go over here and over here and change this to 12 MN. And now we can see see the same angle through our cameras. So this will be our main shot. So you can frame your camera like this. Just move your view and then go over here and right-click and then Snap object to view. Let's select all of these models, except the light. Select all of them, and let's just move them into a single folder. Name this folder models only. Alright? Now you can view from your camera just by right-clicking and go to pile even just move your scene however you want. Then just come over to the camera and right-click and pilot that you can view are seen at once. All right, Now let's hit save, open up Substance Painter in Unreal, right-click and create a new folder. Let's name this textures. We will export all our textures directly to unreal only so that we don't have to copy paste again and again. We will just directly export them from substance 200. Alright, open up your project. Now hit Control Shift and e. In the output directly, select output directory and handover to wherever you saved your Unreal Project. Mine I think is in Documents, Unreal, and go over to content. Then in Textures folder, select the folder we want to output. For output template, I will select Unreal Engine four. There is already a output templates, so just select Unreal Engine four, bad file type I will go with which Plus D3. For size, I will go for, for k because I wanted to get the highest quality. But again, if you don't have the high-speed computer, you can just refer to key only. I will select OK, and now just hit Export. And we need to wait a few seconds. We'll be done. Alright, so the export is done. Now, open up unreal again and make sure you hit Import From here for all the textures to import. Okay, So now all the textures have been imported. Click Content from here, and textures, all other textures are now here. Now we need to just add all of them into our materials. Go over to content again, models. Open up your RPCs material and double-click to open it up. Now, we need to just add a few textures. Let's delete this default. Risk control plus base to bring up the content browser. Open up pictures. Select these 3 first textures, the pieces, one, this one, this one and this one. Drag and drop them over here. Now collect. Now connect this base color into basically the normal map into normal map. And for this bag, this will do it. This will help us save memory because this has three different channels, that roughness, the ambient occlusion and the metallic all packed into one texture only but in just different channels, like one is in our channel when it's G and one is in B. So the R channel mixture goes into the ambient occlusion. The G goes into roughness, the B goes into metallic. Now hit Save. Let's close this window and you can see all of our materials have not appeared over our pieces. Next, just select each and every material one-by-one, add textures to them. Next is the bulk of new ones. Again, base color to base color, normal into normal. And I was into ambient occlusion, g into roughness, and B into metallic. Make sure you remember this four for the projectile for further projects also. Now I'm just doing the same thing over and over again, but all of the materials just follow me or you can do it on your own. Also. Scroll down. You will find the rest of the materials over here. Alright, so this is the last material. Now, let's add these textures and then we're done. Alright guys, so now we have architectures to all of our models in the scene. I feel like are seen already. Looks pretty good. Let's just right-click and come out of the piloting mode first. And I can see these doors a little bit backwards behind this style. We need to bring them a bit in the front. Whereas the smooth them a tad bit in the front like this. This is fine. Next, what I'm seeing is that our railings are looking very weird. They have these parts. I think this is being caused because of our slip. Let's move to substance. And in our bulk new texture sec, you select the texture set by clicking here. And I think this issue is being caused by the slave. It is not being caused by this layer. Let's open up the smart material and let's check for all the layers. You can just enable and disable all of them to see which one of these is causing these patches like things that you can see over here. These I think it is not because of this layer also. Select the metal layer. If you go into advanced parameters, you will find this resting saying the rest intensity over here. I think it is this, if you decrease this to 0 and you are not, all of the spots have disappeared. Now I will press Control Shift E and export this again. Again. Now we do not need to do any of those processes. This will just export. And now we will need to hit one button in Unreal, and it will automatically import all the textures. That is pretty handy. The export is done. Now let's open up unreal and hit import or here, Let's see if it solves all these patches like things. Okay, So some of them are still there. Let's try disabling our dust layer. Maybe. Let's disable our dust layer and export this again. Exported this again. In Unreal. We need to import the textures. One more time. I think it will, this will solve this. Alright, so now all of them have disappeared. Let's move back to our camera and let's see if everything looks fine. Alright guys, so one thing that we forgot to do is we, we forgot to add two doors over here that we added earlier. So let's do that right now. I will right-click and come out of the piloting mode. Select your door. First thing that we need to do is we need to reset this pivot offset because we can't duplicate like this, it will be very difficult to rotate things. So let's reset this pivot. So how we can do that is press Alt. And then by using your scroll wheel, you can move this pivot like this. Use Alt and hold your scroll wheel and move your pivot like this. And let's move it to roughly around rich Santa. Give you move too far back. All right, So now I think this position here it is fine. Now you need to right-click and go over to pivot and set as pivot offset. Now we have a reset the pivot now we can just duplicate this. Press Control C and V. Move this over here. Let's rotate by 90 degrees. Let's place it somewhere around here. Let's just go to a camera view and check how things are looking from there. I think I'll place it somewhere around here. Next, just select this again, press Control C and V, and let's just duplicate it over on the right side also. I will just move it over here. This one also over here somewhere. Let us just check once more and then we will finish this video. I think this is fine. This is enough for this video. I think we will continue from here in the next one. So thank you for watching. I'll see you in the next one. 24. Modelling the Lamps: Hello guys, welcome to chapter 23. Now that we have already done models to unreal and also we have added the texture to them. Right now. I'm pretty satisfied with the scene, so let's move further and add a few more small props to the scene. Next, I will be adding a lamp to the scene. In this video we will be more limited lamp. So let's open up blender again. Also we can save and close and drill for now. Open a new blender seen. Let me turn on Screencast. So press a to select everything, and let's just delete this. Press one for front view. And if you go into your resources folder, you will find a reference image with the name of lamp. So press Shift a image and reference and let's add the image now. Go to the reference image folder and add this lamp or PNG. And we will be creating a lamp of this design. Load is not that difficult. So let's add a plane first. Rotate it on the X by 90 degrees. Enable X-ray. Let's move this plane over here now. And we will create this, just this one, face and rest. We will duplicate, place the plane over here and let's try to scale it. Okay, I think something like this matching, match it with these lines on the both sides and these lines on the top. Next, what we can do is press Control a and apply the scale. Alright, now let's add another plane rotated by 90 degrees. Move this over here. Let's create the inside shifts now. Scale this down. Place it like this. Press tab. Select both of these vertices, move them here. Press two for edge select, and let's just delete both of these images. Press one for vertex Select. And now we again need to extrude and just trace the inside figure. We have already done this quite a lot of times now. So I think this is pretty basic. Now. Both of the vertices press F to join them. Alright, so I think we're done with the shape. Let's move this over here. And yeah, I think this is fine. Obviously this will be very small, so no one will be able to notice the difference. Even leave something like not very perfect. Now we again need to do that cutout thing that we did earlier. Press tab and press a. Let's fill the face first. Let's hide the reference image for now. Okay, so before we use the knife project commands, first let's mirror plane. So press tab, go into edit mode, and let's add an edge loop right down the middle and delete both of these vertices. The mirror modifier. Alright, Next, let's select both of them. Press F3. First press tab and press a to select everything. Then press F3 and search for my project. Now we can just delete this one. Let's delete this face. And we have created the shape that we wanted it. Now in a similar way, Let's create all the other shapes. I will add a plane one more time. This time what we can do is just select this plane, press Shift S and closer to selected. Let's add a plane. Now. What I will do is I will also mirror this plane, also easier to create the shapes. Alright, so now scale this down, place it over here. Now we need to just trace everything out. Enable clipping and alerts just joined both of them. Delete this word, and then fill the face. Let's apply the mirror modifier. Bring this out a little bit on the y. Again, let's use the knife project. Select both of them, press F3 and knife project. This phase, and let us delete this. All right, so now let's create these small chips. For them. Let's add a single plane. Rotate this by 90 degrees. Make sure you press tab. Let's move this plane over here. Why I press tab first was because this way the origin stays here only right in the middle. And now if I add a mirror modifier, you will see I've created two planes now. I can easily meter the complete all these small shifts like I can easily mirror them. Now I'm adding just a few edge loops and extruding them to create the shapes. Now make sure you are in the edit mode only. Now press Shift a and add a plane. We can add all the shapes in a single mesh. I'm just duplicating this plane by brushing shift the meeting all these shapes. Obviously it is not necessarily to create the exact same shifts. We need to just roughly follow them. Now for this shape, what I will do is I will just delete all the vertices. Just quickly trace this out like this, only a scene. Just tracing out the lines. Now just select both of them and press F. Model the Edit mode. Let's bring this over here. Now hold Alt and select this complete loop. Press F to fill in the face. Now we have created all the shapes. So again, let's use knife project. What we can do is we can even remove middle modified from this because this plane already has a mirror modifier. We actually don't need to meet and modifiers. Let's select this and this first tab In a to select everything. Then F3 and knife project. Let's do this. Select this plane and press X and delete all the phases. Alright, let's move this reference image a bit backwards. To this, I will add the solidify modifier. Press Control. A scale. Also enabled cavity from here. Let us give it a thickness of 0.03. I don't know. I think this is fine. Alright, next, let's create this top thing now. Then we will duplicate the rest of the pieces. Okay, so first let's just duplicate all the pieces. So hide the reference image for now. 74 top view Shift S. And let's move the cursor towards the origin. Then select this piece load object, set origin and set the origin to geometric. First we need to apply limited modifier. Now I can set origin, origin to geometrically redshift tests and selection to causal, to move the selection to the cursor. Now, I will show you how we can duplicate this in a circular way that we can create a lamp lighting suppress G and then y. And let's move it a little bit forward in the y-direction. Let's just round it off and put it to minus one. Let's see if it works. So the process is pretty simple. Press Tab, press a to select everything and then make sure you have selected the spring tool. Just click over your causal point and rotated this way to create something like this. I know right now everything is a mess. Or don't worry, just put the angle here 360 degrees and enable use duplicates. Now, we just need to reduce the number of steps, that is, number of these pieces that they can fit perfectly. I think seven is two less because there is spaces in between, but it overlaps a bit. What do I need to do is we need to just undo everything. And now I will just move it a little bit more forward. We moved it to minus one meters. Let's, let's move at minus 1.1 again, and let's try spin tool again. I think they won't collide with each other. Now, put the step size enable US duplicates and also 360 degrees. Yeah, I think now it is perfect. We have got a perfect circular array. You can use this spring tool this way to create something like this. Next, let's clear this part, this top part and the bottom part of the lamp. So for now I will hide this plane. Rest one, Shift a and add a cylinder. Enable X-ray. And let's move this cylinder with this line. Let's match it with this line. You can see scale this down. I think this is fine. Press Tab again, press one for vertex select. Sorry, we're still in the spring tool. Make sure you select the selection tool. Select all of these words. Sees. Move this over here. Now again, we just need to add a bunch of edge loops and scale them down first, hold Alt, and let's scale this down to somewhere around here. Next, select this one and scale this down. Just keep adding edge loops and scale them to maintain the shape of the cylinder. Press three, select this and press E and extrude it till here. That we can easily add edge loops in-between. We are almost done now. Let's just keep it this way. Press Tab to come out of added more. Let's see if it looks fine. Yeah, I think it looks pretty good. Enabled, enabled back the plane. Press H to hide this. Now select this plane. This is the center. The center of this plane is this. Goes up to only select this go to Object Set Origin, origin to geometric. And now what I will do is select this piece and just move it to Gaza. That it is exactly at the center. Now, I just need to scale it this way. First I will set the origin to geometric. Now I will scale it. Right? So now we have created a lamp. Now what we can do is we can either just duplicate this, rotate it by two degrees, have the same thing at the bottom. Also like this. We have a pretty good looking lamp to ourselves. We can use all we can just use the same thing that was in the reference image only. It is a bit simple, so let us just add a cylinder again and try to match this shape is bottom one. Okay, I think something like this is fine. Press Tab again and again, add some edge loops. Match with the shape. Alright, so I think this is fine. Again, I will just say dog object, church smooth. This enabled lots of smooth. And move this to let us disable the reference. Imagine enabled back both of these things. Move