Creating a Nintendo Game-Boy in Blender and Substance Painter

1. Introduction to Class: Hello everyone and welcome to this new course. In this course, we will go over the entire process of Creating a Nintendo Game-Boy using Blender and Substance Painter. From start to finish, we will go over the complete pipeline of creating a high-quality realistic prop, starting with modelling the prop in blender, texturing in Substance Painter, and finally, lighting and rendering a portfolio piece back in Blender. This course will help you improve your 3D prop modelling and texturing skills massively as we go through each and every step together and learn many different techniques. After finishing the course, you would easily be able to create the renders shown in the trailer. Create high quality props of your own. This course has over 5 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-lapse so that you can follow every step easily. We will start by modelling the prop in Blender and learn about various modelling techniques and also learn a lot about different modifiers. After finishing the modelling, we will apply all the modifiers and UV unwrap our model for export. We will import our model into Substance Painter to start with the texturing process, we will start by baking the mesh maps for our model. We will learn to create high quality and realistic materials. And the key features of Substance Painter like Smart Masks, generators, smart materials, etcetera. After modelling and texturing our main asset, we will also model and texture a Game-Boy Cartridge to enhance our renders and give them a bit more detail. At last, we will take our models back to Blender and render them. We will set up the material, lighting and the cameras and learn how to use HDRIs to light up our scenes. We will finish the course by taking a portfolio ready render and a little bit of Photoshop editing. This course is for everyone who has a basic understanding of Blender and Substance Painter and wants to upgrade their skills. I hope to see you there in the course. Thank you. 2. Modelling the Base Shape: Hello and welcome everyone to this new course, where we will be creating a Nintendo Game-Boy from start to finish using Blender and Substance Painter. So if you just look over in the resource files that have been provided to you with the course, you will find everything that is needed for this tutorial in these files only. So let's just quickly open up this reference images folder. Here, I have added a bunch of different images that will help us in creating the model. Mainly, I will be using this reference image only for the exact measurement of the object that we're trying to create. But I still suggest you guys to look over the rest of the images from time-to-time. Just get the proper feel of the object that we are trying to create. Like we have this one with the backside of the model. We have this with the Front Side. And we also have this particular image that has all the different views of the object. You can definitely check these out to get the proper idea for the object. We also have the reference images for the small cartridges that we will be creating to add some extra detail to our object. Here. Let's just begin now. And what we will do now is we will go back to Blender, and let's just start by creating a new Blender file. So click on here and we are in New Blender file now. So what I will do is first I will just quickly turn on my screencast keys so that you can see every shortcut that I over here in the bottom-left corner. So let's say I just selected this cube, redshift plus D. You can see I duplicate it and use the Shift plus D command and it is appearing over here. Whatever I do will be showing up over here so that it is easier to follow me. So let's just press a to select everything and then just press Delete. All right, Now what I want to do is I want to bring in this reference image, this one into Blender, so that we can use it to create a model. So first, what we need to do is we need to press one. So basically, this is the Front view. This is the orthographic front view. You can see over here, this is the Front Side View. If you press three, this will be right View, that's seven would be the top view, and nine would be the bottom View. You should remember all these shortcuts. There will be really useful in the course and we will be using them a lot. So one is for Front, three is 4.7 is for top, and nine is for bottom. This is on the number part of your keyboard. One more thing, if you press one, it will show you the Front orthographic view. But if you press Control plus one, then it will show you the Back Side. Similarly, three is for right-side and control plus three is for left side. Alright, so now that is clear, I will press one so that I can go back into the Front View Only. Now I've impressed Shift plus a to add a new object. Let's go over to image and we need to add a reference image. So now I will just head over to my tutorial directory. Over here, open up the reference images folder and we need to just bring in this reference image. Alright, so as you can see, it is aligned with the Front Side View. If you press one, you can view this image properly. If you press three, you are viewing it from the right side. It is basically a 3D plane, so we cannot really see it from the right side, but if you press one, you will be able to see the image. So just select the Image Trace G, Then why? Move it like this a little bit back so that it is not at the center of the scene. So that we can just add objects over here and press one. And you can see we can easily match it with the reference image. If you enable this X-ray, you can easily see the object and a reference image. And we can easily model everything that we want to according to it. There's just press Tab again to go out of the edit mode, select the cube, press Delete. Alright, now what I will do is I will select the reference image again, press Shift plus D. Duplicate this and make sure you hit Y. Lock it on the y-axis like this. Let's place this back over here. Somewhere around in the middle only it does not have to be both it. Then you can just press R to rotate it. Now makes sure to press Z, lock it on the z-axis, and then just type in 90. So I think you understand what I'm doing right now. I'm creating the reference image for the right side, G then X now, and move it like this. So this way what will happen now is if I press one, we can see the image from here. Then we press three. And we can see it over here also so that we can model the right side of the model. And we will be worrying about the left side and the backside later on. But first we will be just modelling the Front Side and this right side. Alright, so now all that's left to just select the images and let's do a couple of settings. What I will do is I will come over here in the object data properties and make sure to enable only access aligned. This will do is it will make the image invisible. Let's just do it for both of them. And it will be only visible when you are actually in the particular axis that it is aligned to. This is currently aligned to the front axis, or we can say the y-axis. So if you press one now, you can see, you can now view the image. And if you press three, you can do this right side image. But as soon as you move out of the axis, they become invisible. So that is really helpful for us because it won't be like obstructing any View Alright, so now we can find me start modelling or objects. So press Shift plus a and let's just add a simple cue. But before proceeding, I will just quickly hit Save. So press Control plus S and let's just save our file. I will head over to the trigonal Directory Again. You can open it up and the Blender files. Let's just save it as Nintendo Game-Boy. All right, so now we can start so forth plus one to go into the Front Side View. And we can select this cube. And let's just place it over here at the top. So to move it, you just need to G and place it over here, its weight. You can enable X-ray so that you can properly View the reference image. But now you will notice that you cannot really see Your cue. To fix that. What we basically can do is we can, one first for the Front View, select this image. And we can decrease its opacity until we can finally see our cube again. So maybe we can set this to something like 0.25 because we can still basically see the difference image and we can see our cube also. So that is pretty good for us. Let's just do the same thing for this one also enabled back the opacity. And let's set the value 2.253 for the right Side View. And you can see, we can see it properly. Next, what you can do is you can just select this and try to move it over here to place it with the right side. Press Tab to go into the edit mode. Now you can press one for the vertices select so we can select the word sees by pressing one who is for the edge select mode, we can set up the edges. And three is for face select mode. This is pretty basic stuff. I am pretty sure that you are aware with this. Alright, so again, I would raise three for the right side view, press one for vertices. Select, make sure X3 is enabled. Select all of this, press G, then by, and place it somewhere like this, match it with the reference image. Similarly, do it for this side also as xi then why? And place it like this. Also lets bring it down from over here. Press G didn't say to lock it on the Z axis and place it like this. Alright, we are pretty good to go. Now I will press one for the Front Side View. And basically what we can do now is we do not need to place it up because you will notice that it is now out of alignment with the right side. So a simple way to do it would be to just select the reference image and breaking down suppressor gene and Z. And let's just bring the difference image down completely. And yeah, as you can see, it fits perfectly from the bottom and the top. So now we do not really need to adjust it again and again. We can just select the cube, press tab, select these vertices, press G and X, and place it over here. Then select these vertices plus G and X. And again, place them over here like this. Alright, so now you will notice that we have got our basic shape, very basic shape. If you press one, we can perfectly viewed in the Front View, perfectly aligned with the reference image. And if you press three, we can see perfectly in the right side view. Alright, so now we can start with the modelling. Let's see what we can do first. First, what I want to do is I want to make sure that we apply the scale of this. Whenever we change the scale of the object, make sure you apply the scheme. So if you aren't aware with this concept, what this basically means is whenever you like, change the scale of the object like this, you just need to press Control a and apply the scale. Make sure to just remember this. If you want to know why we do this, let me just quickly explain it to you by just adding two different cubes. So let's just add this one queue press Shift plus D to duplicate this over here like this. And now what I will do is I would scale it up like this. And I will skip this one also like this. You don't need to follow me over here. I'm just explaining you a very simple concept. So as you have noticed, I have skilled both of them, but I haven't really apply the scale for any of them. So we just select this one and press Control a and apply the scale for this. Alright, so this one has your scale-up light and this one does not. If I select this cube press tab, and let's say I select any simple commands. So BR2 for the edge select risky to select everything. And then basically I will press control V. Control V is the beveling command. And you will notice the bevel is not really working properly. It has beveled in a very weird way. The bevel is like very stretched over here and it is like very short over this edge. And overall the object looks very View. But if I select this one, press tab and let's just do the same thing. So BR2 for it, select risky to select everything. And then if I press Control plus Bu to bevel, this one, you will see that the bevel is completely uniform and perfect. This is what happens when you apply the scale of object and you don't apply the scale, things can get a little bit weird. So make sure whenever you change the scale of the object, you always press Control a and then apply the skin If that's clear, now, select this object, press Control a, apply the scheme. Also what we can do is we can place its origin back at its center. Because you can see this kind of out of place. Origin is this yellow orange point. So go to Object Set Origin and origin to geometry. You can see now it is perfectly center. All right, enabled that x-ray. And let's see, we can select this edge over here, suppress to and select this edge, this one again for Front View. And now press Control V to bevel this, to create this sort of shape, the scope ditch. And you can use your scroll wheel to like increase or decrease in number of segments. Increasing the segments will obviously increase the polygon, but it will also make your age very smooth. So I think I will go with the higher number, like 678, will make it just like very smooth so that we don't have any kind of like low polythene because I don't want this to look bad. Yeah, I think that's pretty good. We can just hit right-click and hit Shade Smooth. You will notice everything is looking kind of weird. After shading smooth, you can just come over here in the object data properties in the normal section, make sure to enable auto smooth. So whenever you shade smooth anything, just make sure to enable auto smooth so that everything looks perfect. All right, One more thing. I will come up over here and enable the cavity and the shadow. This basically enhances the look of your model and it makes it a little bit easier to view all these edges. As you can see if we've disabled this, the edges are not that visible. But if you enable this back again, the edges are pretty visible and they look good. I dislike to keep this on enabling. These kinds of things are like totally up to your personal preference if you want to enable them or not. I will just press one enable X-ray and we can just continue modelling our object. You will notice that over here in the corner, the edges are all Bevel and they are not like really sharp. So let's do that now. Press tab and select this edge, this edge and this one. Press one for the Front view. Zoom in on the reference image, and just press Control plus B. Makes sure to degrees the number of segments because it is a Small debit. So we don't want it to be too much. Alright, That's perfect in my opinion. And you can see on the object or our model looks pretty good from the reference image. Let's just hit Shade smooth again and enable auto smooth. Makes sure that you keep on hitting Control plus S to save your files so that none of your data is lost. Alright, so now let's keep on moving further. I