this piece over here and let's scale it up. I think I lamps, lamp looks pretty good. The next thing that I will do is I will just select all of it. Duplicate this, and create another version of a lamp in which I will bleed this bottom piece. Let's select this press Shift S and goes into selected, add another cylinder. Let's scale the cylinder accordingly. I am creating this. Another version is because I will be keeping some lamps on the float and some of them like hanging with the ball. So it is better to have two versions. One that we can keep on the fluid and the other one that can be hanging. Set the cursor to this selection to closer. I think this is fine. Estab, enabled. And let's move this over here. Now let's create something on our own only controller and add a bunch of edge loops. See if we can create something a little bit interesting by salty. And let's exclude the phases along normal like this. And hold Alt and select this loop, press I to insert this e. And then let's extrude this inverts like this. This enable auto smooth. Next item, limited modifier, Lord, and select this loop. Again. Then press one more time I do times to insert the individual, individual phases. Let's press Alt E again and extrude this inwards like this. I think something like this looks pretty fine. Plus three. And let's move this phase a little bit downwards. Press S, then Shift plus z, and let's extrude this outward. This way. I'm extruding this a little bit. Alright, so I think something like this is fine. Okay, so now we have created out to lunch that we will be using. Next, I will do is just select both of these pieces per slash for the isolation. Let's add a plane. Rotate this by 90 degrees. The x place to place the plane somewhere around here. Scale it on the x like this. Make sure it is in-between this piece like this, and scale this down on the z. The reason I'm creating this, this will be an MSF plane. This will emit light. So we will add the MVC material to this later on. We'll press tab again, enable X-ray, press one for vertex, select both of these vertices and extruded along the lines of these pieces only so that it stays between these two lines, this one and this one. Not just press to select this edge and then select this edge is controlled and rigid edge loops. Join them. Alright, select this piece. Shift D to duplicate. And let's just move it over here. It cannot really see it in the orthographic mode. Let's place it like this only. I think this is fine. Let's come out of the isolation mode. I'm just checking if everything is perfect. It is a little bit skewed. Now I think it's fine. All right, so let's save this file and save it as lamp. One more thing that I will do is press Shift S and closer to selected add a cylinder. Scale the cylinder down. Pretty much like a wire. Like this will be like a wire like thing that we'll do, which like lamps would be hanging. So let's create that. I think this much long would we find? Next press tab. First, let's apply the scale estab, press Control R, and let's add a bunch of edge loops. Now what I will do is just select all of these edge loops like one-by-one and move them just a little bit so that they are not exactly straight. Because if it is exactly straight, it would look kind of here. I'm just selecting all of them one-by-one. Moving them just a little, not too much. You'll see that it looks like a wire or string maybe, and does not look like completely straight. Look weird. So just move them a little bit from the original places. Make sure they're not too straight. Alright, so I think something like this is fine. Let's save our files. In the next chapter, I will let the video here. In the next video we will be like texturing these lamps and adding them to our scene. I'll see you there. Thank you for watching. 25. Texturing and Adding the Lamps: Hello guys, welcome to chapter 24. In this video, we will be texturing our lamps and exporting them to Unreal Engine, and then we will place them over there. But before that, I need to fix a couple of issues. So let's just select this piece and this piece and let's isolate them. If you remember, we used spin tool to create both of these lakes circular things. There's one problem with Sprint tool that whenever we use that tool, it creates like duplicates of your vertices. So let me just show you what I mean by that. If I just select this piece press tab, selecting some of the vertices and move them. It is not this 11 piece. One of the pieces will have duplicate vertices, not this one. Yes, this one, as you can see, if I try to move this piece, there is one mode vertices. There are two of them. These are duplicate vertices overlapping each other. You can just select any of the vertices and you will see there is one more beneath them. As you can see. Again, this is annoying problem, but there is a very simple fix for this. If you just need to press a, then press M to merge vertices, and now we need to select Merge by distance. This will remove any of the overlapping vertices if you select this command. So let's select Merge by distance. And you can see removed 254 vertices. This just, this just means we had 254 vertices as doubles. Now our problem is solved. If you just see this, now we don't have any WAR disease. Similarly, let us do the same thing for this piece. Also, press Tab, press a to select everything and then m, then merge by distance. You see it removed 254 vertices. You can just try this on some other piece also, if I select this one plus a to select everything m, the m by distance, you see removed 0 vertices. This means it has no double vertices. So we are fine now. One another thing that is the lamps right now look like too big to me, so I will just reduce them insights. What I will do is select this piece first, press S, then press Shift plus z, so that I only scale it in the xy-plane like this. So S then Shift plus z. And let's just scale it a bit like this. So that is like more thin. Yeah, this is better similarly for this one also. Then shift plus z. I think this is fine. Now they look much better. I think. Next what I will do is first let's delete the reference image. Press a to select everything. Best m, and let's put them in a new collection and name it lamps. Let us write not applied. So because we have not applied the modifiers to them, now I will create a duplicate of this collection, duplicated Collection. And let's name this lamps applying because we are going to apply the modifiers. The reason I created two separate ones because maybe if you're not satisfied with the models further down the course, we can come back to this not applied collection and make changes in this model again and reuse them. So that's like you to duplicate because if I apply the modifiers, I won't be able to make any kind of changes. Let us just hide this one for now. And this collection. Sorry, press a to select everything. Just right-click and shade smooth. And you see these pieces have like kind of messed up shading. What I will do is select both of them and just select shade flag for them. Because we really don't need smooth shading for them. And shade flag works better. These pieces also I will just shade flag for now. Alright, so now press a, press F3 and convert to mesh. Let us save this material. Let's name this material lamp. Now press Control L to link the materials while everything is selected and link materials. And now the material is on nine different objects. Now overdue UV Editing. First let's apply the scale suppress controlling, apply the scale press Tab to select everything. Enable this and also enabled stretching. Let's pursue and just shoot smart UV project. And I think the unwrap is pretty good. Let's just export this to Substance Painter and let us see how things work from there. If there are any issues with the export, we will fix them. Alright, so let's hit export FBX. I will export this to my exports folder. Let's name it lamp only enabled selected objects and also enabled mesh, export and open up Substance Painter. Now, a new version is available. I will download it later on. Create a new project. File selection. I will select this lamp, FBX. Okay? The reason our lamps are looking hollow, we cannot see the plane is because we forgot one step that was very important to check the face orientation. The face orientation of these planes is incorrect. Press tab, select everything, then Shift N to flip the normals. Let's export this again. There's a export FBX, creating a new project. Discard on this one. And I think this export is fine. I don't see any issues with our models. The next step is to make the mesh maps. So head over to texture set settings, make mesh maps. The circuit to 2k, enable this and this disabled ID maps because we are not using id maps anti-aliasing I will set to four X4 and the rest of the settings are finite default. Again, you can increases sampling if you have a good enough computer, but I will set it to this only. Let's hit big. And it won't take long, I think because it is really a small modern only. It's done. I think the big game out. Pretty much fine. I don't I don't see any problems with the big. Let's increase the size of this material. Alright? The texturing part of this model would be fairly simple. I will be using directly as smart material only. If you go over to the smart materials section and search for bronze, you will find this bronze armor material. Let's just drag and drop this onto a lamps. Lamps look perfect. This material is made for these kinds of things only. I think they look pretty good. The only thing, the only thing that we need to do is add another layer. Let's name this layer and set the color to black. Let's say roughness to 0. Right-click and exclude all. I just wanted this glass filter over our planes. As you can see, at planes are right now not looking smooth like glass. That is because the bronze armor is showing its effect on display in also. So the only thing that we need to do is select this one. Just de-select the plane from this material on both of them. Now click over here and now you will see glass looks perfectly smooth. I think our material looks pretty good. The MSC material that I was talking about earlier that I will add an unreal only so we do not need to do anything in substance for that. Let's search for item, maybe steal. Let's use this one. This one I will use for the VIA. Let's hit Save on our projects first. Let's save this as lamp. Alright, so I don't think we don't, I don't think we need to do much anymore. That's open up unreal and export our textures. Alright, so unreal is all opened up. Let's open our scene. And the first thing that we need to do is obviously we need to add the models of the lamp first. Then we will architectures, and then we will. Add them to our scene. Let's start open up the models folder and let's create a new folder in here. And create a new folder. Let's name this lamp again, and let's import our models first. Let's export. Let's import the file that we exported from Blender. This lambda dot FBX hit Open Import. All right, so they are here now next, let's import the textures first. Let's bring this into the scene. Alright, so the first thing that I will do is I will select this piece, this piece, this piece, one more, this one. Then press Control G. To group them all together. It is easier to move them. Then select this one, this one, this piece, and this one. Then press again Control G to group all of these together. Next, let's go over to the textures. I've already created one when I was like trying things out, I had a new folder. Let's name it lamp. I'd say textures. We don't have to add the textures, we need to just directly export them from substance to unreal. So press control shift and E. For the output directory, I will select my real project. And the project go into content, textures and then lamp, select the folder, the template. The template will be same as the last one, Unreal Engine 48 bits plus D3 size. I will go for Forky only and hit export. All right, So the export is done now, open up unreal and just hit Import from here. Next, let's open up this lamp material. Go to models lamp and open the lamp material. Let's enable two-sided for this one also. Now add the textures. So press Control plus space to bring up the content browser in the textures folder, lamp, drag-and-drop all three of these textures. So this is pretty basic. We have done this a lot of times now. Connect the RGB to base color and the normal to the normal. The R channel, as I told you, goes into ambient occlusion, the green golden roughness, and Lou goes into metallic. Let's save material. Now let's close this and check if everything looks fine. All right, so let's select them. Now place, let's place them now. First we need to decrease their scale. One I will place around somewhere here. Just copy this and paste this. One over here. Select both of them. Copy paste and place them here. I think they look good over here. We can also add one more to this if you want. Let's select both of them. Copy paste. Let's place one here to here. Select this piece and set the scale to 0.25, as in the allele, 131 of them goes over here. Copy paste, this one. I don't know. Again, this is a really a preference thing. You can place them wherever you want, wherever you feel like they will look good. Right now I'm just placing them anywhere to see how things look. Again, let's copy them and move them to over this side also. Let's select all of them and move them to the second floor. I mean, the first blue. Like this. It's somewhere around here. Let's checkout camera if things are looking good. I think it looks fine. One thing that I definitely need to do is select all of them, all of the lab materials, and place them into a single folder. Let's name these lamps. Press F2 to change name, to rename the folder. Also let us come out of the pilot mode. Let's copy this again. Placed one over here. One of them over here. Again, copy paste and move them over here. Yeah, I think that's a lot of lamps now. I'm not sure if too many of them will look good, but right now I will just let them stay. I might remove them at a later on state if I don't feel like they're looking. Again, it's really a preference thing. If you want to put them, you can put them. You can even put like very few of them, like three-fold only. It's really up to you. I think right now they look fine. I might remove them later on. So this much is enough for this video. I will continue from here and the next one. Thank you for watching. 26. Fixing a Texturing Issue: Hello guys, welcome to this quick video. In this chapter, we will be fixing issue that I completely forgot to mention. Let me just demonstrate what is the issue right now. If you just see over the lamps, you will see that the lamps look really, really shiny. And if you just open UP Substance beta and checking that our material is not really that shiny. It shouldn't look at, it shouldn't look like that in unreal. But instead, it is looking like really, really shiny and reflective in Unreal. The materials are wrong. Actually the thing is, let me show you the material only. This texture is the one that is causing this issue, this bag texture, the reason is this step, this texture is currently in sRGB space, and we just need to change this into RGB color space. So that is pretty easy to do. Open up the lamp material, just click over here and then click on this texture. Let us just see our lamps. First. Click on this texture. We just need to disable SRGB. Now you will see all architectures completely disappear from our lamps. And this texture sample shows the error. And if you just read the edit over here, that the sampler type is color and that should be linear color. That is pretty easy to fix. It says that sampler type is color and we just need to change this to linear color. Now. Wait for it to compile. And if now you see all our lamps, you will see they are not reflective, pretty similar to the ones that are in substance. Let's just go back and see they are not really reflective law and look, now, look like much, much better. Alright, So now we need to change this texture thing in all of our materials. It is kind of like a pain, but we need to do this. So double-click on the RPCs one. This texture. Double-click over here, disabled sRGB. Go back here and change the color space to linear. Whereas Make sure you need to remember this whenever you import bag textures from Substance Painter, you need to disable sRGB for them and then change the sampler type two linear color. This was the reason that a balconies were looking all weird. And now if I just change this to if I just disabled this RGB and change sampler type II linear color will automatically look much, much better. Now delight, don't look back at reflective. Much similar to the ones we made in unreal or a substance only. They are much more accurate now and not reflective, just reflective, Oliver. Yeah, Let's continue. Select the big dome material. This thing like really cause an issue, issues when, when your materials are like two reflective, like they're very reflective, the roughness value is very low. But not really in the rest of the materials. But still, that would be incorrect if you don't change it. So we need to change for each and every material. These three are done. These four are left. Make sure you remember this thing I start, we need to disable the sRGB. I can also change the sampler type linear, like a important fixed ion. I absolutely forgot that. So that is, that is wrong on my part. We'll now we're almost done. We'll do we'll just be above this only. This and we will continue in the next, creating some more small props to fill our C. Alright, so we are done. Let's just check once in the camera to see how everything is looking. And if you just think about written, nothing much has changed. As a matter of fact, nothing has changed except these lamps are looking much better now. Balconies are looking much better now because they were like really reflective, but the rest of the things pretty much look the same. This was the error and it is very necessary to fix this. And you all should remember that you need to change. You need to just disable SRGB and change the color space to linear, linear color. All right, so thank you for watching. I'll see you in the next one. 27. Creating the Curtains: Hello guys. Welcome to chapter 26. So in this video, let's create another prop. So now I will be adding some curtains over to my scene. Now the secure first flow kind of looks like very empty. So let's add some curtains along the lake bulk of the first law. Now open a blender. In Blender, I've opened this compute scene file that we were working on earlier. You, I should open up that. Now let's start making the curtain. We will be using floats simulations to make some gardens. And it's pretty simple. Just select this piece, this piece, maybe this one, this one, this one also press Slash to isolate them so that we can work on them pretty easily. I will press three for right-side view. Maybe control press 34, left side. Now select all of them, press Shift tests and closer to select it and bring the cursor over here. The steps to create a curtain are pretty easy. Press Shift T, and let's add a plane. First. Let me turn on Screencast keys. Shift tape plane. Let's rotate this on the x, on the y by 90. Place it somewhere over here and scale it accordingly. Like how long or wide you want the curtain to be. It is really up to your preference. It does not matter much. Let's make it something like this. Place it over here, the back. Let's select this and apply the scale. So press control a lighter scale, estab, select everything and then right-click Alex subdivided this. Because to create closed simulations, we need some kind of geometry like this is pretty low. Increase the number of cuts to ten, and that is the maximum. Right-click. And let's sub-divide one small. I think something like this is fine, this is enough. Next, go over here. No, not here, over here in the Physics tab. And let's add a cloth cloth simulation to this. All right, so now I will show you something. If I just press play on here on the animation, you will see our plain falls down because obviously now gravity has started to act on it and it is falling down because it is a simulation. As soon as I press Play, it will fall down. That actually we do not want that. We want this to stay over here. So to do that it is pretty simple. Press tab and select everything. Breast one for vertex, select. Just select all the top vertices. Come over here. And let's add them to a vertex group. We will add all these top vertices, just these top vertices into this group. Let's name this group. Pin. Hit Assign, make sure you hit the sine. Let's move back to our Physics tab. If you scroll down over here. Just a second. Yeah. In shape, you will find PIN group. And if you just select it and select Pin, come out of the edit mode. And now if I press Space Plane or cloth is hanging to these pins and it is not falling down. But obviously it is looking nothing like gotten. We need to do something to create to make it look more like. Curtain. Let's first cover to select it to bring the cursor over here. What I will be doing is I will press Shift and add a torus. Reduced the minor radius to somewhere around 0.1 only. Alright, now I will use this Doris, I would like collisions to this and I will show you how we can use this to create a curtain. Let's increase the scale. Just like a little bit. Increase the scale to just a little bit more than the plane or the curtain. Let's shade smooth this. And now I will show you how we can animate this Doris normal, but it is nothing too difficult. Let's move the keyframes to first. And I will press I, and I will add a keyframe to the location. And then please I again, and I will add a keyframe to the scale. That means I am animating my scale and my location. Both the things. Place it over here at a 100. Then plus I again, and I will animate the scale and precise again and then location. Now, actually I did one thing wrong. I first need to scale this down like this. I think this much is fine. And move it over here. Now press I again. And add keyframes. If you now move to 0, REST-based. Still nothing happens because right now, this is not like a physics object. There are no collisions on it. That's why the cloth simulation is not working. Just select this tourist thing and press and click on collisions. This will add a collision to this more to the Physics tab and add a collision. Now if you'll press space, you will see a close simulation is working. But something very weird is going on. But something very weird is going on with our plot here. It is looking like very weird and not like a curtain. There is one more thing that we need to do. If you move back to 0, select the plane, come down over here and then collisions, you will see object collisions is enabled, but self collision is not enabled. That is, that was causing this weird issue of older machines like merging together just enables self collisions, let's say the friction to one and distance to 0.10.01. And let's try it. The simulation now. Just find a good enough frame. If you're feeling like this is looking too weird. If you just add a subdivision surface modifier, everything will smooth out and now everything looks much better. Just find up good enough frame that we can use. Above a 100. Everything goes a little bit weird. So let's move back to somewhere around 8085. I think something like this looks pretty good. What I need to do now is select both of them, press F3 and search for it, convert to mesh. This will like this will apply all our modifiers. And now if you'd like to change the keyframes, the simulation is not working because the clot modifier is applied and the changes are completely done. Now, just this torus is animating because we added the keyframes. But the simulation is not working. So what I will do is I will just delete the storage for now. Let's add another torus that does not have any animation on it because every time we do any other simulation and try to move, like anyway, it's something like Doris would also be moving. So that's why I directly diluted it and added a new one. Shapes move this. And now if I press Space, nothing happens. Perfect, We have got a first curtain that's come out of the isolation mode and see, I think it looks pretty good. Let's just isolate everything once again. Now we have two options. One of them is we can just select this press shift D, move it over here, press S then y, and type in minus one over here. And we can just flip it and use this one as a curtain. And I don't think there is any issue with this. It looks perfectly fine. It looks pretty good. But the thing is, it might look like repetitive to some guys. What you can do is you can add maybe another plane, create another clause stimulation. Try to create two different curtains. So let us do that now. Otherwise, if someone does not want to do that because it is taking too much time, you can just do this. You can use a two same curtains, is flip them over. But just to show you guys, I will add another curtain. Again, a plane. It does not matter that we need to have the same size for both of them. Because at the end of the simulation, it will be crammed in a corner so no one would be able to tell. Let us just roughly make them off same-sized. Press Control, apply the scale, estab, again sub-divide, increase it to ten, and let's subdivided once more. Now we will add the cloth simulation. The reason it disappeared this because I was currently on the 52nd frame, just move it back to 0 and it will come back. Now we need to create a pin group. Select all of them, hold Alt, and select this whole loop. Add another group and let's assign. This will be our pin group. Alright, redshift test and goals are to select it. Let's add a torus. Increase the scale of it. Shared smooth rest. I animate the location and the scale. I mean add keyframes on location and scale with 200. And let's scale it down. Move it over here. Press I for scale and for location. Obviously we need to add collisions. And one more thing we need to enable self-publishing service to 1.010. Let's just see how our simulation is looking. Alright, so as soon as we go past a 100, everything kind of goes haywire. Let's just shared smooth this subdivision surface to this to make things smooth. Yeah, I think somewhere around T7 is fine. Alright, so I think this is good enough. I will just again select this. And let's convert to mesh, apply modifiers and apply the changes. Let's delete the storage because this one has the animation on it. Use this Doris, I will duplicate this one. Increase the scale of it a bit. All right, so now let's come on up. Edit mode. I think gardens look pretty good. I think this much is enough for this video. Let's hit Save. And what I will do is in the next video, we will create a bunch of more curtains for this side and this side also. Again, if you want, you can just duplicate these pieces and use them over here and here. But just to have a lot of variation, I will create two more of them. So that could work as your homework also, you can try and make two more, two more or three more even coordinates and place them in your scene. And then further we will texture them and export them to unreal. So you know the complete story. Tell us watching, I'll see you in the next one. 28. Texturing and Adding the Curtains to Scene: Hello, Welcome to chapter 27. So if you remember in the last video, I mentioned that we will be creating two more curtains for this side and this side, but I'm thinking of skipping that part actually. I will just duplicate these pieces that we created in the earlier video and use them only. The reason for that is because the process of creating more content would be exactly the same that we followed in the last video only. Instead of repeating the same steps in the last video, I have decided to save some time and move on further into the course. If you want, you can create two more curtains to have more variation in your scene that will be good for you and leave, but I will just duplicate them and use these only to save some time. Alright, so in this video we will just duplicate them, apply all the modifiers and after UV unwrapping them will export them to Substance Painter, protection them over there, and then we will bring them back in Unreal. Alright, so let's start. I will just select this piece and both of them press shift D, then g, n y plus g and invite to move it over here. Let's press S to scale this on the y-axis and type in minus one on your number bag. We just flip it like this. Let's place it over here. For this one, Let's select both of these. Press shift D. Move it over here. Again. Let's scale them on the y minus one. Let's place it like this. Alright, now what I will do is just select all of them. Press M, alex, move them to a new collection. Let's name this collection coordinates. And now I will just and everything that I can walk easily. Alright, so the next thing that I will do is let us give them all the same material that we'll go over to Material tab, new material. Let's name this curtains. While this object is selected, press a to select everything and make sure this is the active object. Then press Control L, and then link materials. All of them have the same material. You can see here that it is written. Alright, so now let's apply the modifiers. So press F3 and let's search for Convert to mesh. Press Enter, and now all the modifiers are applied. So let's move on to the UV Editing tab. Before we start UV editing, make sure you press Control a and apply the scale. Then press Tab, Let's press a to select everything. Then you and smart UV project. All right, I think that came out pretty good. Make sure you have been able to stretching to just view you're stretching from here and make sure everything is blue and in the shades of blue, nothing like green, yellow, or red, because that would cause some issues. But this blue and the shades of blue are fine because the lake curtains have curvatures that why we are seeing these light shades of blue in-between where we find it won't cause any problems. Alright, Next, let's just check the face orientation first. And then we will import them into unreal or saudi, export them to Substance Painter. This one is flipped, so press Tab to select everything and shifting. Similarly for this whole, for these pieces also, let's flip the normals. Alright, so now everything is done. Let's move back to the layout tab. There's a select everything. Go over to File, Export, export them as FBX. Export them into my exports folder. Let's name this curtains. Make sure to enable selected objects and select mesh from here. Now let's just hit export. Open up substance. Alright, so now let's create a new project for them. Select the file, you just exported it. Okay? Alright, so it does not matter that we cannot see them from the back because they are just splint. But in Unreal we will enabled two-sided. So we will be able to see them from the back also in 100. But for now we just need to see them from the front in substance painter. I think the exporters find there are no issues with it. Now, let's big the mesh mats. Go over to the texture such settings. And let's hit big mesh maps. I will select to disable the ID maps because we are not using them. Miscible