will select this and let's just add up bevel modifier to this to smoothen out the rest of the edges. So I will add a bevel modifier. And also when we will use the Boolean modifier, it will work very well with the bevel modifier. So that's why we can add this modifier. And you can now reduce the bevel amount to your liking. We can control it with this option over here. So maybe something like this is pretty good for now. We can obviously always change it later on. Come over here in the shading tab. And we can enable hardened nominals from over here. Make sure that auto smooth is also enable or disable auto smooth, then it won't work properly and give you weird results. Make sure others mode is enabled and we can enable harder normals from over here. And we basically have the Base Shape of our model. We can hit Save. And I think this is pretty much enough for this lecture. We will continue refining our shape and give it more details like using the Boolean modifiers to create all these different types of cutouts into our model. We will continue modelling it in the upcoming lectures. So thank you as watching, I will see in the next one 3. Refining the Base Shape: Hello and welcome everyone. Let's, let's continue modelling our object. I will just press one for the Front View, enable X-ray. And let's see. We can now start by adding all these details like creating the screens, adding these buttons, everything. For us to do that, we need to use the Boolean modifiers. I will just quickly give you an overview about them. But first, I want you guys to go over to Edit and Preferences. And in the Add-ons menu, here, makes sure to search for the Bowl Tool add-on. So this one, and just make sure you have this enabled. We will be using this a lot. It gives us like small shortcuts for using Boolean modifiers. It is pretty useful. We don't have to like go into the Modify tab again and again. This add-on like comes pre-installed with Blender only. You just have to enable it. After you've never read it. Just close this window. And let's see. We can start by quickly adding a cube. We just show you what we can do with the Boolean modifiers. Select this cube and I will just press Shift plus D to duplicate it. The first very simple operation that we can use, Boolean modifiers, they are like two or three of them. The first one let you can visualize easily as you just select this cube, select this first View, and now hold Shift, select the second queue. Then you can press Control plus minus key on a number. But that is the shortcut for Boolean difference operation. As soon as you do that, you will see we have created this cutout using cube one onto cube to. You can now select this cube one and then you move it around. You can see the cut-out is also moving. So basically, this is Boolean modifier. You can like create different cutouts and many other things. I will just quickly show you. This is like one of the operations of Boolean modifier. Using this weekend like create very complex shapes and it will help us a lot in our course. This was the first one. You can even duplicate distinct. Let's place it over here. And again, select this first, then select this one, then press Control plus minus on a number of back. And you can see we can create multiple cutouts using multiple different objects. This is the first Boolean modifier operation. I will select this, delete this, and delete this one. Also, click on the cube and make sure to remove both of these modifiers. Again, let's duplicate this. The second one is pretty basic. You can just select the first cube, then select the second cube, then press Control plus T on your number of bytes. Basically this one is the union modifier. Now both of these cubes are joined together. You can see we have like three different operations, difference union and intersection. Union will basically join these two. You won't really see the difference with this. But as soon as I select this object and let's add a bevel modifier to it. You can see the bevel is like completely connected to both of the objects. And they both seem like, like a single object only. If you just enable hardened normals and auto smooth. Let's say I just add two cubes like this and I placed them together in a similar way like this. You will see over the edges, it is not looking at realistic, but if you use the Boolean modifier, we can add things like bevel to make it smooth around the edges where these two objects are joining. Make it look to make it look like a little bit more realistic. You can see we can control the bevel or here also where these two objects are joining. So that's why it is different from doing it this way. We can also adjust maybe the segments to make it smoother. We can do all sorts of thing, but I rarely use the union of operation. I mainly use the difference operation and the intersection. Intersection is also pretty cool. Let's use these two cubes now, I will select this first queue, then select this second one. And what intersection will do is you will first press Control and then the divide or the slash key on a number back. You will see that this cube one has created like a cutout like thing onto our two. This is like real useful. What you can do now is you can select this main object and let's add a bevel modify to it. And you can see we have created some sort of this shape. It is like really helpful while creating like sci-fi type designs. And yet anything where you have to create like this, cutout like shape. It will also be really useful when we will be creating a Nintendo Game-Boy. You can select this 12 and add a bevel modifier to this also. And you can see we can control both of these objects. You can move it around easily. Basically, these are the three operations of the Boolean modifier. They are like pretty cool to use and you can get various interesting shapes with this, with this little introduction of Boolean modifiers is done. So let's just select this, all, delete it. And I will show you how we can use all of them into our model. Rests. One again, let's enable X-ray. And let's first create this thing over here, this big screen. So do that. Basically just start a cube. Again. We need to just match it along with the reference image properly Just press Tab restaurant for the vertices, select, select these vertices being them down. These two and G the next. And then select these bottom ones in G, then zag and place them like this. We don't really have to worry about the thickness of the object. We can just replace it like this. Any thickness will do. This math is pretty good. Now if you remember, I mentioned earlier, whenever we change the scale of the object, we need to apply it. So press Control a and apply the scale. One for the Front View enable X-ray. And obviously now we need to create all these small bevels. So to do that, first, press Tab to select and make sure your scale is applied. Because if the scale is not applied and you try to bevel all these edges, it might give you View Results. Tab press two for each Select and select this edge. Now press Control D to bevel it out. And you can use your scroll wheel to increase the number of segments. Yeah, I think that's pretty nice. This edge now I will select all three of these to press Tab again, hold Shift and select all three of them. This one again for the Front view. These now we can degrees and number of segments. Alright, that's pretty good in my opinion. Press tab and we have created the shape that we need to create a cutout off. Right-click and shared smoothness first, enable auto smooth. And now what we need to do is we need to just select this, the G, Then why? And just move it inwards just a little bit so that these two objects are intersecting. Now what I want you guys to do is I want you to open up your reference images. And now what I want you guys to do is you can quickly open up your reference images folder. Look at this reference image. Zooming over here and you have to see what type of cut out that we have to create. So obviously, we cannot really work with the union or the difference operation, even if you select these two press Control plus minus V squared, something like this, that is because of the bevel modifier. We need to just move it down like this. Yeah, you can see we have created the cutout, but if you notice the reference image, we don't have to create this sort of cutout. We have to use the intersection. So let's just undo this ALL. Select this first, then select this, then press Control plus slash. Now you will notice we have got something like the difference image. We have something like this. We also have a cutout, but we also have a shape in-between. For things like these are the intersect operation of the Boolean modifier is very useful. But you can see the shading is very weird. So to fix this, you select this and you have to make it a rule of thumb. Whenever we're working with the Boolean modifiers, the bevel modifier will always stay at the bottom of the stack, no matter how many modifiers are there, the bevel modifier, this one will always stay at the bottom of the stack. If you do that, all your problems will be fixed like related to the shading issues for this piece, also select this inside one and make sure to move the bevel modifier. Below this. You can disable all the overlays to see your model properly. And you can see we have got a perfect cutout of the screen. What you can do now is you can open up this bevel modifier and you can play around with the bevel value. Whatever you want. Like if you want to type bevel, you can decrease it or if you want a more smoother look. Yeah, that is definitely up to you. We can maybe place it somewhere around here. That looks fine in my opinion. Alright, so now I think you guys understand how to use the Boolean modifiers. Let's keep on moving further and make sure it's saved. Let's enable the x-ray. And let's see, we can now create this screen portion at the middle. So do that again. We need to press Shift plus a and let's just add a simple cube. And we can just scale this cube accordingly from the screen. Yeah, I think that fits perfectly. Before doing anything, let's just quickly press Control a and apply the scale. And again, bring it out over here. This piece. And now this time I will select this piece. So hold Shift and then press Control plus slash to use the intersection operation. And now we have something like this. Obviously we need to move the bevel modifier below this, then it will look better. So yeah, make sure to do this thing. After every Boolean operation, you select the bevel modifier and move it below the Boolean modifier. That way everything would work perfectly and we would have like correct shading every View. All right, this looks pretty good in my opinion. Alright, so now let's again press one, enable X-ray. And we have this small battery icon over here. You can also create that. Let's add a cylinder skin this down. Over here. There's our than X to rotate it on the x-axis like this. And then you can type in in your number pad 90 degrees. Then we can just scale it down Yeah, that's fine. I think. Let's bring it up over here. Shade Smooth this and also enable auto smooth. And again, select the cylinder, then select this piece while holding Shift. Then you can press Control plus slash to create the intersect. And now we need to again move the bevel modifier at the bottom. So just drag it down at the bottom of the stack. Make sure to do it for both of the pieces like this. Alright? I will reduce the level amount just a little bit. Also, I will just select this piece, press G, Then why? And move it a little bit backwards like this. Just to give it like that screen like Look, select this piece, move this also backwards. Then I will select this again and just move it a little bit more. I think till here is pretty good. Yeah, that's okay, I think. All right, Next we can start to create the buttons over here. So let's start with this one first, or the cube. Scale it down, place it over here. And let's see, we can create it very easily. I think we can just listed over here, Let's bring it out like this. And then risk control a apply the scale. Press tab. And let's see. Three for Face Select. And let's select the top face and the bottom phase. Press one for the Front view, press Alt plus E and extrude faces along normal. And then you can extrude it like this. Let's extrude this till here. Pretty good. I will just increase the thickness of this a little bit. Now in a similar way. Let's move these apart. Now press three, select this face and select this face again plus one, then Alt plus E extrude faces along normal. You can also hold Shift while extruding to move it a little bit slow. And then you can place it perfectly like this. I think the actual button is still here. Alright, I think we're pretty good to go now, let's bring it out rigid and why? Stab breastfeed for Face Select, let's select this face and just moving downwards like this. Shakes move this and also enable auto smooth. Next I will add a bevel modifier to this. Before actually adding a bevel modifier, what I want to do is remove the bevel modifier, select this piece and just press Shift plus D to duplicate it like this. And then hit right-click over here so that both of them are exactly at the same place like this. So the reason I'm doing this, because I have to use like one of the piece to actually create a difference operation. So what I mean by that is basically if I just quickly select this one again and delete it so that it is just one of them. I have to select this piece and then select this one. Then press Control plus minus. You actually create the difference operation over here. Then we can like use the other one as the actual buttons. So yeah, I will just undo everything quickly. And before actually creating the difference operation, just select this piece, press Shift plus D, duplicate it, and then hit right-click to place it exactly over here. Then we can select this piece instead of this one. Then press Control plus minus. To actually create the difference operation. Move the bevel modifier at the bottom. And yet now we can see this is the reason I created a duplicate because we have this button over here also. And now we also have the difference operation that we did just know. Alright. Now I will just select this press Tab to select and select all these edges like this one, this one. So the shortcut for this is just hold Control and Alt. And click over here. And you can see now all of them are selected. Press tab first and press Control a. Apply the scale, makes sure the scale is applied. Press Tab again, press Control V, and let's bevel it out like this. I don't really know how much revenue should go for it. Let's enable X-ray and see over here. I think this might is pretty good. Mood this again and enable auto smooth. And now we can maybe add a bevel modifier to this if you want to. Enable harder normals Alright, so next we will detail the buttons even more. So select this piece