both enabled both of these options and set this to four X4. And let's just hit bake. The cake is done. Now. I think the big also came particular. There are no issues with this. Let's move on with the texturing these small rings. I will use the wood material. So let's type in wood over here in our smart materials section. We can just use any type of wood. Just drag and drop this one. If you're seeing all these weird things appear on your hood, just go over here and delete this paint layer. Because that is causing these issues. Obviously, we don't want wood over our curtains, so again, we will use the mask. We can also use a black mask, or we can directly use the geometric mask. Solars do that and use geometric mosque. Exclude everything and select the species only. Okay guys, so now for the curtains, search for a fabric material and use that. Let's type in fabric over here. Now there are a lot of good materials to choose from. It really depends on preference now, whichever one you want to go for. So let's try and use some of these and see how they look. Definitely not this. Drag and drop this one. If you see, you can use this as the curtain material. It looks good. You can just go over here. The surface detail, I think yes. Now I need to increase the tiling of these dots. So I will click over here and select the circle's fill layer. To dry planar projection. Please the scale. If you will notice, when I was in the UV protection, I was able to see like I was able to see these like if you see closely these UV seams, they look kind of weird. But as soon as I said it to drive them prediction, they all disappear and look smooth. Drive it in. A prediction is also used to hide you received. I think I will not use this one. So let's just delete this layer. Let's try some more of them. Definitely not this. We can use something like this also. We need to just disabled all these tears and one edges. But I think maybe something like this because this looks pretty clean. Alright, so let's adjust the color for this and then we will see, then we will just export it to unreal and see if it looks good, then we will just keep this one. Looks good. We'll try to change it for the base colors. First, let's change the color of this. I've already decided on a color. Again, you can go for any color you want, but I want to go for something like orangeish, brownish type color. Just select the Base Color. Click over here in the color properties. Let's type in here 0.0840.50.593, something like this. Actually we have an extra layer over here. If you see this, this is also affecting the color of our base layer, basically because you see it has HCN perceptive freed up. That's why it is changing the color. So either we're gonna just completely disable this, or what we can do is we can just adjust this a little bit. Then we can decrease the opacity from here. Let's keep redact 50. Something like this. Let's try this. One more thing. If you'll just zoom in over here. We can see this very weird edge over here that is because of the UV islands. This is a UVC. So let's just enable and disable the layers and see which one of them is causing this, not this one. This edge is fold is causing this seem to be more prominent. I will just disable this next head also like some kind of still we can see a little bit of SIM. I think this is because of this fibrous layer. What I will do is select this fill layer and set the projection to try planar. For this one also set the projection to dry cleaner. Now, it is still there. I can still see a bit of the USC, but it is not as much prominent and if you see it from far away, we cannot even tell. So I think I will go with this. You can also, if you want disabled the dust layer, if you don't want the lake coordinates to be too dirty. But let's just keep it on for now. Maybe let's just disable this. I don't know. First let's just try in unreal how everything looks. Then we will see. Now let's open up unreal. Alright, so I have opened up unreal now. First let's import our models to unreal. So let's open the models folder, right-click and create a new folder. Let's name this coordinates. Let's import our curtains. Now. Import this curtain start FBX and just hit Import. All right, so now all of them are here. Let us just drag and drop them into our scene. Now what I need to do is just set the location to 0 comma 0, comma 0. All of them are here now. They're exactly the same way the way they were in Blender. Next, let us see. Alright, so now let's just select all of them one by 1 first. I will move them back a little bit. Before that, let us just make things easier for us. Select this piece and then this piece, then press Control G to group them together. Just do that. Just do that quickly for each and every one of them. Now I can just select all four of these very easily and move them a little bit back like this so that they don't merge with the balcony. All right, I think this much is fine. Next, let's enabled two-sided. As you can see, we cannot see the curtains from the back. Just open up the curtains material and enable two-sided for it. Alright, let's see next, let's import our textures now. Move to the textures folder. I've already created the curtains folder. You can just go over to either new folder. Name this curtains. And let's bring in our textures now. We need to just directly export them from substance. Now in substance press Control Shift and E. Let's select our output directory. I will export this obviously to my project only. The left output template as an Indian food packed. Everything like this remains the same, I would say to fork and just hit Export. Now the export is done. Let's open up Unreal. You will see this pop-up over here. Yes, hit Import. All right, so let's open up the curtains material. Delete this press Control plus space to bring the Content Browser. Drag and drop these three textures over here, and let's just connect them quickly. One more thing we need to remember that we need to change this to sRGB. I mean, we need to disable sRGB so that the color spaces RGB only and set the sampler type two linear color. Let's hit Save and Close the shader. And let's see how it looks. Let's move to our camera view and let's see. Okay guys, so the curtains are done now. I think they look pretty good. Even the color and everything is looking fine. If you want, you can go back to substance and make some changes with the colors according to your needs. Maybe we want to light in it or darken it, or maybe go for something else. You can just change some values over here and re-expand the textures to unreal. But for me I'm satisfied with this color. So the next thing is that we need to duplicate all these like curtains over here on all sides. So let's do that now. Just right-click and let's come out of the piloting mode. Select all four of them. Just Control C and Control V. By 90 degrees. Let's bring them in the front over here and look a bit at the top like this. Make sure that nothing is overlapping or anything like that. Alright, Next, select this one, and let's move this one over here. Select both of these. And again copy paste and move them over here. Now let's let it all six of them and paste them over to the right side also. Also like the mic overlap with your lamps. So you might want to make some are distance or dismantle the positions of the lamps so you can't do that. You can just move them a little bit to the left and the right so that they don't overlap with the curtains. Again, if you weren't late on this side, you can also add if you want some doors and coordinates over here also. But I think I will leave this empty only I won't add anything over here. Let's move this lamp over here a little bit. Alright, so let us check from the camera view how everything is looking. I hope everything looks good. But before that, let's move them to a single folder because it is getting too messy over here in our outliner. I didn't new folder, Let's name these curtains. Go to the camera and let's check how everything is looking. We can kind of see the seam of the leg, the end of the plane on this curtain. So what I will do is select all of them. Later on we can add like a wooden frame over here. We'll just cover this up. I will add that later on. Move them up a little bit for now, like this. Let's check now. Alright, so I think they look pretty good now, you can make some adjustments according to you, according to your preferences. Like you can move the position of the lamps, the curtains, anything. Maybe you want to select both of these curtains and move them who were here at the bottom also like this. You can do that also. You in this looks good, but at the bottom floor I will just leave everything empty. I won't add any kind of curtains. Make sure you hit Save on your unreal file and also make sure to save your substance file also. I think this much is enough for this lecture. We will continue from here, we'll add some more props, do a little bit more finishing to RC in the next videos. Thank you for watching. I'll see you in the next one. 29. Modelling the Chairs: Hello, Welcome to chapter 28. So in this video we will be creating some chairs. To add in our scene. Let's start. If you open up the reference images folder. New find this chair image. I saw this kind of chair designing some of the pigs and thought it was interesting. So let's create this one only to add in our scene. Alright, so I will open up your reef. Just drag and drop this chair image onto the pure grief that we can easily view this image while working in random. Alright, let me turn on the screencast keys. Now press a and let's delete everything. Alright, so let's start with this piece over here by shifting. And let's start a cube. This cube up over here. Meet me, see the dimensions of it. And let's scale this down on the z-axis. I think somewhere around 0.8. Index scale it on the X now. Little 1165 maybe or maybe 0.16. Alright, let's turn on shadowing cavity. Start to go into edit mode. Let's press Control R and R, two edge loops. Then press S, then please them roughly around here. To create this leg extrusion over here. Press three and let's select both of the phases. Press E to extrude them. Let's extrude them till here I think. Now press Tab and now I will just cleared some insects and extrusions to make the shape a bit more interesting. Let's select both of these phases. Press eye. You will notice that if I insert this, this is not inserting properly. Instead is mode over here. The space over here is more than the space over here. This is because we did not apply the scale. So press Control a, and let's apply the scale. Now if I press I to insert this message inserts perfectly. One more thing that we can do is we can just directly mirror this completely. So press Control R to add an edge loop in the middle only. Let select all of these right sideward sees and dilute them. Now at the mirror modifier to this, select the y-axis. Alright, so I'll select this face. Let's press I to insert this. Extrude this outwards like this. Now I will just scale this face on the y and x-axis like this. Click on Shade Smooth and let's add a bevel modifier. Enabled harder normals and also enabled to smooth to get the ride-sharing. Next, let's select this face again. Please. Make sure to make sure to press B. So you get this type of insect, insect it till here and extrude this backwards. If you are getting this face in the middle, let me solve this quickly. You need to just enable clipping from here. Now I think if we try and insert an extrude this, yeah, now it is not there. Make sure to enable clipping. Again, let's insert this one more time and extrude this backwards. Let's push it in a little bit more. So plus g Then x, and let's move it a little bit more towards the back. I think this much is fine. Now let's press Control R and add edge loop. I will paste. I'll place the edge loop somewhere around here, I think. Alright, now let's select this face and press E to extrude this backwards. Let's extrude this somewhere around here. Now I will press X and delete this face again, select the back face, and then plus x and delete this one for the vertices, select hold Alt and select this complete loop. Now select this loop hold Shift and then select this loop control, ie. And breached edge loops. All right, next let's add a plane. This plane by 90 degrees, and just scale it according to the lake. Size of this cutout. Like this has a very fancy kind of design. We will create something like that. I will just create a very basic Zane. So press Tab, excited a bunch of edge loops like this. And I had a couple of edge loops like this. Next I will just add a skin modifier. And everything is messed up. So press Tab Escape, select everything, then press Control a. And now we can adjust the skin, modify it. Make sure you apply the scale. So press Control, apply the scale. Let's scale it something like this. Alright, so I think something like this looks good. It is pretty simple. It looks good, also enables smooth shading and enabled auto smooth from here. Next, let's move on to this curved part. For this, what I will do is let's move the cause of back to World origin. I will add a cylinder. Let's rotate this cylinder on the y-axis by 90 degrees. Like this. Press one for the front view or three for the right view. Then estab, let's enable X-ray. Select all of these top vertices just above this line. Select all of the vertices that are just above this y-axis. Then plus x, delete the faces, delete the vertices. Next, what I will do is select this piece and also select this piece. Let's move it somewhere around here. Shared smooth this. Move the cylinder with the stock piece close to this top piece like this. Now I will adjust the size of this cylinder surface S then x. And let's reduce the size on the x-axis. I will take it to 1.5. And let's move it a little bit back over here. One more thing that I wanted to do is that I wanted to reduce the thickness of this piece. So plus seven for the top view. Select this piece, press Tab, enable X-ray, and let's select all of these vertices and move them over here like this to reduce the thickness of this. Next, let's select the cylinder, press Control a, and apply the scale estab, and let's add edge loops like this. Then best s the next. Scale them up till here when we find best x and let us see the phases. Alright, next I will add the solidify modifier. Apply the scale, enable auto smooth. Alerts increase the thickness, increases in the opposite direction like this. Or no, in the inverse direction only like this started to 0.1. Now let's start the mirror modifier to correct this, just press Tab to select everything. Then let's move this up on the z axis like this. Make sure to enable clipping. Now let's move this piece over here like this. Alright guys, so next let's create the seed lighting for our chair. So creating this is pretty basic. Let's just select this piece estab to go into edit mode. Press seven for the top view, enable X-ray. Now what I will do is I will be selecting these edges symmetrically. So according to this lake, I will take this x axis as my defense. I will select four edges on the right side of this x-axis. Now I will select four edges of the left side to keep things symmetrical. Now, after you've selected for this delay, eight edges, press Shift D to duplicate them. Now, wrestler, now, let's right-click to cancel the moment like this, to give them like in their original position only. Now I will press B to separate this from the original piece to create two different pieces. So press P and separate the selection. Now, this is a different piece and this one is a different beast. Alright, next dispersed tab is a to select