and if you know, whenever we like, add a new object, so press Shift a and add a cube. It always gets added to this 3D cursor over here. So we can change the location of this 3d goes up wherever we want. You can hold Shift, then use your right-click to like move it around. Wherever this 3D cursor is placed. If you add a new object, it will be added over there at the location of the 3D cursor only. So there's this I want to move the 3d goes exactly over here. I'd origin point so that it gets added exactly at the center of a button. So to do that, you select the button, press Shift plus S, and closer to select it. The cursor over here. Now just press Shift a and let's add a cylinder. Let's scale this down. Rotated by 90 degrees like this. And we'll just create a small hole in the center. Shape mode this and enable auto smooth. Select this piece, then select this one, then risk unfold plus minus. And just make sure to quickly move the bevel modifier below this. Select this. Let's bring it out. We don't want it too much. This money is pretty good. All right, that's fine. I think. Next, if you look over in reference image, we have the small ridges lighting created over our button. So let's add back to suppress Shift a, and let's add a cubed scaling down. Place it over here like this. Scale it up to match the scale. Let's able x-ray and let's bring this out over here. Let's control a apply the scale press tab and we will just bevel it out in the corners, hold Control and Alt, and select all these edges, then the spin voltage as V degrees, the number of segments, because this is like a really small object mode this and enable auto smooth. One more thing that I will show you is you can select any object, like, let's select both of them by holding Shift. Then you can press slash on a number back, isolate them, and work without the rest of the objects. So this is really useful when you just have to focus on a couple of objects or one single one, you can just select them and press slash to go into the local mode. And you can easily edit them here. Just select this. Let's press three for the right side view and rotated a little bit like this. Now to duplicate this, we can press Shift plus D, duplicate it like this. But I think a better way would just go over here selected. And let's add a modifier. You can see we can create duplicates in the array modifier, any number of them. But we don't want it on this axis. We actually wanted on the y-axis, the zeta one for say, the factor of X to zero and increase the factor on the Z like this. Slash again to come out of the local mode, press one and enable X-ray. And let's just quickly see the reference image. Alright, so that fits perfectly. Maybe I will just push it in a little bit. And I have four of them. Lighting three was fine. I think this way it looks much better. We don't really have to go exactly according to the reference image. I will now select this and now add a mirror modifier to this. And to mirror it properly over here, we need to set our axis so we can select this object as the mirror axis. So select this object and overhead in the middle object. Click over here and select this. Then set the zed axis and disable the X. And you can see we have mirrored perfectly, but we cannot really mirror it over here. We just need to select it and then duplicate it. Like this. We can disable the x8 and say the x-axis. Now. Now just rotate it by 90 degrees is three for right-side view. Enabled extra force Alexi, you can place them over here. But we need to fix their rotation, R and Z and rotate it like this. Yeah, I think that looks pretty good. Now to push it inverts Reggie, then why? And then you can press Y once again to align it perfectly with the rotation and just move it inwards like this. Now I think a button looks pretty good. We can maybe select everything over here and just push it in. These two also. So rigid and why? And move it inwards because I think the button is not that big. We can see it from the right side view. Suppress three. I think this is fine. I will also select the cylinder object and move it backwards. Alright. Next, let's see plus one again, enable X-ray. Make sure to hit Save. And we can create these buttons. Now, these ones are really easy to create. We can redshift, they add a slender, scale it down, rotate it on the x-axis by 90 degrees. Right over here. Jay, smooth this and enable auto smooth. And let's see, before doing anything, we need to create the cut-out for the buttons. So just select this one, enable X-ray redshift plus D, duplicate it over here. Now while these two are selected, select them both, and then select this one at the last. Less control than minus the difference operation. Move the bevel modifier at the bottom. Right. Now we can actually start making the buttons. So select this one, press Shift plus S goes into select it to bring the cursor over here. Now we can add another cylinder, scale this down, rotate it on the X by 90 degrees. Let's see their scale. The button now moved outwards. Shade Smooth this first and enabled auto smooth rest Tab to go into edit mode. First, let's press Control a and by the scale the staff select, let's select this top face. And I will be, is its size like this. Next week can go over to modify and add a bevel modifier to this, adjusts the level amount and enabled harder normals and auto smooth. Let's do four and select lot and select this complete loop, respectful, be and dry but willingly this week, Let's see if that box. All right, this looks pretty good in my opinion. You can also add a weighted normal modifier to correct the shading even more. You can see the shading is just a little bit weird. So sometimes adding a weighted normal modified, this fixes that. The button looks pretty good in my opinion. Now I will just press Shift plus D and place it over here if you want to place it perfectly at the center of this thing over here. There is a small shortcut for this or like a trick. But first, we need to go over to Edit Preferences and enable another add-on for search for the coffee attributes menu. Over here. This also comes pre-installed with blender. You just need to enable it from over here. And after enabling it, when you press control plus C, you will see this huge menu appearing. So to use it for select this object, then select this one because we want to copy the location. Who over here. Then press Control C and then just select Copy location. You can see it gets placed perfectly at the center. All right, Let's hit Save. And I think this video has gotten a little bit long. So we will end it here and we'll continue from here in the next one. Thanks for watching. 4. Completing the Front Side: Hello and welcome guys. So let's continue now, I've also opened up the reference image over here so that we can side-by-side look at it. And one thing that I'm noticing is that these things that we have created over here in the left-hand sum, and you see them, they are a little bit bigger than the ones that we have created. So let's fix that, which leaves. So just select this and to scale it properly according to the axis because we have rotated it a little bit on the Z. Just press S, then Z, and then present once again. And you will see that it aligns itself and just increase scale on the Z axis like this. Yeah, that's pretty good in my opinion. Now select this one. For this one, I think we need to press S again. And just scale this one up also like this. You can press G, then Z, then Z once again and move it downwards like this. Just increase the scale a little bit more. Alright, that looks perfect, I think. Let's continue also, if you will notice that there is a very light like hint of this circle shape around the button, but we won't be creating it in the modeling phase. I will just add it later on while we are texturing this piece in Substance Painter, it wouldn't be much easier to do so. But for these buttons also, we have this shape over here. We can add this one in the modeling phase only because it is kind of easier to do. So let's just do that now. I will enable the Willie restaurant for Front View and enable X-ray. So let's start by adding a simple cube. So press Shift plus a cube. Let's place it according to the object over here. So again, press R to rotate it a little bit and scale it down. You can also view things like the rotation translation and the scale over here also in this menu. If you don't see this menu up here, you can press N to bring this up like this and select the item tab from over here. And now I will just quickly change the rotation. So I will just select everything, put everything to zero. And for the y-axis, we can type in -25 degrees. Yeah, I think that works perfectly. Now. Just try to scale it properly according to the reference image. You can press G then X and X to move it along the rotation this way, press S and X. The next one is again to scale it like this along the rotation. Alright, I think that's pretty good now. So what we can do is we can first risk control, apply the scale, then press Tab and simply press two for it. Select hold Control and select all these edges to be able them. There's one once again, enable X-ray. And let's see, we can easily devil this now. I think this image is pretty good and it fits perfectly. Let's select this shape mode. This enabled auto smooth. Now just simply select this first and select the main object. Then press Control plus minus. We need to move the bevel modifier below this. And yeah, that works perfectly. Just bring this out this way so that we have like a really faint cut. I think we can bring it outwards a little bit more. If you are seeing all these like little bits of shading issues, you can just try moving your object around. And most of the times they will fix themselves only. Whenever you have the shading issues, you can just move your object around just a little bit and you can find the perfect place where you are having no issues. I think we have to push it in this much. Then we can select both the buttons and push them back also like this. I think that looks fine. Let's move further now. And we can start by making these buttons over here. Let me see. I'm just not liking the depth of this cutout. I want to like push it forward a little bit, but it is giving me a little bit of shading issues over here. I'm not a fan of Let's try adding a weighted normal modifier to this. See if that fixes it. Yeah, I think that digit, if you just turn it off, you can see all the shading issues. But if I turn weighted normal on, we don't really have them and we can, yeah, we can push it out a lot more in my opinion. Alright, I think that looks much, much better. Because if you see in the reference image also, we don't have it like this cutout too deep. This way I think it works best. You can just add a weighted novel modified to fix that issue of yours. Next, let's see, we can select this piece and what I want to do is press Tab. And I want to add bevels to these edges because over the buttons also it is there. You can just press two, then press Control and Alt, and click over these edges, then just press control V and then out smoothly. Alright, that looks much, much better in my opinion. Alright, so let's hit Save. And now we can start by creating these buttons over here. So enable X-ray. And let's see. First we need to again add a cube scaling down. Let's place it over here. For this also, let's try -25, one rotation, but I don't think it would fit. I think it fits. Maybe we need to rotate it a little bit more to this one. We have to light just eyeball it. Yeah. I think that is pretty much okay. So we can maybe set it to -26. Yeah, that looks fine to me. Press Control a and apply the scale, press Tab and Br2 for it. Select hold Control and Lord, select all these edges. And let's just quickly bevel it. Yeah, I think that's pretty good. I will just quickly also open up the reference image. So let's open up this one and we can discreetly look at how the cut-out is placed. We have one cut out over here, then we have another one inside. It, can have a button. So first let's create this outer cut-out. Shapes. Move this enable auto smooth. And while this is selected, Let's press Shift and select this main object, press Control plus minus. First, let's move the bevel modifier. Now we need to just move both of the modifiers, the bevel and weighted normal also. So let's just select this Boolean modifier and bring it above them. Like this. Let's see. What we can do is we can select this press Tab, press slash to go into the isolation mode and press three for Face Select. Let's select this back face to come out of the local mode and risk control V to bevel the complete face like this. I think this way, or get out looks much, much better. And now we can just duplicate this over here. Selected, sorry, I selected the wrong thing. Select this object, press Shift plus D, and just place it right over here like this. And now we can select this select domain object, press Control plus minus, select the bottom Boolean modifier and bring it above the devil in the between nominal. And yeah, now we can start by creating the main button. So just add another cube, scale it down, rotate it by -26 on the Y. Make this one a little bit bigger than your reference image because we will be using this object as the cutout. And then we will add the main button over it. There, just make it a little bit larger. Press Control E, apply the scale press tab. There's two for it. Select hold Control, select all the edges, then press Control V and W it out quickly like this. Pretty simple. Then we can just shade smooth this and enabled auto smooth. Jean and why and moving backwards like this. And before you actually use the Boolean modifier redshift plus D to duplicate. Then hit right-click to place it exactly dislocation. And then while it is selected, you can select the main object, press Control minus. And we have created the cutout, but we cannot see because of the duplicated piece. So just scale it down now a little bit so that we can see it properly. And still not that visible, but it is there because it is like a really small cut-out. It is causing little bit of shading issues. But I don't think that matters that much because it won't be visible Next, let's Shape the button and little big risk control E apply the scale breast tab. Let's press three for phase selects the top face. And then we can just divide the top face like this. Make it smoother. Select all three of these objects and bring them all the little bit. I think earlier one was fine. Now we can just select this and select this. Then press Shift plus D. And if you remember, we learned about the copy attributes menu. So while both of them are selected, select this, then press Control C and copy location to bring them exactly at the center. Then you can just select them both and move them backwards like this. Select this piece in the middle and select this. Then press Control minus to create the cutout. We forgot to