everything. Now press E and X, and now we need to just extrude this like this. Just to close to. Please, sir, Just close to this piece. I think somewhere around here is fine. Right-click and sheets mode. This enable auto smooth. You see the solidify modifier, it's not working correctly, it is just flipped. Just select this piece and set the thickness to negative 0.1. And it will be fine. What I want to do is I want to decrease the thickness a bit, so I will just set it to negative or 0.09 for this piece also specific to 0.09. All right, Next, I will add the modifiers. Make sure to apply the scale. Let's just put it as 0.0010.01. Maybe. Enabled hardened normals. This one also, let's keep the same value, 0.01. Alright, so if you don't want this piece in the difference over here, we just have this wouldn't be so overhead only and not at the bottom. You can just go over here, select species, go into the modifier section and just disabled the mirror modifier. But if you are liking it this way only you can enable limited modify. What I will do is I will just remove this. Let's first create this one. There's one for the front view, three for the right side. Let's add a cylinder. Place it over here. Scale it like just according to the size of this piece. Just increase the thickness of this a bit. Somewhere around here. Three for the right side view. And let's just try and create something like this. Enable X-ray. And let's select all these top vertices, move them over here. There's keep on extruding and scaling it down a little bit. I think something like this is fine. Let's just duplicate it over to the right side also. Next, let's create the legs of the chair. I will add a cube. Let's scale it down. Just one for the front view, sorry, three. Split it over here and scale on the x-axis like this. Let us see what we can do with this. So let's select this piece first. Let's shade smooth and it will auto smooth. Also, let's add a bevel modifier and apply the scale mode. Select this face at the edge loop. First. Three for facilities. And let's extrude this like this. One more edge loops. And again, extrude this. Let us select this middle edge loop and press Control B. Just this middle one. Let's press Control V and bevel this. To create something like this, Let's add an edge loop right down the middle. And I will just duplicate it over to the left side also. The mirror modifier. Alright, estab again, let's add one more edge loop over here. Three for the face select or Alt and select this complete loop. Let's press I to insert this like this. Now let's press G and then z and move it upwards. We can do is we can also select all of them. Let's move them a little bit more. Next, I can just select only D, that is risk control plus b two pebble them. This will smoothen out this coordinate a bit like this. I think this looks pretty good. Let's duplicate it over to the right side. Alright, let's create something like this. I will add another scale this down. Best one. Let's place it somewhere here. Now press S. Then let's try Shift plus y. Scale it on the x z plane, like this. Alright, let's apply the scale first and add a bevel modifier to this also enabled hard, enormous and smooth. Decrease the bubble. Let's see, for this one I will just press tab, select this face again first, let's mirror this. So press control alt. Delete the side of the vertices. Mirror modifier on the y-axis, disable it on the X. Now let's select this face. Control. V to W is like this. Press Tab again. Let's either edge loop somewhere around here. T for facilitate hold Alt and select this complete loop and press, I believe somewhere around here. This time let's scale it outwards. So plus S then Shift plus y scalar flake this. Scale it a bit more. Alright, I think something like this is fine. It will increase the scale of it overall on the y-axis. These pieces left, this is a pretty basic piece. I will just start a cube. 74 top view are distinct the scale of it. To get some thing like that looks good with the chair. Thank something like this is fine. Let's just add a bevel modifier to this first, apply the scale. I'm not doing too much to this piece. Just as much only enabled hard and normals. Let's add this piece also. Shift D to duplicate and rotate it on my 90. We need to scale it down a bit. We can just increase the scale of this piece a little bit like this. Let's increase the scale of this also. Alright, I think, I think something like this is fine. I will just duplicate it over to the right side correctly. I can also use minute modifier for duplicating these over to the right side also. But I just duplicated. But I just duplicated it manually using shifty. But you can definitely use like mirror modifier also. Let's just hit Save and save it as chairs file. File folder. Alright guys, so yeah, I think this much was enough for our chairs. I will continue from here in the next lecture. So thank you for watching. I'll see you the next one. 30. Texturing and Adding the Chairs: Hello and welcome to chapter 29. So now that we're done with the modelling part of our job, in this video, we will export it to Substance Painter. Then we will shift it over there and exported back to unreal. But first we need to apply all the modifiers and you, We interrupt this. Before I apply the modifiers, Let's press. Let's proceed to select everything. And let's move this to a new collection. Press M. Let's move it to not applied. Let's create a duplicate of this whole collection. Make sure you turn off the old collection. Let's name this new collection as applied. And I am going to apply the modifiers for this particular, this particular collection. Alright, so now to apply the modifiers plus a, press F3 and let's search for Convert to mesh. Move on to the UV Editing tab. First, let's apply the scale, suppress controlling lie the scale. Now pre-step for a read mode to select everything and make sure you enable this and also enabled stretching. From here. Now pursue and select Smart UV project. Let's increase the island margin a bit. I think this is fine. Alright, let's check for the face orientation first. Everything is correct. Alright, let's move back to the layout tab now. Material to this name, this material chair. Now while selecting this piece that has the material, press a to select everything, then press Control L, ligament the link materials. Alright, just export this as if vx. Let's name this chair only. Enabled selected objects, mesh, export, open UP Substance Painter. Now let us open up a new project. Now select the file, you just export it over here. Hit Okay. And let's start by making the mesh maps first check the export if there are any issues. I don't think there are any. Now I will make the mesh maps come over to the texture such settings. Come over to the texture set settings and scroll down and select big HashMaps. I will disable the ID maps circuit Q to K, enabled both of these things and also saved the anti-aliasing at four by four. And let's just hit bake. The cake is done. I don't see any issues with this. We will be just using a wood material for this complete generally. So again, I will just search for word. If you remember, we downloaded a couple of smart materials, I will be using one of them really. Again, you can just use any of the ones you find good. All of them are pretty good. Maybe I will use not this one. I think this one looks fine. But let's just open up the folder. Select this sacred to try peer prediction. Because I think that looks much better. Alright, I will delete this layer. Again. You can use any of these would materials. I'm just going with this one. Let me just open up the fill layer again and let's try to rotate it 90 degrees. Maybe I think this was better. Now open up Unreal Engine. While it is opening up, let's just see what substance projects. Okay, so unreal has opened up now. So let's start by importing our models. First, one of the models folder. Let's create a new folder named these chairs. Google to add import. Let's import the file we just exported from Blender, this one. Now we can just drag and drop this over unreal. First thing I will do is I will select all of these pieces, press Control G to group them together. I will scale it down because it is obviously too big. Let's see. Let's scale it by 0.25 because the snapping is on, so it will scale by 0.25 only like in multiples of zerocoin to five. I think somewhere around 0.7 would be fine. Set all the values to 0.7. I will place them somewhere around here for now. Like this. I think this size is perfect. Open up our camera. View it from there. Let's press Control C and V and duplicate this. Rotate it just a little bit. Also, you can just disable snapping from here. You can rotate it very fluidly. That's true table on this way. Let's duplicate and create one more and rotate it the other way. I will select all three of them and just move them like this. Alright, so now let's add our textures, Textures folder login. Let's create a new folder named these chairs. Now back to Substance Painter and we will export the textures from here. Press Control Shift E, the output directory in your Unreal Project folder, oldie. So in content, textures, chairs, and select this folder. Output template would be the rest. Everything would be the same Unreal Engine four packed. These two. Dagger eight, which was D3, size of Forky. Just hit Export. And it will be done pretty quickly. All right, let's move back to unreal. It important over here. Let's go back to the models folder, open up these chairs. Let's delete this one and add architectures to this. So press Control plus base, drag and drop these three GR textures. Base color to base color. Okay, So we are faced with a problem. Normal map, I think is not important in the correct way. The sampler type is currently linear color. We need to set this to normal. Also. We need to go back to the textures folder. Over here. Make sure you change this from default to compression settings from default to nominal map. I don't know. I think sometimes this happens, you might or might not face this issue. Saving. Let's just connect this. Now the R channel goes into ambient occlusion, green goes into roughness, and blue goes into metallic. Save. I am check if our textures look fine. I think that lectures came out pretty good. They're going relevant are seen and I think the cheers look fine. Put them all into a single model or I mean a single folder. Select all of the chair pieces, add a new folder and name this chairs. We can do is we can maybe create, delivering bit more variation. Move this one in the front. We can also select all of them, copy them, and move them up all year also. Again, this is very much according to your preference. You can place them anywhere you want in your scene. Here would be fine. Checkout camera once again. All right, So I think they look good. One more thing that we can do is if you want, you can go back to substance. Maybe try some other would like this one, place it over on top of this material. You can just disable this one. Now press Control shift in E, and let's try and export this one. To see how this looks. Go back to unreal. Select Import. If you think about it, even this one looks fine. Maybe I'll just revert back to the old one only. So I will delete this quickly, enable this, export it back. You can go back and forth many times just to see how everything feels in Unreal, you can export things twice, trace the number of times to get the right look for your scene. All right guys. So I think this is much was enough for this lecture. We'll continue from here in the next one. Thank you for watching. 31. Creating Some Small Props: Hello guys, welcome to Chapter 30. In this video, we will be creating some more small props for our scene. First, let's delete everything, suppress a, then press Delete. Press one for the front view. Again, if you go into the reference images folder, you will find this Arabic versus reference image. We will use this to create some vases of our own. So let's just bring this into Blender, redshift, and let's add the image. Let's add this image. Obviously I won't be creating like every single one of these. It is really up to you which one of them you want to create because the process is pretty similar to the ones that I will be creating is this one, this one, this one, and maybe this one. Because I just want to create like basic small metal parts or metal vases. And some of them we can make clearances like that. We will be using them as small proximately. So let's not put too much time into them. I will add a cylinder enable X-ray. Now you know what we need to do. We just need to add a bunch of edge loops and keep scaling them to match with the reference image. I think as much space for this is fine. Let's press Tab and go into the Edit mode. First, let's apply the scale. So press Control, apply the scale. There, stab. Let's say this. Let's move this one directly over here. Now let's just keep adding a bunch of edge loops. Match with the reference image like this. Like this is a pretty easy thing and we have the nucleic whiter lot of times now in the course. So I won't be like narrating over this. You can just quickly cleared this on your own only or just follow me by seeing what I'm doing. Basically, I'm basically just adding a loop and then scaling it to match with that a friend. Alright, so let's quickly finish this now. We can just scale this out like this then. Then just press Control B and Beverly like this. Alright, let's just quickly move on to the next one. Move this one back that sheet smooth. This enabled auto smooth. And I don't think we need to add like double modifiers to this, but I will do is just press tab, select this top face, press I to insert this. Now press one for the front view enable X-ray. And now let's just extrude this like this. According to the outer boundary of this vase. Makes sure you don't cross this outer boundary. Obviously no one would be able to see it like this, but let's just create it for the sake of creating. I think this is fine. Let's move on to the next one. Now. Let's add another cylinder. Place it over here. Again, I will be doing the same steps over. So keep on following me. Alright guys, so it is done. Now, let us again to smooth this top face. Insert this like this, then press one. Again. I will extrude this in words. Alright, I think something like this is fine. Let's move on to the next one. Next I will appear this way. The process for this one is pretty similar. We will just not create these two headers. We will create them separately. I had another cylinder and scale it accordingly. Just do the same steps over mode. This enable auto smooth. Again, Let's extrude, I mean, first in check, then we will extrude this inwards. I think something like this is fine. Next, let's create these handles for this face. Suppress one. This time let's select this piece, press Shift S and goes into selected. Let's add a plane. Move this plane over here, located on the X, Y 90. Now what we can do is press Tab, press a to select everything, then press M. And let's merge it at the center so that we have just a single vertex. List is would see over here. And let's just quickly extrude this. Like this. You can just move over like this to create the inside edge. Alright, I think now we will just join them. So press F, then press a to select everything, then F to fill the face. That's come out of the edit mode. And let's see. Now press Tab plus c, then extrude this like this. This much what do we find? Shared small disk enable auto smooth. And we will be adding a bevel modifier to this. Don't forget to apply the scale. Decrease the thickness of this display a bit much. Right now let us just mirror