move the bevel modifier. That's why it was causing all the shading issues. I totally forgot about it. Say I'll move the bevel modifier and we can normally below this. And I think this way it works much better. Now I will just select everything that we just created, all six of them and move them outwards. Like this. Turn off the overlay to see how it looks. Yeah, I think that's pretty good. We are having a little bit of shading shoes here and there, but I think they are really, really small and we won't be able to even see them from faraway. So I think it's fine. We don't have to worry too much about them. Let's just hit Save and we can continue. Let's see. One. And next thing that we can do is we can create the shapes that are created over here. If you press three, you can see them over here also on the Side of your objects. So let's do that now. So to do that, you can select the main object and press Tab. And you will see just a little bit of the Z fighting going on. So when the faces are like overlapping, it happens. The reason this is happening is because we have used the intersect operation of the Boolean modifier two or three times. So that's why whenever we like go into the Edit mode of the main object, we are seeing all this. It does not cause any problem. But if you want me to show you how we can fix this, it is really easy. Wherever we have used like the intersect modifier, if you select any of those objects and just quickly go into the object data property of theirs. You will see this for number is written over here. So that means this object data is being shared by four different objects. But we want that every object should have unique object data properties. So to do that, we just need to select the object. Click over here. And as soon as you do that, now the four is not written. That means this object now has a unique object data properties. So now select this one and you will see three written over here. That means now it is being used by only three objects to just quickly click on here again and again. And now each one of them have unique properties. So now when you select the main object and press tab, you will see it is not appearing. It is just appearing over here because of the overlapping phases. If you want to fix that also, you can just select this object as G then via and bring it out just a little bit. So just like very, very small amount. And even if you do like a very small amount, and now you select the main object press tab. You will see it is not appearing. It is only appearing over here. So again, I will select this and we can just project and why and push it inwards just very small amount. Now you won't see any kind of weird issues with your model. So press control S save it for right Side View. And let's see, we can just dab enable X-ray. You can start by pressing Control Art and adding edge loop like this. Let's place it over here. Now press Control R again and add one edge loop over here like this. You can hold Alt and click on the loop to select it. I think that's pretty good. One, enable X-ray. And then press Control R and you will see the edge loop is not really working properly over here. We have to create in manually and don't worry, it's not that difficult. So press control or first advantage, you look over here like this. Then press Control or add one edge loop over here like this. So now what we need to do is we can disable extra for now. We want to have them placed at exactly at the same height. You can see they're not really perfect right now. For that, we can use snapping. So you can go over here and enable vertex snapping Select vertex snapping from over here. Now when you press G and you hold Control, you will see you can snap it to any vertices. So the way we will properly align it with this edge over here is G, then Z, and lock it on the Z axis like this. So just come over here plus jeden Z to move it. You can see it is moving and hold Control and hovered over this vertex. And you can see the location is now snapped. And they both are perfectly in line at the same height. So hold Alt, select this, hold Alt and Shift select this loop, and just press G and Z and move them up volts. Now to join them, you can press one. Enable X-ray. You can select this word. See you hold Shift, select this vertices, then press G, select them. And at the backside also select them both. Then press G. And you can see we have created the complete loop. Now. Let's disable X3 plus one. And yeah, we're over here. Let's move it right over here. Now we need to do the same thing again to press Control or add edge loops like this. One over here. This G Lindsay and hold Control to snap it. Select these two J to join. And select these two. Let's J to join. We'll lot silicon the complete loop, Jeevan Z and bring it up like this. Press Control or. And now we need to add a couple of loops over here. So let's see how we can do that. We can add one like this. Let's just quickly add four loops. On the top like this. Enable X-ray. And you can just select all of them at once just by, just by creating a selection over this vertex. And you will see everything is selected because x-rays on and now you can just move it over here, this one, and move this one over here. Now let's see. We can add a loops over here. So add for-each loops like this. You can select them both. So lot, click over here and select them, press Z then X, and just quickly snap them. So whole lot selected plus G The next to move them and snapping so that all of them are perfectly in place. Alright, now we can select these two big J. So at these two threads J, so these two and press J again and again. Let's do the same thing over here. Press Control R and you can use a scroll wheel to increase the number of plots. So we need FOR loops. So we'll do that. We'll lot select this one. Let's do the next and discreetly placed them all together. Just like that. Now we need to just quickly join them. So select all of them one-by-one and press J to join them together. And now we have got a perfect loop that we can select Extrude to hold Alt. And let's just select this complete loop. Three-four face select, hold Alt, and select this loop like this, X plus three. And just, let me see if the size is right in this space, S and X and increase the size a little bit, sorry, S Then why do increase the thickness of this just to little bit? Yeah, I think that is perfect. Now to extrude them, we need to extrude them inwards. So now to selected, you can hold Alt and click over here and select this complete loop. Then hold Shift and Alt, and select this loop. Again, hold Shift and Alt and keep on selecting all the loops that we have to Extrude. One enabled x-ray and see if they are placed correctly. You can also check the proper edge length by going over here and enabling Agilent. And when you press to select this edge and you will see that the length is written over here, 0.0, 253. If you like. Move the vertices, you can see the edge length is changing. So let's check for both of them. If the Agilent is same, this one is a little bit larger. So what we can do is we can just select this loop and make it a little bit thicker. So it was 0.0 282, and now I think they both will be saved. We can again just disabled Agilent first, hold Shift and Alt and quickly select all of these loops. Now, you can just press Alt E, extrude them and select extrude faces along normals. And we will extrude them inwards Just like that. So very simple. You don't have to extrude inverse too much. Just a little bit. And yeah, you can see that looks pretty good in my opinion. So our Game-Boy starting to come along a little bit. Also, if you want, like better control over your bevel modifier, you can select the main object, go over in the bevel modifier and just disable clamp overlap in the geometry section. As soon as you do that you will see everything goes a little bit weird. But don't worry. What basically has happened is it is now no longer clamping the overlap and if you increase the bevel, you will see everything is now gone haywire. So you just need to control it very carefully. So maybe we can place it to 0.001 or you can just try checking it. If it works perfectly with 0.0 is equal to also, if you see any kind of shading issues, you can just decrease it back to 0.001. So we are seeing a couple of them over here. Let's just put it back to 0.0, 015. Let's try one 5. I'm noticing they're like a lot of shading issues over here. I think that is mainly because they are like very small Boolean modifiers and they are very close to each other. So basically what I will do is I will just select these two and just delete them completely because I don't think we really need them a really small and we won't be able to see them properly. And it is causing to mess up our like bevels too much so we can just remove them. And we can adjust the bevel a little bit better. So set it to 0.002 maybe. I think, in my opinion that works much, much better. And we don't have any kind of shading issues are like overlapping anywhere. Alright, that looks pretty good in my opinion. Let's just hit Save. And I think this is it for this video Tango is watching. I will see you in the next one where we will continue 5. Working on the Side View: Hello and welcome guys. So let's continue modelling now. In the last lecture, I forgot to enable the screen Karski, so sorry about that. I will make sure to remember it for the upcoming lectures. All right, so this one, Let's enable the overlays and enable X-ray and see what we have to create. So Arnoff, like the front screen on the Front Side of the model. We only have this thing to create over here, this small little panel over here also. So let's just quickly do that. It is really simple. We just have to follow the same steps that we have done quite a number of times now. So press Shift plus a, and let's add a queue basic over here. And let's scale it down S then X, and scale it up on the x-axis like this. Yeah, I think that's pretty good. That's Controller. And let's apply the scale. Stab again. There's two for it. Select Full Control and Alt. And select all these edges. Now there's press Control B and devil them out. Alright, that's pretty good in my opinion. So for this type of like a cutout, we can also use the difference operation, or we can also use the intersect operation. It is totally up to you, whatever you want to do. Because as the cut is very small, you can just maybe like select these two press Control plus slash and create this kind of intersection. And then what you can do is first let's move the bevel below. And also makes sure to move the weighted normal modifier at the bottom. Both of them. Let's just select this Boolean modifier at the bottom and move it above. What I was mentioning is basically we can create intersect like this, and then we can push this object backwards to create something like this. That would also work. Or we can directly use the difference operation, which in my opinion would be, I think a little bit easier and much better approach. And do everything. Here. You can also look at in the reference image also. It does not feel like there is abandoned inside. It feels like a cutout. So I think working with the difference, operation will be much better. So just select them both and press Control minus. Make sure to just, I will just collapse every single one of them. And yet now it is much easier. We can just select this Boolean modifier and move it above the devil. And yeah, you can just control it now. You make the cut out like really small. And yeah, I think this in my opinion looks much better. There's two the same for the bottom one also. Add a cube, scale it down. Let's control a apply the scale. Press tab is to hold Control and Alt and select all these edges. Press one for the Front View. Let's enable X-ray and press control V and Bevan it out again. Alright, the good in my opinion, right-click, Shade Smooth and enable auto smooth. Again, select these both, press Control Minus and just move the bevel modifier. Also, remove the Boolean modifier above the bevel modifier. And yet we are basically good to go. So if you look over here in the reference image, we also have the top view. And we also have this small button light thing over here, which we do not really having a reference image. I think we can see it from here. You can see over here. But we don't really have a top view. So we can just create that quickly. So let's see, we can look at in the reference image only displaced along with this line that goes over here. So let's just add a cube over here like this. Press and X scale it up. I think it is around the size of this thing, only like this written thing or I think it is smaller than that. I think this will do is try it. I will select this and move it backwards over here. Now, just select them both British-controlled minus first layer smoothed the Boolean modifier above the bevel modifier. And we can look at the reference image ones. Yeah, I think it looks alright. Yeah I'm happy with it. Let's just add the switch now to add a cube again and make it roughly the size. Place it over here. Select the box I will decrease its size on the x-axis, sodium, the Y. Like this. I think this looks really good for the shape we have on square at the bottom and a little cylinder. This poking out. Press Control E applied a scale first, we can add a bevel modifier to this, make it a little bit smoother. Shift plus S goes to select it so that we can bring the cylinder exactly over here in its center. And let's just look at its shape for now. So that is rarely rounded at the top. In my opinion, what we can do is shade smooth. This enabled auto smooth, stab Br2 for it, select hold Alt and select this complete loop press Control V. And yeah, I think we basically have got the shape down. Yeah, I'm pretty satisfied with it. Let's continue now. Save and press three for the right side view. Now I think we can start working on these things over here. Again, we'll just add a bunch of objects to create these cutouts and match the reference image. So let's start. We can maybe start with this thing over here. So press Shift plus a. Let's add a simple cue. And it is not really visible over here, but this thing is like a small dial. As you can see, this is the volume dial. So we need to create a get out over here. I think this bag, as you can see, date is like a small box-like thing I did over here. Ready, small, but we can add that small detail. So let's bring this out. So check with the reference image again. And yeah, I think that's fine. Select them both press Control minus and we have this with us. They can click over here to select this red shift plus S and closer to select it. And now we can add a small cube, like we can use to create this thing over here. All right, Next we have to create the dial. So I think that is pretty easy. We can again add a simple cylinder and now just rotate it like this. Suppress are then type in 90 and scale it down like this. Get it up and press S Then why? And scale it down on the y-axis like this. S then X and push it in this words. Or we can just let see a second. I'm trying to get the perfect scale for this. I think that's pretty good. We can select it, press Control E applied escape, obviously Shade Smooth this and enable auto smooth. I'm to make it look a little bit more like a dye, extra slash, pre-step, rest 34, Face, Select hold Alt and select all these faces. Then you can press I to concert this once and press Alt plus E and extrude faces along normal. Insert this once again and press it one more time so that you can insert individual faces like this. And then again press Alt plus E, then extrude faces along normal. And you can push this outwards or inwards wherever you want. Maybe you can create something like this and display it looks much more like a dial in my opinion. I think the shape is pretty good for now. Let's just select this box over here, the Boolean for step three for Face Select and push it inwards. Because I don't want to make the die too big. I think that's good. Let's continue now press three again, enable X-ray screen this cutout next. So this is like, I think a USB connector or some type of external connector. Because it is written over here. We can create that simply no risk that redshift day and let's add a queue. Scale it down. Scale it up this much. Stab. Press one for vertices elect based the vertices over here like this. And now we can first apply the scale. Then we can just press Tab to select, select both these edges. And then basically risk control V and reduce the bevels to, to, to create the shape. It was really easy to do. You can just decrease the amount of segments to talk. And we can easily make this shape. And yeah, this will be at putouts. So before actually like making the cut out, I will just duplicate this and place it over here, and then select it, select this, then press Control Minus. Copy this thing over here, this box that we created, duplicate it and place it over here also. I'll select this thing that we created. And basically what I want to do is I just want to create like a border lighting. So to do that, what we can do is press Tab, rest three and select both these phases. Then just insert this like this, X and delete the phases. Then we can press one for vertices select hold, Alt, select this loop, hold Shift and Alt select this loop. Then you can press Control and select bridge edge loops. This will basically joined them so that they are not hollow anymore. Now basically I will select this and select this then press Control C and Coffee location. Over here like this. Obviously I would risk tab enable X-ray and select it and bring it right over here. I think that looks like a pretty good outline that we have given this. We can make this metal shape to give it like a metal covering. I think it looks really good. Alright, to move further, let's quickly look at in the reference image, can see this metal like thing that I've created just now. We will like maybe create a chip like thing inside it. So it is not really visible over here. But we can maybe create something like a USB chip that has like golden sticks on it. So let's see. Let's press shift D. Let's add a cubed scale this down. I think something like this looks perfect. It is really small and it won't be that visible. So we don't have to go that deep with it. Make sure to hit Save. Now I will just select this piece and press Slash on my number Back to go into the local mode so that I can just work on this one for the Front View and we can create small boxes onto it. Just to create those golden chips that we usually see on the USBs. We can scale it like this so that it appears both sides. And yeah, that's pretty good. We can now just directly use the add a modifier, the X factor to zero and Z factor like this. And distributed a couple of times. And yeah, I think that's pretty good. We can print slash to come out of the local mode again. Next what I will do is I will just quickly add a box, scale it down, and just place it over here right at the back The reason I'm doing this is because it will be much easier to just select this box and give it like a black texture and easily texture. The backside of this USB. Alright, I'm pretty happy with this. Let's just hit Save and rest three, and let's see what we have to do next. We have to create these cutouts now, which have the labels for these controls. So let's just do that. Or the cube listed over here. Scale it down like this. It's Control a apply the scale. There's just duplicate this over here at the top also. And scale it up like this again. And again. Apply the scale for this also. Now, make sure to just select them both first. Okay, so you can just select the main body hydrate, select them both to hide, you just need to press H. So after you've selected them both bring them out over here. Then press alt plus H to bring back the hidden objects. Now we'll place them like this and make sure to select both of them. And then press Control a apply the scale. Then press Tab to go into the edit mode is to select hold Control and select all these four edges. Then hold Shift Control and Alt, all three of them. You select all these edges at once. Rest one, okay? One thing that I completely for vertice, we don't really have to bevel these things over here on this corner because it is really beveled at this side only as you can see in the reference image also, it is only ready beveled over here on two sides, not on the bottom. We don't need to select them all. Just hold Shift and manually select these four, rest three, then just press Control V. Give it a couple of segments. And yeah, that's pretty good in my opinion. Shade Smooth this and enable auto smooth for both of them. Select these two and select this piece, then press Control minus. Let's move the bevel modifier at the bottom. We have a couple of issues. Let's just quickly address them. As I mentioned earlier, whenever you have like shading issues, just move around your objects and little bit. And as you see, more often than not, they will fix themselves. So it was just being caused because it was too close to the H. Just bring it up over here and select all these things also. Move them a head a little bit. Save. And let's see. These two. Let's try. Xing them. In here. Doesn't really work. It tastes kind of giving us a lot of shading issues. So let's just keep it till here only. And obviously the cut-out is like really small. So till here I think is pretty good. Yeah, I think God object is looking really nice now, everything is coming along pretty well. And again, this video is like really wrong in my opinion now, so I will end it over here. Thank you. Is watching I will see you in the next one. 6. Finishing the Side View: Hello and welcome guys. So let's continue modelling or objects. In the last lecture, we created all these things over here, but I'm not quite liking how this turned out. I just want to make a couple of changes to this, or rather I will be just modelling it completely. Again. It is looking like really thick right now and it does not have enough segments in my opinion. So make sure to just select the cylinder and you can go into the isolation mode, and then you can press Shift plus S to bring the cursor over here right at the cylinder. And let's press shifting now and add another cylinder. Zoom out and forced to give it. A lot more segments. Do not click anywhere and click on this menu over here and increase the vertices from 32, 64. I think that is pretty good. Now I can just scale it down like this. Rotated on the x-axis by 90 degrees. One for Front View and scale it up like this. For now. We can just delete this older one or maybe you can hide it or whatever you want. Shade Smooth, this enabled auto smooth. And first let's see how it looks over here. I would just make it a little bit thinner. Push it over here, and we can maybe just bring this out like this to cover up the remaining space. Let's quickly check with the reference image. I think this fits much better with the reference image. So I'm just going with that only. Now. Press Control E, apply this game press Tab. And now we can do the same thing. Suppress three, hold Alt and select this loop only complete loop. And this time just press I to insert this. And you can press I once again, if you remember to insert the individual phases, just insert this till here and extrude faces along normal and extrude it inwards. And I think this looks much, much better than my opinion. Yeah, I'm pretty happy with that now. So let's just hit Save. And now we can continue modelling for the left side. So for the right side we needed to press three. For the left side we need to press Control plus three. And first we need to align a reference image properly, because right now it is aligned with the right side only. So basically what we can do is as our work with the right side is done now, we can press Control plus three. Select this image, press G, Then why? Bring it over here? But you might notice that the image is flipped right now. So we also need to flip it back. So to do that, press S Then why, and then type in minus one. And you will see that the image is flipped back again. And we can just place it perfectly along with our model. Alright, I think that's pretty good. We can now continue modelling again. Now you must remember that you need to press Control plus three to get over to the left side. And let's start. We can start by pressing Shift a and let's add a cube, scale this down, and place it over here. Stab one forward, deselect. And let's bring these vertices right over here. This controller and apply the scale. And now let's just press Tab to go into the egg mode. Press two for it, select hold Control and Alt, and select all these edges. Then again, risk unfold plus three and we can start beveling it. Okay? I again, for what? We do not need to bevel it over these edges. Let us just select the top edges. Then press Control V. Then press control plus V to bevel them out. And yeah, I think this matches pretty good. We can now bring it out over here. Shade Smooth, this enabled auto smooth. And select these two press Control Minus bring the Boolean modifier above the bevel modifier in the weighted normal. Let's bring it out over here. Alright, now what we need to do is we need to first let's just press Shift plus S and closer to select it was select this, sorry, then press Shift plus S goes to deselect it. Bring the cursor over here. Then you can redshift tailored Side a cubed, scale this down. And it is not really visible over here, but over here there is another diet. I think it is for contrast or something. You can just quickly look it up over here. As you can see, there is another dial over here. So we need to create a Boolean cut out first, then another cutout inside it. And then we can place the dial in over there. But we'll just select this estab, enable X-ray and just move it a little bit like this. And we can again select the skew, deal it up like this. I'll just place it back over here. Select these two again, press Control Minus. Make sure to move the Boolean modifier above the Bevan. Now we can just go over here and copy the dial and the square, like cube. So press control C and then Control V, G to move them around G, then X and bring them out over here. Press Control plus three. Let's rotate them by 180 degrees. Let's see, I think this pretty good. We can maybe move the dial inside a little bit. Yeah, I think that's pretty good. I would just select all three of them. I increase the size and lift your right. Thats pretty good in my opinion, I think. Yeah, that looks fine. Then again, press Control plus three. And let's move over here again. Add a cube, scale it down. Let's it over here. Scale it on the Z axis. You can just press Tab now, select all these vertices and bring them down. Make sure to enable the X-ray. Because if you don't enable the x-ray and select the vertices, only the front ones would be selected and it can mess up your model. So make sure to enable X-ray. And then select. Now moving back over here, press Tab, press Control a and apply the scale. And again, risk tab to go into the edit mode, select only these two edges that's controlled. Three enable X-ray and they will them out. That's perfect. Shade smooth. This enabled auto smooth. And now we will just select both of the objects. Select this one, then hold shift, and select this one, then press Control plus minus to create the Boolean difference and bring the Boolean modifier above the debit. And yeah, I think that looks nice. We can next, I'd like I think there is a charger or plug-in light thing over here. We can be in that now. Let's see, basically let's just add a cube. Scale it down, place it right over here. Press Control a. Apply the scale. Press Tab to go into the edit mode and just select these two edges that's controlled three and Bevel them out completely like this will make this rounded shape. Sheets moon. This enabled auto smooth. And again, just create a cutout of this move. The Boolean modifier above the bevel modifier, still not working. So I think let's see. Press Tab to go into Edit mode, press a to select everything. Then you can press Shift plus N. And now it is working basically the normals were wrong. So by pressing Shift plus and you can recalculate the normals and it is six now I'm just moving this back edge a little bit. Create something like this. Yeah, that's pretty good. And if we look in the reference image quickly, we have like a whole line thing over here. Let's create that. So again, I will just select this press Shift plus S goes or the selected. Let's bring cylinder over here. In this on the y-axis by 90 degrees. Now just before doing anything for supply, the scale shapes mode is enabled auto smooth, and just duplicate it. So press Shift plus D to duplicate and hit right-click to place it exactly over there. Now you can select these two items then press Control Minus. Move the bevel modifier above the bevel modifier. Now you can just push this downward, scaled it in a little bit. And I will select this press Tab, press Control a. Apply the scale first. Industry for Face. Select, select this top face plus I to insert this and extrude this inwards like this. Just to make sure it is a little bit deeper. I will increase the size of the Boolean cut-out. Let's select this now. Slash. We can press Tab and delete this back face. So press X and delete the face. Let's move it backwards. Anya. That's pretty good. I will again select this press Shift plus S goes to the selected, add another cylinder and make this one really small like this. Rotated on the Y by 90 degrees again, scaled it down along the x-axis. And this will be like the iron. Let's stay there at the center. Maybe we can increase the scale of this. Lighter scale shapes mode this and enable auto smooth, stab plus three for face, select and select the top face and just bevel it out like this. And