it over to the right side. Select this at the mirror modifier. Select the mirror object as this one. Now make sure to set the origin of this piece are the correct location. So go over to Object Set Origin, origin to geometric. Alright, so I think this is fine. Alright, so let's first stable Blender files. Let's name this small props because we will be adding a few more of them. Next, let's clear this one. I think this would be the last. If you weren't, you can create like this one, this one, any of them. Or maybe you can search on the internet to find some more. But it is really up to preference. Let's just create another cylinder. Mortgage over here. Scale this down first, let's enable X-ray. Alright, so let's share solute dissolves will auto smooth. What I will do is press tab. Let's select this edge. So hold Alt and select this complete Edge. Press Control B. Let's just move it out like this. Smooth out this one also. I think this one was fine. In this one, you need to smooth out a little bit. Alright, I think this looks fine. Now, let's insert the top phase and extrude it in words. Let's now create the handles for these. So first let's check the origin to geometric and Shift S goes to selected. Let's add a plane. Again, I will press Tab to select everything, then merge the vertices are at the center. That's enabled x-ray and place this word, see over here. Not create the handle, just trace out. Just trace it out. Now select both of them. Press a to select everything. Let me just quickly this one now press F to fill in the face. Let's extrude this backwards like this. This enable auto smooth modifier. It's also enabled shadow and cavity to see everything properly. Now let's mirror this mirror modifier and set the mirror object to this one. Alright, so I think this much basis would be enough. Again, if you want to add more, you can create more of them. It's totally up to you. Let's hit Save on a files. Next, let's create a small table. Let's turn off everything for now that we have created. Let's move on. World origin back to like move cursor point back to World origin. So Shift plus S and closer to world origin. Next, let's go back to the reference image folders and you will find this image of multiple table legs will be creating one of these. You can go for any one of them, but I will be creating this one. It is pretty basic and it looks good. So let's go with this. But you can go with any one of these you want. Some of them are pretty easy to create and some of them are like kind of difficult. Let's bring this reference image. Whereas one for the front view and press Shift a. And let's start the reference image. Alright, so the process to create this leg is pretty basic. Just Blinn. And let's don't display in into a single vertex. So press Tab to select everything. Then press M and merge and center. Let's place this vertex over here. And then just keep on extruding and trace out the complete boundary of the reference image. Now let's connect both of these vertices. So select both of them, press F to fill in to join them. And let's press a to select everything. Just a second. Let's just delete this reference image because we are done with this. Select this one, press Tab to select everything, then F to fill in the face. And let's just extrude this. Like I think this much. Let's shoot move this enabled or smooth. And either bevel modifier also makes sure to apply the scale. Alright, so now what we will do is first select this piece, go to object and set the origin to Geometric. Next, I will place this somewhere around here between this x and the y-axis between lake in the third quadrant, I will place this over here, then just rotate it by 45 degrees. By negative 45 degrees. Like this. It is like this, somewhere like this. Next what I will do is I will add a cylinder. Let's place the cylinder like this. This will be like our tabletop. So let's just place it like this shared smooth, this enable auto smooth. Now let's press N for the side view. Let's keep the dementia is let's keep the dimensions are two meters only. Next, just select this leg. Place it over here. Now what we need to do is we need to duplicate this or middle it on all four sides. So doing that it's pretty easy. Just add a mirror modifier, select the object as the cylinder, and also enabled y-axis. Alright. Now what we can do is just select this leg and move it over here at the corner. Like this. Let's decrease the thickness of our tabletop a little bit at the bevel modifier to this and apply the scale. Tab. Sorry the edge loop. Hold Alt and select this complete loop. And let's just extrude this. Like this. Let's enable hard and normals. I think something like this. It looks pretty basic, but it will be again, a pretty small prop. So I think this much is fine for this year's. Move them up a little bit. Move them in words just to keep it. I will just select all of these edges. Are all of these vertices maybe move them up like this. Let's select this edge, press Control B and bevel this like this. Alright, I think looks pretty good. Let's enable backup collection and what I will do is select this piece, place it in a new collection. Let's name this table. Select all of them and put them in a single collection. Let's name this is M and add a new collection. We can also remove this reference image also. And also let's dilute this collection. Alright, let's move this table over here. Hit Save on a project. One more thing that I want to do is let's take both of these vases, just duplicate them. We will try and give them some different material to have a little bit of more variation. We will work with that in substance painter. You can also, if you're seeing this kind of shading issue, if you towards three mode like edge loops, it will solve itself. You can just add edge loops to the corners like this. Supporting edge loops. The shading will look fine, but it will increase the volume. So make sure you're not putting too much. Just a few. Be fine to solve that shading issue. Alright, Let's just hit Save. And next I wanted to create something like a wall hanging painting or a photograph. So let us do that. For that, we need to open a complete scene blender file. So go to File Open. And let's open this file up. Maybe I will add a bending over here over this empty space or the cube. Where does it? Let's move it over here. Let us just try to get the right size for the frame. Let's scale this much. And maybe something like this. I think something like this will be fine. Next what I will do is first let's adjust the thickness of this. Also apply the scale, superscript rolling, apply the scale. Let's copy this press Control C. If you are not seeing this kind of menu, you can just go over to Edit Preferences, Add-ons and enabled copy attributes, menu item enabled this. Now when you press Control plus C, this menu will appear. So hit copy objects, and I will just delete it from here. Save this file. Let's open up our small props brain file again, because I will be pasting it over here. Here it is. Let's move it over here along with these pieces. And now let's try to create our photo frame. What I will do is set the origin back to geometric. Let's scale it up a bit on the y, like this. Next press Tab. Just a second. Let me enable screencast keys. Now for stab was three for free, select, select this face, press I, and let's inspect this like this. Now I will insert this invert. Let's start a bevel modifier to this. Next, let's press tab and add an edge loop over here. Let's add edge loops over here. Select this middle loop by holding Alt. Let's extrude this outwards like this. Let's decrease the Babele amount to 0.01, maybe 0.008. This is better, I think. Just press tab, select this outer loop. Press S then Shift plus Shift plus x, I think. No SN Shift plus y. Two scalars like this. Let's add another edge loop towards the corner and select this and press E to extrude this. Next what I will do is press Tab best 34 Face, Select and select this face. Then press P, and then separate the selection so that this will be our photograph. Let's bring this over here. Alright, let's hit save and move. Both of these two are different collection, so plus m, new collection. Let's name this photograph movie. Alright, lets you save. Now, I think these are the only small process that I will create. Maybe we will add a few more, or maybe you can add few on your own. I think this much is enough for this lecture. Let us save this. In the next one, we will capture them and place them in RC. I will see you there. Thank you for watching. 32. Texturing and Adding the Small Props: Hello guys, welcome to chapter 31. In this one, we will be exporting all of these to substance and texturing them. But first, I'm thinking of adding a few more props. Let's just create a few more like utensils to add on this table. Let's select this tabletop, press Shift tests and closer to select it, Alex create them now suppressed one for the front view. Let's add a cylinder. Let's create a last leg thing. I will scale this down. I think somewhere around this. Scale it on. Creating a glasses. I think very, very basic. Shapes move this and also enabled or to smooth, then apply the scale. So press Control, apply the scale mode. Let's enable X-ray. Select all of these bottom edges. Let's first scale them down like this. Then press Control B, bevel these edges. Next, let's select the top vertices and scale them outwards. Alright? I will just decrease the, move them like move all these vertices down a little bit because the size of the glasses looking like two weeks. Yeah, I think this is fine. All right. So now let's clear the lake hollow thing in the glass. There are two ways to do this. One thing is we can just insert this, then extrude this downwards. Another is we can just delete this face. So press X, delete the face. And now we can just add the solidify modifier to this. You'll see it works pretty much the same. Now we can even adjust the thickness of the glass. So I think that's pretty good. Let's set the thickness to somewhere around this. Place, this one over here. Let's duplicate this and create a smaller version of it. Let's duplicate this one again and create a little bit larger version. Recess then Shift plus Z to just decrease the scale on the xy-plane and alerts to this. Alright, next, let's create a plate. For that. I will add a circle. Make sure you add the circuit. Alerts, decrease the size of it, estab and press F to fill in the face. Now what I will do is let's press I to insert this. A couple of times like this. Let's select disk. Let's select this complete loop. So hold Alt and select this loop, then select this face and move this downwards like this. Now, let's select this loop. And now if you press G2 times, you can move the complete edge loop along the edge only like this. Double press G, and let's move it over here and bevel this. Decrease the bevel to three, I think. Move this like this and hold Alt, select this outer loop and move this down like this. Alright, let's share to move this. Enable auto smooth side, solidify modifier to this, also, apply the scale. Let's adjust the thickness. Think something like this would be fine. Just decrease the size of the subject. And select this loop, ran this one, and decrease the size of this also. I think this looks better. If you want. We can just duplicate this and create a smaller one. Also like this. We can place this class over here. I think this is fine. That kind of looking small, so I will just increase the scale of all of them just a bit. All right, so I think these many prompts will be enough. We're just select all of them, press M and move them to a new collection. Let's name these vessels. Next, what I will do is press a to select all of them by Shift D to duplicate all of them. And let's just move them over here best em. And move them all into a single collection name, small props. Because we are going to apply all our modifiers. So that's why creating a duplicate. This collection has all of them. All of these props impose single collection only and we can just disable these remaining. These are late for backup only. Now if something goes wrong. In our course, we can come back to these collections because these will have modifiers not applied to them. Now we're going to apply all of the modifiers. These species. Press a to select everything and press F3, and let's convert to mesh. What we can do is we can delete these two glasses and we will just duplicate them in Unreal only because this one and these two are the same. So we'll just duplicate this and Unreal. Alright, so press a convert to mesh. Let's apply the scale also suppress a and controlling Apply Scale. Let us give them all the material. So go over to the Material tab, new material. Let's name this small approximately risk control and link all the materials. Alright, now let's move over to you reediting. We just need to press a then tab here to select everything. Let's enable this and stretching. Now let's just press U and smart UV project. Let us give the island margin of 0.03. And also make sure to apply the scale. I think I already did that, but just be sure. Alright, so now the UV unwrap is done. Let's just export them now. But before that, let's check for sodium addition. Only. These are withdrawn normal suppress tab, select everything and shifting. If you see when we flip the normals, the shading kind of got weird. So let's just add a weighted normal to this. Now apply this. Alright, so there's export them, select everything by pressing a. Let's save our files. Make sure you have disabled all of these collections and only this collection is enabled. Go to File export, FBX, enabled selected objects and mesh. Export. Let's name this small props. Hit Export and let's open up Substance Painter. Now. Now let's create a new project. Select the file we just exported this small props. Okay, let's check for any possible shooting issues. I don't think there are any. Let's just be HashMaps now. Before that, I will just go over here to display settings and enable indeed leasing that are edges looks smooth. Now in the texture such settings, Let's pick HashMaps enabled or disabled ID. Duke enabled this. Alright, rest, everything is finite default. Let's just hit bake now. Alright, so the biggest, make sure you make has no like making issues. Check for any possible cheating issues. If they're not, let's move further. Alright, I don't see any. Let's first save our projects. So hit Control plus S and let us save it as small props. Let's start by texturing our photo frame. The frame material I will directly go for maybe a goal material, I think gold frame. Let's just drag and drop this material. Let's use geometry mass to isolate it. Hit Exclude all, and let's just select this. I will increase the size of the texture sec, Let's say 2k. And if you see it has something like a grainy pattern. Just open this up and let's disable this one. I think for this green, we will delete this layer. We don't need this light green texture thing. Alright, so I think this looks fine for the picture. I just downloaded a Google image of a painting. You can just go for any one of them. But I'm going to use this one. So let's just drag and drop it to substance painter. Import it as a texture and I will just import this to my project. Hit Import. Alright, so let's add a fill layer to this. Drag and drop this painting over to the base color. Next click over this Geometric Mask. Let's hit exclude all and just select this piece. Now press F1, F1. What do we need to do is we need to set this image properly onto this, this phase. This is the corresponding UV for this particular phase or plane. So let's just scale it up. I think before