yeah, Large, pretty good in my opinion. I will just select this thing and scale it down a little bit. And yeah, that's pretty good in my opinion. Let's just hit Save. And I think we have also made the left side now. Yeah, we can now maybe move towards the backside of the model and then we would be pretty much done with it. Alright, so I think this is it for this lecture, guys. Thank you for watching. I'll see you in the next one. 7. Fixing a Small Issue: Hello and welcome guys. So before we actually start modelling the backside of our model, there is one little issue that we need to fix. One thing that I noticed was when I was looking through the reference image, these lines that we have created, like these ones. All these the only go at the front of the model and not at the Back Side. Like as you can see over handed offense image. There are no lines over here, but we have added them at the backside. Also. Another thing, they are like really thin in the actual model. And we have created them like really, really thick. So I just quickly want to fix this issue before we actually proceed further. So don't worry, it is really easy to do what we can start with this. First, let's select the main object and basically just press slash for the local mode so that you can easily focus on this only and not the other objects. Then press Tab to go into the edit mode and to delete them, rest 34, Face Select. And then hold Alt and select this complete loop. And then hold Shift and Alt and select this complete loop. You need to only select these two loops. Then press X and delete the vertices. Make sure delete the vertices and you will see everything is removed now, only I think these four edges are remaining. So just press two for it. Select, and just select these four edges over here at the top. Press X and delete the vertices. And now you can see we have this kind of hollow shape. So we just need to fill in the faces. It is really easy to do. Basically, you can start with this big face over here. So select these two edges and basically just press F to fill the space in-between them. And now you do not need to do it for each and every single edge. You can just select this edge over here. Then keep on pressing F like this. And you will see it fills out automatically. Just keep on pressing it till here. Don't go further from here because there is like a space in between. We need to select these two edges, press F, then select these two edges, press F, and again select it and fill these remaining ones out. And then again, pause over here, select these two, press F, select these to preserve. This way, we can just quickly fill out these spaces. Again, select this and now keep on filling these two. Press F, select these two and F. Alright, so this is done. Moving on over here, select these two phase or edges, then press F. Similarly. Now again, select this edge over here and just fill out everything quickly. Do it for the backside also. And yeah, you can see that we are done so quickly. Alright, so what we need to do first is we need to decrease the thickness. So hold Alt and select this loop, hold Shift and Alt select this loop. And I want to check the Agilent forest. So select Agilent, you can just select this edge and you can see it as 0.028 m. And this one is also 0.028 m. So now we can reduce the thickness. So Lord, funny, plus three for Face, Select hold Alt and select this, hold Shift and Alt, and select this. And now press S and X. And you will see when we scale them down, it does not give us the desired results as the edge loop start moving. So to fix this, it is very easy. Currently. Median point is selected over here. And you need to change this to individual origins. So transform pivot point, we need to set this to individual origins. Because when we set this to individual origins, you will see they will be scaling down only over their individual origins and not moving around. So now we can scale them easily. So let's check the Agilent over here, and maybe I want to decrease it down to 0.01. I think that would be pretty good. Yeah, let's do the same thing for all of them now. So hold Alt, select this loop, then press S and Z, and you need to check this thickness over here. So just set this to 0.01. Again, you can hold Shift to decrease the speed so that you can scale properly. And the last one is this one. Again, hold Alt and select this completely. And let's see the length over here. Possessed and why. And yeah, that's perfect. Now all of them are equal. So what we need to do now is first disabled Agilent and also turn this back to median point. Hold Alt, select this loop, then hold Alt and Shift. Select this loop. Again while holding Shift and all, just select all the loops. And now we need to deselect it from the backside. So to make a DIY selection, you can just hold Control and just deselect it like this. Whatever comes into selection would be removed from the selection. So hold Control and just drag out your selection like this and make sure nothing is over here at the backside. And yeah, I think now it is pretty good. Suppress old plus E and extrude faces along normal. And just extrude this downwards. Alright. Yeah, I think this looks much, much better than the older one. Let's press Slash to come out of the local mall. Let's see our model. I think I'm already looks much more cleaner now. We can now finally start with the backside of the model. So thanks for watching. I'll see in the next one will continue modelling the backside of the model in the next video, I'll see you there. Thank you. 8. Working on the Back Side of the model: Hello and welcome guys. So now let's continue modelling the backside. So first we need to set up the reference image. So let's press one. What I will do is basically I will select this reference image, but as jeden via and move it ahead like this. So now that when I press Control plus one, we can see the backside. And now we can easily set up the image according to the backside. First we need to flip it because everything is opposite. To select it, press S and X and type in minus one. Now just align it with your model. Makes sure to just align it properly. You can use this edge as your reference and properly align it with the image. Any. I think that's pretty good. So let's see. We can start by creating this panel over here. So for this, I think we need to create a separate object. You can check in the reference image also, we have like a extrusion coming out of here. So let's see. What we can do is we can first select this press Shift S, then closer to select it. Bring the cursor over here and let's just press Shift and add a queue. This down. Press Control plus one for the Back Side View. And let's scale it according to this reference image. Yeah, that's pretty good. I think. Wring it out over here. And first, we need to press Control a and apply the scale. And in the reference image, I think it is kind of rounded. So we can just press Tab Br2 and select this edge. This edge, make sure the scale is applied and just press control V and W it out like this. Shade smooth, this enabled auto smooth, stab. And I will press three for Face Select. And let's select this bottom face and we can create something like this. It is overlapping over here, so make sure there is no overlapping going on. I think this much bevel is pretty good. Now what we basically need to do is we will be using the union Boolean modifier. So just select this, then select this, then press Control and plus one number by. And you can see now they both have joints. So what we need to do is we again need to just move the Boolean modifier above the bevel modifier. This way. I think it is working fine. Let's press three for the right side view enable X-ray. You can see it is not that outwards, so just push it in till here. Also, let's press Tab to enable X-ray and press one for vertices. Select, select this and let's bring it down. Alright, that looks pretty good in my opinion. Next, what we need to do is now we need to create the space over here that there is like an empty space to insert the Cartridge like this. Let's create that now. Again, I will press Control plus one, enable X-ray. And let's just again add a cube. Scale it on the x-axis student here. And let's see how much space we have to give between the switch over here in the space. It is something around this much. Let's see. I think this is pretty good. Now what I will do is press Tab, press three for Face, Select, select this face, and let's just move it inwards. Just about till here I think. And now you can just scale it downwards like this. And scale him down a little bit more on the y-axis. Place it over here, press Tab, the S3, select and bring it out. Just double-click in here. Yeah, That's perfect. I'll just select this then select this press Control minus. And you can see we have created a cut-out. You ever press Tab, press three for free select and let's see, let's bring it out a little bit. This will be the space to add the Cartridge. And again, we will be just moving the Boolean modifier above the modifiers. And yeah, that looks alright. Let's add these things now. We can add small details. Redshift day or the cube. Scale it down, place it over here. Risk control a. Apply the scale and press, bring it out and press tab. And let's just select these top two vertices, edges. And then we can just bevel them according to the image. And yeah, that's pretty good. I think. **** smoothies and enable auto smooth. So these are like pretty much the same things that we have been doing a lot of times in this course. Select this risk control plus minus. Let's see, we can press Tab to select and select this edge over here at the back. Just select it, press G, Then. Why I think to bring it out on the y-axis like this. Just to create something like this. Yeah, I think that's pretty good. Now I will just select this press Control plus one enable X-ray. And let's duplicate this. Make sure to press X so that it is logged on the x-axis like this. And place it over here. Select them both press Control Minus. Just quickly move the Boolean modifier above the bevel modifier. Alright, so everything is going along pretty well. Let's just add these not so here. Again, add a cylinder. Scale it down. Over here, rotated on the y-axis by 90 degrees. I think also on the X, Y 90 degrees. I'll scale it down. Smooth. This enable auto smooth. Now let's just go into the edit mode. So press Tab to select everything, then press Shift plus D to duplicate. The reason I'm duplicating this in the edit mode is so that everything stays the same object only. And we don't have like four different objects. Select them all again, press Shift plus D X to lock on the x-axis and displays it like this. Now while this object is selected, hold Shift, select the main object, press Control plus, minus. And yeah, we'll just move the Boolean modifier. Now. Let's see, for the nuts, what you can do is one thing that is very simple. You can basically just add a cylinder, so Redshift plus S, Let's just add a cylinder like this, rotated because it is very small. It won't be that visible. And we can push it inwards like this. We can meet the do something at the top inserting this extruding this, creating a light bevel. Like give this a not like feeding. But if you want to create like a proper looking nut and bolt, there is another methodic go over to Edit Preferences and in the add-on section, search for Bolt. This bolt factory and display, we can lay easily create these nuts and bolts suppress shifting. And in the mesh section of your Add menu, you will find this over here, this bolt at the bottom. And now you can just use this menu. We have like nut and bolt for. We only need the bold. You can choose the different types. Like you can select this, this or this. Select None. You can also select the different shapes. I just wanted to show you. Because if you want to add it this way, you can definitely do it. Let's just choose something like this and change the heck. Yeah, that's the most basic looking at I think. And what I will do is so that we don't have too many polygons. So plus G then move it over here, press Tab, enable X-ray. And I'm just holding Shift and Alt and selecting all these vertices. Let's see. Then just press X and delete the vertices. Again, select this loop, press X and delete the vertices. Everything is deleted. Just accept this top part of the nut. The reason I'm doing this, because only this part will be visible and the rest of it would be pretty much invisible. So I don't want to just waste polygons on that. If we wanted to create something basic like that, you can definitely do it. Let's just add this one for the sake of hiding it. It on the X, Y 90 degrees. Now you are noticing that the origin point is located over here, so it is rotating in a weird way. To fix this, just go to objects at origin and origin to geometric. Now this with origin point is over here and it is basically at pivot point. So we can easily now rotated, properly, rotated on the X, Y 90 degrees. Take it by -90, I think. Yeah. Let's scale it down, place it over here, and just push it backwards. Over here. You can press the dot key on a number Back to focus on the objects very easily like this. Let's just place this far behind. In my opinion, I think it looks pretty good. You can definitely customize your nut if you want to, however you want. Now let's just duplicate this presented and place it over here. Select them both redshift plus D inverse X and place this one over here like this. Let's hit Save. And yeah, that looks fine. I mean, press Control plus one enable X-ray. And let's see what else we can create. Let's add these things now. So it is pretty simple. Look at in the reference image first. So basically this is like a simple cut out, this one and this one, all these numbers and everything we will be adding in the extreme part. So yeah, let's just create these cutouts first. Redshift, they add a cube. I will just select this press Shift plus S goes or deselect it so that the cube is added over here. It just makes it a little bit easier. Press Control a apply the scale. And on this cube there is not really any kind of bevel. It is not rounded. So let's just keep with disability them both and press Control Minus. Just move the bevel modifier. I mean the Boolean modifier above the bevel modifier. I'm pulling this out just so there's like a very faint cut. And yeah, that's pretty good. Let's do the same for the able box also. If plus D to duplicate it presents a lock on Z axis and scale it down. Like this. Everything is already set. I think we need to displace backwards. Select them both, press Control minus. I will also quickly collapse all these modifiers because now they're getting a bit too much. But we are nearing the end of our modeling phase. We will be done in, I think, maybe one or two lectures. Alright, so this is perfect. Now, I think this is it for this lecture, Angus watching. In the next one we will continue modelling the bad side and we will create all these panels over here and the battery case. Thank you for watching. I'll see in the next one 9. Finishing the Back Side: Hello and welcome guys. So let's continue modelling or objects. I'll press Control plus one enabling strain Lexi. We can now create this battery case over here first. So let's press Shift plus a cubed, skin this down and just scale it according to the reference image. One more thing that I will do is before moving further, let's just bring this out first. I will select this piece, restart, enable X-ray and just select all of the bottom vertices like this, and just move it downwards till here. Because in the reference image also I noticed it is like laced quite at the edge there. Let's just somewhere in here I think. Next I want to select this enable X-ray and scale it in here. Move this up a little bit. Yeah, I think now it is pretty good. Alright, so press control a, apply the scale. Stab again for edit mode, enable X-ray and add two edge loops like this. So you can scroll your mouse. First press Control Alt and scroll mouse wheel to edge loops. It right-click to place them exactly at the center like this, and just scale them. Now, the match these two lines over here. Now we can just select these vertices over here and pesky extrude them in here like this. Let's scale it down on the y-axis. Now, Rowley apply the scale rest dab Br2 for Ed. Select and select these two edges. Press Control plus one, enable X-ray and it's just bevel them out. Now. That's pretty good, I think. Now we need to use the intersect operation again. So Shade Smooth, this enabled auto smooth and select this incident, this then press Control Slash. Let's move the bevel mode. So let's move the Boolean modifier above the bevel modifier. Both of them. We are seeing a little bit of shading issues over here because I think it is too close to the set. So just press that. There's three for Face Select and select these three phases. And is moving up a little bit. Just so we don't face any kind of shading issues. We can also press Tab S3 for Phase. Select these two phases and just move them a little bit inwards, press S and X. Scale them down like this. Everything is fine in my opinion. All right, let's the next we can create this thing over here. So let's just shifting first time in select this piece, shift plus S because they're just selected. I'll press Shift, they add a cube scaling down here. Bring this out. I'll select this, then select this, then press Control plus minus the difference operation. And now the Boolean modifier above the bevel. I will select this then ratio tests because will deselect it. Let's see. Now, we can maybe start a cube, scaled it down. We can just maybe create randomly. Then I will just duplicate this. Move it down, scale it up like this. That risk-free for Face Select, select this face recipe to extrude downwards. Then select this and risky to extrude it outwards like this. We can maybe select this press Tab to select both these phases. As I then insert them like this. Always undo this, press Control on and add an edge loop like this. And just select these two phases. There's already an extrude faces along normal. And I think something like this is fine. It won't be that visible. We can just join these two. So select them both. Press Control J, Rowley, apply the scale and just add a bevel modifier. Adenomas and auto smooth I think from far away it looks all right. We can maybe select this residue for it. Select, they said and this bevel it out a little bit. Again, Shade Smooth. This enabled auto smooth. And maybe something like this is pretty good. It looks fine from part of it. So yeah, let's just continue now. Press Control plus one again, you can enable X-ray. Now we need to add these edges like these cutouts. So first let's start over here. These ones are only placed inside the battery case. Cubed, scale it down and just match it with the reference image. Scale it up like this. Yeah, I think this might is pretty good. Now we just need to use the array modifier, the X-Factor to zero and increase the Z factor. Basic till here. Now just keep on duplicating. Yeah, everything fits perfectly. Stable x-ray, let's bring them out. Select this, then select this and press Control minus. Now, let's just move the Boolean modifier above the pivot. Yeah, this looks fine. We can maybe move it out a little bit. Alright, this is pretty good, I think. Let's continue press Control plus one again. Enable X-ray and just select this face like we just created, redshift plus D to duplicate it. And extra lock on the x-axis and just move it up over here. You can press Tab the edit mode and see which foods perfectly. It is fitting. Now, this increase the count so that it comes to here. Next, what I will do is I will use the mirror modifier to mirror it exactly over here also. So let's just add the mirror modifier. And we need to middle it on the y-axis, I think. But first we need to select the middle of objects that can act as the axis. So I think this one, this object would be fine. Please select this first. Click on this dropper tool and select this object like this. We need to mirror it on the x-axis. And you can see there's perfectly, we just see now. We can move it backwards. Now just select this, then select this, then press Control Minus. Move it down a little bit more. You cannot really see it. But if you move the Boolean modifier above the bevel modifier, I think it wouldn't be better visible. Yeah. Let's just move it a little bit more. Now, it is working perfectly. Alright. So you can see easily duplicate it over here. Next, last thing what we need to do is we need to copy them over here. Also. Just select this, only, duplicate it again. Enable X-ray staff for the edit mode. And now you can easily place it over here like this. Restaurant for the word is select, select these vertices and place them right about here. Maybe you can hear, I think, and just decrease the array count to three. There are only three of them. Now again, select this incident, this press Control minus, and add the Boolean modifier above the bevel modifier. All right, I think that's pretty good. We can hit Save. Now. Let's see in the reference images these cutouts that are coming over here on the right, on these sides also. Well, we can maybe do that. Now. They're appearing in this line over here. So basically what we can do is we can edit this object only to add those lines are the cutouts over here also. So let's see. We can first press Tab to go into the A14 and basically press Control lot and just add an edge loop. It wouldn't be very laggy because it is currently a cutout in the Boolean operations. So that's why it is like really slow. What you can do is you can maybe disabled the shadow and cavity from over here. It will make it just a little bit more smooth or not that much, but yeah, definitely help. So just add the edge loop A little bit inside like this, and then another one like this over here, maybe somewhere around here. And we can just select this, press X and delete the vertices, and then rest three. Select this face and press E and extruded like this. And you can see we have easily created the cut-out. Let's move this G Then why? And move it over here in this line in the center. Let's see in the reference image. So it is like really close to it. Achieve and why again, Let's move it a little bit more further. Until here, I think is pretty good press Tab to come out of the edit mode. And let's see, will notice everything is properly mirrored over the right side also. Thirdly, the left side, but we are seeing some shading issues. So let's see again press Tab. And I will just select this face. Then why? And come over this side first, then press G, the invite, and move it a little bit backwards just to check if we still see any kind of shading issues. So they are still here. I don't think they are being caused because of this. Let's see. We can maybe check any other object is causing the shading issues. I think I think this one, select this, this. We can enable that the shadow and cavity because it is a little bit difficult to see around without it. And yeah, we'll just quickly select everything and rigid and why and move it a little bit ahead. Now some of the shading issues have disappeared. Select this also and move it ahead. Mainly these two are calling the shading issues because they were like intersecting with this edge over here. And now I think everything is solved. Just quickly look through your model if you find any kind of potential shading issues in any of the objects. So I'm seeing a little bit over here. So again, select all of it. Whatever is in the center and move it around just a little bit while holding Shift. And you will see that it disappears. So you just have to move it around a little bit here. And and most of the times the Issue who wouldn't be gone? Select this and see if all the modifiers stack is correct. And yet the bevel modifier and debate it normally should we add the bottom? And you can see without the weighted normal, we have so many shading issues going on. Everything looks like really weird, but yeah, with that enabled, it can fix mostly all of our issues. I think we're pretty much done with our model. Let's just quickly look through the reference image, wants to see if you missed anything to press Control plus one to see the backside. And we are in we are more or less done with everything. Nurses here to save first. I will probably check this reference image also over here. And yeah, I think we're done. So I'm pretty happy with how a model turned out. Let's just hit Save. And this isn't for this lecture, guys. Thank you for watching. I'll see in the next one where we will continue like UV unwrapping and then we'll export this to Substance Painter to start with the texturing process. So yeah, thank you for watching us on the next one. 10. Adding a MissedDetail: Hello and welcome guys. So I'm just recording this book lecture from the future because I forgot to add one thing in our model. That's why I'm creating this lecture so that you guys don't forget to create it. If you press one for the Front View, you will see we forgot to add these little cutouts over here on the Front Side of the model. So you can just go ahead and add that on your own because it is like really easy to do. I cannot really do it right now because I've already recorded everything very further into the course. So that's why I cannot really make this change right now. But you guys can definitely do it because I will be adding this video before everything like applying all the modifiers and everything. So you can definitely add these cutouts into your model. And let's just quickly set up the reference image I will show you. You can just move this back over here. So select this Bridgette and why and move it back over here. Press one for the Front View now. And for a selected risk Espen X minus one, and just flip it like this and bring it down to match it with the model. I will quickly show you how we can add these. I won't be adding them or Andy won't appear in the videos because I already forgot to add them. And I've already recorded all the videos. I'm just going to be showing you how we can add this because it's like a really simple and small cut-out scale. This cube down, rotate it by 18, 45 resistors rotated roughly first, go over to item transform and I think -30 would work. Alright, yeah, then press S and Z and scale it up like this. Let's control a, apply the scale press tab and just select all of these edges. First, let's bring it out over here. Press Tab, hold, Control and Alt and select all these edges. Yeah, like this. One again. And let's press Control D to bevel them out. And now we can simply add array modifier, increase the X-Factor, and just duplicate it multiple times. Adjust it again. And you can see it is moving a little bit downwards so you can add in a little bit and Y or Z, I think. You can just add in a little bit of the axis so that it moves down as well. And yet now I think it is fitting numerically. Let's move backwards now. Shade Smooth. This enable auto smooth. And now select these two. Then press Control Minus. Select this. And let's move the bevel modifier above. Moved the Boolean modifier, our bevel modifier. Alright guys, so this was it. Another small change that I want to make is if you could open up the reference images. This change is not really visible in our reference images. That's why we did not really add it. If you checking the reference image and open up this one, you will find this cutout over here on the bottom of the model that we forgot to add. Let's add this also. We need to place it somewhere around here. So press Control plus seven, I think for the bottom view, was we can select this press Shift plus S goes at the selected. Then press Control plus seven for the bottom View. And let's check the reference image. Alright, so the shape is something like this. It's called from over here and straight down from the the shape is something like this. It is called from the top and straight at the bottom and it connects with this line. So we can press Shift day or the cube to scale it down and place it over here like this. Let's just bring it out. Risk control a apply the scale. Can fold the seven step and reach two for and select or Shift and select these two edges. Going to roll a seven again and then press Control and V and just bevel it out this way. I think we have something like this. Only shades mode is enabled or test mode. Select them both and press Control minus. Now we need to just place Blender inside this. So again, because they're deselected, add a cylinder. I think the size is pretty large for this one thing, it is really small. There's just selected both of them. Then scale it down. You didn't lie. And bringing back over here, I think I'm happy with something like this. Only select the cylinder. Now. Let's see we can shade smooth. This first enable auto smooth, then press tab. Make sure to apply the scale also, interest step is three for free, select this I to insert this like this, and it's extruded downwards. We can maybe increase the size of this like this. So press S and scale it like this. And also scale this up. Alright, so yeah, that's pretty good. Make sure to add these two changes and we are good to go. Also, I'm seeing some little shading issues over here. I think we can fix them by just selecting it, then pressing G, Then why? And moving it a little bit outward, like this. Yeah, so just bring it a little bit outwards. And here you can see they're pretty much fixed. Just make sure you don't have any kind of shading issues in your model. Should say, thankless watching this video. Make sure to add these changes. You won't really see these changes in the future videos because I've added them at a later onstage. But you can make sure to add these two changes and just texture them accordingly because these are like very simple changes. So yeah, thank you guys. I'll see you in the next thing. 