we need to rotate this, I think this is the rotation. Now let us just line it up with all the four sides like this. Right? I think it looks fine. We can just shoot him a little bit more. I think the painting looks fine or we do not need to do anything more. We can just disable all of the channels. So hold Alt and just select the Base Color. Let's say the roughness and set it to 0.3 is fine. Let's try and add roughness variation over this. So to do that first, let's rename this layer to photo. Let's add roughness video. Roughness radiation is basically if you see this whole surface right now is like having the same roughness and there are no roughness variations. So to create them, first, we need to enable this layer. Let's rename this to roughness variation. Next, I will disable all of the channels except the roughness channel. I will increase the roughness a little bit for this one, the check you got 0.5. Next looks at a black mask and now go over here and add a fill layer. Now we just need to choose an appropriate fill layer. Click over here and type in grunge. And we will use a grungy map. Grungy map is basically like a mask only substance has a multiple grunge maps to useful. They give different types of effects like maybe dust, dirt and roughness variations, anything we can to create some variation. Let's select, maybe, let's try this one. It is really not Reservoir. I think. Let's try increasing the roughness. Click on this layer again, and let's increase the contrast. Like it is affecting. Literally. If I just increase the balance, then you can see we have some radiation over here. Now. What I don't think it is looking at groups, so let's just remove this one. Type in 0. Let us use grunge maps 007. Let's scale this up a little bit. Now you clearly can see that we have lots of roughness variation. Now, if you increase the balance, we can just adjust it. We can also increase the contrast to make it sharper or just smooth. I will do is I will just decrease the roughness that it is not too harsh. Roughness radiation is fine. Now if you see the surface is not looking smooth anymore. It has a lot of roughness variations. You can see over here. If I just disable this layer, now you will see, alright. Next let's move on to our vessels. So far, the vessels I will directly use, I think a copper material. I think this one would be fine. These look good. Now, I will just click over here and exclude everything. Select this one, this one, this one, this also, and these two. For these two, let's create a separate clay material. We will do that at the last these vessels. Let's use the item material. Maybe. I didn't let us use steel. Let's try this one. Could definitely not this one. Let's try this. I think the first one was looking the best. So let's just drag and drop that. Let's use the geometric mask, exclude everything, and select only the vessels. Next, let's press F1 to come out of this mode. So the F2. Next what I will do is open this up. Let's remove some of the layers so that it does not, it is looking kind of rough right now. I will remove this surface details. Next I will remove the roughness details. Select the base, and let's decrease the roughness to maybe 0.2. All right, I think this is better. Just move the color towards white little bit. Maybe you can enable the roughness details, but just go back to the roughness channel from here. Decrease the opacity so that they are not affecting too much. I think this is fine. One more thing that you guys want to do is you need to keep this reference radiation layer at the top. 42 effects. You can see all of these objects. But I don't want this softness variation layer to affect the steel. So I'll just put it below this. Next, let's use a basic wood material for our table. So let's go with the wood material that we used for the chairs. So that was, I think fifth goodwill five. I think this one. Exclude everything and let's select the table. Open this up. Let's move back to the base color Shannon. And I will select the fill layer and set it to dry cleaner. All right. The last thing that is left is to create a clay material. Let's do that. First, I will create a new folder. Let's add a fill layer to this folder. Name this folder. I right-click exclude everything. Let's add this cliff older to both of these objects only. Name this layer as base layer. The base color. Let's go for something orangeish, brownish like this. Next what I will do is let us just duplicate this layer. I will just decrease the saturation like this. Black mask. Add a fill layer. Let us use another grunge map. Let's try to eight, I think. Check you could try planar so that you don't see the seams. And you can see how easily we can create some kind of variation just by using a desaturated version of this layer and using using a mask to mask it out, to give it like this kind of variation. Next, I will just increase the balance or maybe decrease it and increase the contrast. Just a little bit like this. Next, let's add a new roughness variation layer. I will add a new fill layer. Only use the roughness channel to do. To do that, hold Alt and select the softness channel. I will decrease the roughness to give it like it is like feeling. I will add a black mask, another fill layer. Let's use another grunge maps. So maybe this one. Let's increase the balance. So this time we need to decrease the balance to reduce the effect of it. I don't want to be like all over our meshes just a little bit. So you see, if you see over here, you can see the variations clearly. You can also increase them just to liquidate. Let's name this roughness variation. Next, I will again duplicate this layer, and this time let's create a darker version. Let's desaturated a bit. Make it a little bit darker. Just to let you delete this. Remove this leg, the mask, add a new fill layer and let's choose a new mosque. Let's go for something different. I think zeros 03. Let's try this again. To avoid this seems said the UE prediction to try planar. I'm not quite liking this range maps. Let's just remove this. I knew something else. Let's try this one. I think this one looks much better. Alright, let's add another layer. Dry glue with something without edges. Let's start a black mask on. This time, instead of adding a fill layer, I will use a smart mosque. Let's go with the smart mosque with edges and something. Let's try this one. Edge is just t. Go to the mosque editor and let's try increasing the balance. The contrast. A little bit of it is fine. Now I wanted to just tell you guys you can create more layers to give more color variation. If I just duplicate this layer and give it a completely different color of yellow, maybe changed the grungy map to completely something else. Let's try this. There's decreased balance so that it is not too much. Now what you can do is you can just decrease the opacity of this. Like maybe something that just adds a little bit of variation, but not too much. So many layers to create more complex materials. But let's just remove this for now. Next. If you are seeing this seem in some of the materials, that is because of, I think of our roughness variation layer. Let's select this. Instead of UV set, you could try planar projection. And I think most of it is, it's solid now. Alright, so I think I'll clay material looks fine. We can maybe I think D saturate the base layer just to let you know, I think the earlier one was fine. Just save our substance, meaning the project. Open up, unreal. Unreal has opened up. Now. Let's import our models and textures to unreal. Press Control plus base for the content browser to pop up in your model's folder. Let's create a new folder named this small props. Let's import our props now, so add an import. Alright, next we need to bring in our textures. In the textures folder. Again, create a new folder. Create a new folder. And let's name this small props. Now in substance painter, Let's export our textures now, press Control Shift and E. Let's set the project. Rest. Everything remains same Unreal Engine four back. 34 k is the size for the textures. Let's just hit Export now. Now open up unreal, and let's import our textures. Now, open up the small prompts material. Let's enabled two-sided for this. Remove this. And let's architectures. I think again, the normal map was not imported correctly. The sampler type set to color. Let's change this to normal. Shows up just to solve this editor. Open up content browser. Open this normal structure. Let's change the compression. Let's change the compression settings to normal map and hit Save. Now, let's just delete this and bring in the normal texture again. Now I think it will be fine. Let's connect it to the normal and hit Save. Now let's lectures are done. Let's bring in our models one by one. Now. First let's see, let's bring in, let's bring in our photograph first. So select both of these pieces, drag and drop them over here. Let's press Control G to group them together. Enable snapping and let's rotate it by one or two degrees. I'm thinking instead of placing it here, I will place it somewhere around here. I think. You can maybe place this here only. You can also create two different paintings and add one of them here. The other one over there. But I will be placing it over here. Next, let's add a plane. Rotate this plane by 90 degrees, like this. And let's just place it just in the front of our painting. And we will create the grass material out of this. Alright. So few press Control plus space and open up the content browser, move back to content and search for glass. You will find this glass material instance over here. Let's just drag and drop this onto a plane. You see we have a glass material and I think it looks pretty good. All right, let's move back to the camera view and let's see. I think it looks fine. Next, let's bring in our other props. Maybe we can change the frame material. It is looking, I think kind of weird. Let's see. Maybe we can go for a wooden frame. Let's type in Word and drag and drop this one. Disabled the goal damaged. Right-click, exclude everything. Let's just select this frame. Export this once again, the export is done. Let's import everything back to unreal and let us see how this looks. Alright, I think this looks better, so I will just go with this wooden frame only. Next, hertz bringing the other props. So press Control plus space. Let's select this one, this one, this, this, all these glasses. Drag and drop them over here. Press Control G to group them together. Let's see first let's reduce the scale. I think this much will be fine. Place them all over here. I think. Again, this is very much up to you where you want to place all the assets. Let's scale it up a bit. All right, guys. So let me tell you about one more thing then. We will just place all of the assets. If you like, drag and drop this piece like this, you will see the pivot point is quite far away, which can make it a little bit difficult to place the asset because the pivot point is not very close to the model. So let me tell you how we can change the pivot point of the object. Let us just go into the top orthographic view plus press W for the movement tool, hold Alt. And using your scroll wheel, just move it like this. And let's place it. We do not need to place it at the center, we just need to place it close to the object. Then in perspective, hold Alt again and let's move it over here. Then without clicking anywhere, right-click on this object and pivot, then set S pivot offset. Then we can easily place this. Alright, so now we need to displace some of the assets you can go according to yourself and place whichever assets you want, wherever you want to place them. I won't be doing any voice coming through now. I will just place some of the assets here and then we will finish with the video. Alright, so let's start. All right guys. So I think this much is fine for now. I will be adding maybe some more off camera. Again, you can add as many EC2 one. But I think this much is enough for this video. We will continue from here in the next one. Thank you for watching. I'll see you in the next one. 33. Post-Processing and Taking High-Res Screenshots: Hello guys, welcome to chapter 32. So we are almost at the end of our course. We have modeled everything and even textured everything. In this video, we will be adding a post-process volume to further increase the visuals of our scene. And also we will take some high-tech solution screenshots for portfolio. Let's start. First. I will select all of these groups and all of these small props and place them into a single folder. Let's name this small profs only. Alright, next, I will go over here to volumes and I will add a post-process volume. Now, the post-process volume is here, this purple color box. So the thing is for anything to be affected by the light, all the settings are changes that we make. It needs to be inside this box, that particular thing. But what we can do is we can just search for a command that is infinite extent enabled this, what this will do is this will make this post-process volume of infinite extent. And our whole scene would be covered with this post-process volume only so that any of the changes we make the whole scene would be affected. We do not need to scale this postpone volume up and place everything in our scene in-between this volume, we can just enable this infinite extent command. And now everything would be affected by this volume. All right, so let's select the post-process volume now and we will make some changes and adjustments to all the properties and make our scene look even better. So all these things that I'm doing now are up to my professors. But you can make changes according to yourself because there are a lot of options and all the changes will be like visual based. So it is up to you how you want to make them and by what value you want to make them. The first thing that we will change the bloom value. So if you just enable this intensity, so if you increase the intensity value of bloom, you will see all the parts that the light is hitting on your scene. The glue, the glue even mode. If you increase the intensity value, then the global increase. But obviously we do not want to go like this height. Let's set it at 1 to next. Let's adjust the threshold. I will just increase it a little bit. Because at minus one the whole scene would be affected by the blue. But if we increase it, but if we increase it just a little bit, then the only the brighter parts will be affected by the blue. So let's set it at one maybe and see the difference. I think this is better. Next, I will set the exposure properly. So what I will do is I will enable minimum and maximum brightness, set them both to one. This has made our scene go very dark, but don't worry, we will just enable exposure compensation. Now we can use the exposure compensation command would adjust the brightness or darkness in our scene. So the reason I did this was because the reason I did this was because now I'd like brightness will remain the same throughout the scene. It will stay constant and it will not change when we are moving our camera. Some people might like that thing, that the exposure is changing again and again. It is called adaptation. I personally don't like it. I said minimum and maximum both to one. And then I will increase the exposure compensation to maybe somewhere around 3.2, I think. Yeah, I think this is fine. Next, you can also enable like chromatic aberration. I really don't like this effect. What this will do is you'll just see if I increase the intensity you are seeing how we're seeing this kind of visual effect of different colors. I really don't know how to explain this. It is self-explanatory, but people really go overboard with this effect. I tend to not use this, so I will keep this are 0 only. But if you like it, you can obviously go for it. All right, so the next effect is lens flares. Again, this is one of those verbs that I rarely used. But if you just enable this, you will see, you will see all these lens flares. If you increase the intensity, they will increase in brightness and the more prominent. You can also play with the bouquets eyes. If you just increase it, the size of the lens flares would increase. You can also see this effect in action if you change the orientation of your lighting. So press control plus L and you will see how the lens flares are reacting to your light. There is no light, there are no lens flares. And if you just move your lighting, you can see how the lens flares are changing with light. But again, I barely use this, so I will just disable this for now. You can go for it if you want. The next is linear. It is already set to 0.4. So what this effect does is it will add a little bit darkness around your corner so that people can move. Focus at the center of your renders. If you just increase this, you will see how the corners go dark. I use a little bit of this effect. I really maybe set it to 0.6. The next set of effects is green jitter and then intensity, if you enabled both of them and set both of them to one. At the max values, you will see this is the kind of felt like that might look good iffy user, just like very little amount of it. I will take both of these values to 0.1. We just get that little bit of Judah that is barely noticeable, but it will add some sort of realism to your project. I will select both of these values to 0.1. Next is the white balance. If you enable this temp option, if you increase the value, it will make your scene look hotter. That means you could add like warm tones to yellow and orange. And if you decrease this, it will add cool tones and more bluish colors. You can totally up to prevent what kind of like those you want to go for it. But in my case, I will decrease them to give it a more cooler field. I will say this, maybe 5500. The next is the tint. If you increase this, you will get like a pinkish tint. And if you decrease this, you will get like a greenish color. Let me show you how this works. If you just increase this, you will get this pinkish color. And if you decrease, you will get this greenish. But again, I'm really not going to use this. I will say this RD only. Next is all these are pretty self-explanatory. The saturation contrast, you can play with these accordingly. I will set the saturation to maybe 1.5. Okay, I think this is too much. Let's set it to 1.2. Contrast to 1.1. Let's try 1.5. This is too much. I think 1.1 was fine. I'm really not going to play too much with this because I can, again make all these changes in Photoshop also after the integration. But if you want, you can make all these changes here. Only. The first one was for global. It will affect everything. The saturation contrast. Next is for shadows, like if you change the saturation here, it will affect only your shadows. The shadows, which is the same thing for your mid tones also and your highlights. I think these are all the changes that I will make, the post-process volume. You can also increase the final gather quality of your human to, to, to increase lighting quality. But if your computer is not very high aspect, you can just check it at one only, but I will just bump it up to the next thing I want to tell you guys is if you change the lighting of your scene by pressing Control L and if you guys like go for some wet evening kind of scene and you are getting this really thick fall. And if you don't want that, you can just disable this exponential height for company. This is the reason that it's causing that technophobe. You can disable that if you're not liking that effect. Also, if you like a one, very little of it, you can just select the exponential height fog and decrease the density of it from here, the fog density. But I think I will just disable it if I was creating a very dark scene, because it is not really useful for indoor scenes. In outdoor scenes it is useful. This was it for the post-process volume. You can maybe make some more changes to your options and values. But for me, I think this was enough. I will hit save and let's not take some screenshots. I will tell you how to take them, and we will create some more angles also. So what we can do is, first let's go into our camera view. We are already in that. I will just remove the content browser and press F11 for the full-screen. Next to take a screenshot, you just need to go over here and scroll down to high-resolution screenshot. Here, you can increase the resolution of the screenshot by increasing this multiply. But let me warn you, please don't increase this too much because it can cause a crash your PC or unreal. So please keep it at one only. But if you have a good enough PC, you can maybe say go-to, but please don't go over the value of two. I think one would be fine for now, so I will just hit take a screenshot. The screenshot is done and it will go over two. If you go in your project, you will find the saved folder. In the same folder, you can go to screenshots and Windows. You will find here all of your screenshots. This was how we can take the screenshot. Next. First, let's come out of full-screen mode. Press F11. And I will show you that I have created two more angles of our scene. So if you just select this camera sacred to pilot, this is like a random, this one. You can see that I have created a separate angle. You can create many angles like this for your portfolio from all the different angles of the scene, to capture many screenshots, to showcase the environment. Let's take a screenshot from here also. Alright, so let me show you how we can create these various angles. You can just go over to cinematics, go to Create camera actor. So first let's stop piloting this one. Right-click and stop piloting. Let's place this camera somewhere around here, like this. When you are finding the view in your scene, you can just go over to the camera, right-click and Snap object to view. Then you can select pilot. You can further edit it by choosing the lens settings. So if you go for 12 MM, it will fit exactly in your scene. But when you are going for maybe something like a close-up shot like this, you can even increase the lens setting. Then everything is looking like a very blurry because the focus is not set properly. You can enable this drawer debug focus plane. This will show you where the camera is currently focusing. Then you can adjust the distance. Wherever this plane is currently act. That will be the focus of your camera if you just disable this, now everything looks pretty sharp. This is the way you can create like a close-up shots. You, for getting closer shots, you should increase the focal length of your camera. Maybe go for 85 or 105 also. Like this. Then you can further adjust the focus like this. Now I remember the reason everything is looking like very Chinese because we forgot to change one thing over here. If you need to send this to linear color and disabled sRGB. Somehow forgot that. Let's take this to linear. Now let us go back to our C. Now everything is looking much better. I was wondering why my port and everything is looking so shiny. So this is the way you can use various angles and close-up shots. You can maybe. First let's come out of the camera mode. The camera. This time let's place it over here like this. Click, oh sorry, snap objects to view. Then we can violet. To cover the complete view, you need to just set the focus to 12 MM, like cover it completely. Now if we enable this Draw Debug focus plane, you can see where your camera is focusing. If you set it to completely two zeros, if everything is out-of-focus and as you increase it, things will start to get in focus. So if you enable the focus plane, you will see what your camera is currently focusing. This is quite helpful. This draw a deeper focus split. This is the way you can create various angles. So I suggest you to go for 56 different angles to showcase your project. Then you can go over here and take some high-resolution screenshots. All right guys, I think this is it for this video. We will continue from here and the next one. Thank you for watching. 34. Compositing and Final Thoughts: Check, check, check. Hello. Welcome to the last lecture of this course. So now that we have completed with everything, we are done with the modeling texturing. We have placed all our assets and we are also done with the post-processing and setting up the cameras. In this last lecture, we will be doing a little bit of compositing and then we will finish with a course. For this, you guys will need Photoshop. In Photoshop, I've opened up a screenshot that I took in the last lecture. Usually I don't do much of compositing. But in this lecture I will be showing you in just a couple of few things that what we can do. One of the things that a 100% do in every single of my project is go over here onto filter and use this sharpened mode command. What this will do is this will sharpen all your edges and make your details pop even more. I don't know if you even can see it on my recording, but if you do this on your render in Photoshop, you will immediately see the change that all your light Edison details look very sharp and render looks immediately very good. But they can be a single problem. Like if the resolution of your images like a little too low, the sharpen more command won't work correctly. It will look very weird. In that case, there are two options, like one of them is, instead of going for sharpen mode, you can just use sharpen edges. The other one is to just simply increase your resolution by increasing the multiplier in the highest resolution screenshot in your unreal. Alright, the next thing, the last thing that we will do is I will change the sky of our render right now it is looking like very plain and boring. We'll change this to something a little more interesting and that goes well with our c. That will be our last task for this course. In Photoshop or recently, new tool has been added. That is the Sky Replacement too. If you have Photoshop 2021 or 2022, then you are good to go. But if you don't have it, then I'm sorry, I didn't know how it is to do this, you will need the new sky replacement tool. If you have Photoshop or 22, you can just select your layer from here, then go over to Edit and select the sky replacement. Just wait for a second. And immediately you will see that our sky is replaced with this light blue type of sky. We can just click over here and there are multiple scales that we can select from. So for example, if I just select this one, maybe you will see how immediately our sky completely changed and are seen immediately looks like much better if you just enabling disabled. This preview. You will see how better our scene looks. With a couple of clouds. We can try some spectacular Skype. These look like very moody. If you see over here, this is causing some issues like this, but I will show you how to fix them. You can try some more also. This is basically the sky replacement tool. It was this easy to just click on it and we are immediately like sky is replaced with a better man. I think I will go with a blue colored, a basic kind of sky. So I will select maybe this one. Alright, so for this already the edges look fine. They are no opacity kind of issues. But over here you can see volume kind of looking thin now and it is looking transparent. To solve this, what we need to do is first we need to set field h to 0. If you increase the shift edge, you can see how we can control this edge of the Skype like till where we want to keep this sky so we need to decrease the shift edge. Let's decrease it. I think somewhere around minus 50 would be fine. Now what you can do is, sorry, I accidentally hit Enter. Let's select this again, set the Shift Edge to minus 50. But right now if you see it is looking very cloudy. That is because field edges at currently at a 100, you can set it to 0. Even now it looks like fine, but I will show you one more thing. What you can do is if I decrease the shift edge a little bit more, increase it like this. I think this is much better. Now, one thing that I will show you right now if you see over here, still looking a little bit transparent. So what you can do is you can select this tool. Now what this will do is if you paint for this, this will tell Photoshop where we want the sky to appear. If you see I'm painting over here and skies little bit appearing over our vaults also. Obviously we don't want this. Sorry, I cannot undo this. So I will just do it once again. The shift edge T2 minus 30, I think fidgets to 0 and let's adjust the shift edge once more. I think something like this is fine. So to solve this transparency issue, just select this tool. Hold Alt to if you see this minus sign. So this will remove the clouds. So if I now paint, you will see the transparency is now gone and our vaults are looking fine. But make sure you don't like paint this over your clouds, otherwise your crowd will start to disappear from that area you paint. So hold Alt and just paint over your vaults carefully paint over your vaults to remove that transparency issue. Yeah, I think rest everywhere it is fine. Let's see some other properties. If you just zoom out now. We can also adjust the brightness of our Skype. Let's check it at ten maybe. Next is the temperature. This temperature is the same as we used in unreal. If we increase this, we will get yellow tones in our clouds. But if we decrease this, we will get a glue tones. I quite favorite the blue tones. So I will set this to minus 15 maybe. Again, this is very much up to your preference. You can even choose any clouds you want or anything you, or any kind of colors or values you want to go for it, you should go for it. I will send the lighting adjustment 200 because it kind of creates a better looking effect at the boundaries. I will take this 200. If you increase this color adjustment value, the skies lighting effects will start to show in the rest of your environment. If I just take this 200, you will see now whole environment is kind of bluish. That is the lighting of our sky, but you feel like degrees this then it is more of our original lighting, our annual little bit of the sky lighting also set this at 40. All right. I think this much for the sky. I think this guy is look perfect now if I just hit Okay, now, as we hit Okay, this guy replacement group layer has been added over our original random. If you disable this, you will see how much of an effect this guy has put on our render right now it is looking like plain and boring, but as soon as we enable this, you see it looks much, much better and are, and even looks more realistic. You can also create multiple variations of the scene. Like you can go for an evening kind of lighting and even use the yellow color, spectacular skies for that kind of mood. I think this is it for this course guide. I'm glad you made it. Congratulations on finishing the course, and I hope you are happy with the results and discourse. If you like the course, please leave some good reviews and ratings. And from here on out, you can maybe add some mode props to the scene. You can even create a short animation kind of thing, maybe adding few more cameras and animating them to pan through your complete scene and make a short little 30-second movie. From here on out, the possibilities are endless, tenuous and watching the course. And yeah, this is the name for it. So thank you. I'll see you in the next one.