11. UV Unwrapping and Exporting to Painter: Hello and welcome guys. So now that we are done with the modelling in this lecture, we will apply all the modifiers and then UV unwrap it to export it to Substance Painter so that we can start with the texturing. So basically what I mean by applying all the modifiers is like making all the changes permanent. Right now, you can select any of these Boolean boxes and move them around. And you will see the updates are being made into the model. But when you apply all the modifiers, you cannot really make any changes. So make sure you are happy with your model completely. Let me just quickly show you buy an example. If I a cube over here, duplicate this. And let's say I use the difference operation. So select this, then select this. It's Control minus. You can see, I can select this cube over here and this cutout is created and I can move it around however I like, and it is moving. But let's say I select this cube. And to apply the modifiers, they are two different ways. I think you need to select the object, go over here in the Modify tab and select the modifiers. Click over here on this arrow and hit apply. As soon as you do that now you will see the changes or vomiting. If you move this around, you cannot really change the cutout. This cutout that is made on this object is permanent. If you press tab, you can see, you can now edit it around. But you cannot really change this lake cutout by moving this box. You can undo it. And then it will come back. And now you can again do it. But yet that is basically right now if you select this object press tab, you will see the cube is like complete. And as soon as you come out of the edit mode, then you can move around the Boolean object. But as soon as you like, apply the modifier, when you press that, you can edit all of these phases. Also, light is basically applying the modifiers. Alright, so let's just delete these things now. Alright, so back to our main model. We cannot really like select each and every object and one-by-one, apply all the modifiers that would be really wrong. There is a nice and easy shortcut for this. But before that, what I basically want to do is I want to create a duplicate of this file because I don't really want to apply all the modifiers on my this model because maybe later on in the future we face some type of issue that we have to fix in the main model or we want to modify this model in some way. So we need to keep this leg model without any modifiers applied. So basically I will just create a duplicate of this file. And in that duplicate file, we will just apply all the modifiers so that our main model like remains intact. It has all the modifiers is go over to File Save As, and we will just save it as Nintendo Game-Boy in bracket, we can write up light. So that we note this file has all the modifiers applied and hit Save As now we are in applied files, so alright, now we need to apply all the modifiers on our main objective. So the shortcut for that is just press K to select everything. Then press F3. F3 is basically to search for a command and search for to mesh. So you will find this one convert to mesh as soon as you do that you selected. And you will notice that we have some kind of weird result while all the modifiers are applied. But we have a very weird result. I mean body's disappeared. So just do this. And the reason for this is, if you remember, I mentioned a few lectures back. Whenever we use the intersect operation, we need to go over here in the object data properties and make sure to like make the object data unique. So I think before what it for some VCR for this main object only, we forgot to like make it unique. You can see these two over here. So there's two means it is being used by two different objects. We use like Intersect operation just once with distinct. That time we forgot to click over here to make it unique. So just click over here now and quickly check if there are like any other remaining objects that we need to make the object data property unique. I don't think there are any. Now if we again press a to select everything, then press F3 and the commodity is already written over here. So just select Convert to mesh. I think it would work properly. Now, as you can see, everything is fine. Now if we select any of the Boolean object and try to move it around, you will see that none of the changes are being made. That means that modify has been applied and all the changes are not pulmonic. You can select it and see your hand the modifier stack also, you will see nothing. So the first thing that I will do is I will delete all these unnecessary objects. So just quickly select them all one by one. Just delete them. Again, hold Shift and create a selection like this to delete worthy of them at once. All right. I think all of them are deleted now. Now we can proceed further. Let's see. Next thing that we can do is everyone, This one we lift. Good. Now what we can do is we can risk a to select everything. And now press M and move this to a new collection. Let's rename this collection to Game-Boy. It okay. So that a separate collection is created over here. I don't want these reference images now, so I can just select them. If you want to delete them, you can delete them or we can just press M and move this tool, another collection reference images so that we can basically just hide it like this. Let's add the material now, select this object, select any object, and then add a new material, rename this material to Game-Boy. This material would be like acting as a texture set in Substance. You will understand when we export this to Substance Painter. Now we need to copy this material onto each and every single object on our model. So again, the long way to do this would be to just select each and every object, go over here and select Game-Boy like this. But yeah, that is very long and tedious. So the shortcut for this is just select any object that has this material, like the Game-Boy went. So I will select this object, then press a to select rest of the objects. So select everything to press a, press Control L, link the data and link materials like this. And you can see 30 is written over here. That means this objective or this material is being used by 30 different objects we have copied successfully. Let's hit Save. And the next thing to do is we need to apply all the modifiers or sorry, next introduced to UV, unwrap this so that we can finally export this to Substance Painter. So let's go over to the UV Editing Tab. And UV unwrapping would be like a very straightforward and easy process. The first step that I want you all to do is just press K to select everything. Then just press Control a to apply the escape. Because of the scale is not applied. It can mess up with the UVs. So make sure the scale is applied for each and every single one of the object. And then press Tab, press a to select everything. You can select this also so that corresponding vertices are selected in the UV is also an 3D window and enable display stretched from over here. So display stretches basically it will show you the stretching in UV Islands going on. Basically what this means is it will show you different colors for different types of stretching. So what you want to aim for is this dark blue color. If you have this kind of dark blue color over all your UBI eyelids, that means your UVs a pretty good. But if the color is yellow, green, or red, light means they are facing some kind of stretching. So just press a to select everything, then press U and Smart UV project it okay. More or less, everything is like blue-colored only. So that means the UVs are pretty good. You can just click over here and increase the eyelid margin. Just so everything like fills out properly. Alright, so basically that was it. Next, what we can do is go over to the Layout tab again. And we need to export this to Substance Painter. So one thing that I want you guys to check before Exporting is to go over here and enabled face orientation. And make sure everything is this dark blue color. If anything, you see like red color. So let me just quickly show you. If anything is like this for you. Because it can happen. It is like very common, you don't have to worry. That just means that the normals are flipped and you need to fix the normals. So if any of the object, let me just to do three different objects. So like that, if you have like two or three different objects with this red color, like we can see when I missed, it was like already this red color. Fix this. It is really that you need to just select the object, press Tab, press a to select everything and Redshift plus N to recalculate the normals. As soon as you do that, you will see it is back to its new color. So to say to select everything, then shift and just recalculate the normals. Whenever you do like the recalculate normals, you will notice sometimes the edges can go a little bit weird. So you don't have to worry, just select that particular object, do modifiers and add a weighted normal modifier. And you're basically that will fix everything and just quickly apply it. This is a necessary thing that you must know. So I think this one or the other one. Yeah. Okay. This one, rheostat press a and Shift N. And for the last one, this one also establish a deselect everything, then press Shift plus N. If you don't check this and export some of the objects with like Flip Normals. It will look like very weird in Substance Painter as if it is like flipped inside out. So just make sure to do that. And now I think we have done everything that we need you to do. So first, just press a to select everything We were to File Export. And we can select any kind of format that we want to export into. I've already like experimented with this a little bit. So we were getting like I was getting a little bit of problems with all different formats. The best one that was working was this one, dot OBJ, different OBJ legacy one. Deselect that one. Make sure to enable selection only so that only the selection that you have made is exported. And the name we can keep it to this only. Let's come back. And in the exports folder, hit Export. Wait for it to export. And yet now the export file is created. Open up Substance Painter. Let's wait for it to open and then we can import our exported model into Substance Painter. Alright guys, so now that Substance Painter has opened up, you can just close this window over here on File New, and click on the select. And let's come over to our tutorial directory in the exports folder, just select this file that we just exported from blender and hit Open. You do not really need to make any changes to this window because all of these genius we can do later on also, like can change the resolution or the normal map format to anything you want. That is totally up to you if you want to make any changes, but we don't really have to do anything over here. I will just hit Okay now and wait for it to this pop-up. This quickly, hold Alt and use a left-click to move around and see if there are any kind of issues in your model. And right away and not seeing a couple of issues. Let's see how we can fix them. So the very first thing that I'm noticing in some of the Boolean objects, you can see they are not visible properly. Over here also you can see they are looking like really weird. And if you remember, we had the cut-out here like this. But over here, we cannot really see it on this side. And everything is pretty weird. So I think there is a really easy fix for this. What I will do is I will put the go back to Blender, press a to select everything, then press Tab, and then again press a to select everything, then just hit Control plus T. And this will basically triangulate everything. And I think that will help with the shading issues. And then you can press Alt G to remove the little bit of triangulation. And yeah, I think it is pretty good now. We need to UV and rapid once again. So let's go back to UV Editing. Tab press a to select everything. And you can see the UVs got messed up a little bit. Let's use Martin project it. Okay. Basically that was it. Now we need to export this once again to go over to File, export the Front OBJ and just don't make any changes, just hit export so that this file that we exported earlier will get replaced, explored. Come back to Substance Painter and again, go to File New Project. Click on Select and select this one. And now let's just hit Okay again and hit Discard and see if the problems are fixed. So again, just hold Alt, left-click and move around the model. You will notice that all these Boolean cutouts are not properly visible. We have a little bit of issue going on over here. We have the shading Issue. Let's address this now. But I will just quickly look through the complete model to see if there are any more issues than just that. You can also hold Shift and use your right-click to move the lighting to view everything properly. I'm sure you are aware with all the shortcuts, but yeah, move around. You need to just press Alt, then hold your left mouse to move around. And then you can also use scroll wheel to pan, and then right-click to zoom. Just hold Alt and use all three of the mouse buttons together to like move around properly. I don't think there are any more issues left except this thing over here. You have this little bit of shading Issue. So let's see how we can fix this. I will go back to Blender. And I think the easiest way of doing it would be you just press Tab. And I will just select a bunch of these faces which we're having this issue, select this one, this one hold Shift, and just select, let's select all of them. And what I will do is I will just hit right-click and then select shade flat rest tab. And you will see the issue was earlier there in Blender also. I will just undo it. I know you can see this issue was there in Blender also, but if I just select them all again and right-click and shade flat it, The issue is now gone. Now we can again this a to select everything File Export, wave front and it export again. This is like a little bit of long and tedious process. We have to export our model again and again to see if all the issues are fixed. This is like a back-and-forth process. It can take a couple of times. Sometimes it takes me like 56 or 78 times two like properly fixed all the issues. And now you can see the shading issue is now gone So this way you can like tackle all these Issue that you face while Exporting from blender to Substance Painter. And now what we need to do is we need to post. I will go over to display settings over here and make sure to just enable temporal anti-aliasing from here. This will remove all the jagged edges. So let me just show you if you like done this off, you can see all of the jagged edges. But if you enable this, they are like a lot more smooth and yet it is late, nicer to look at. So now whenever you import anything into Substance Painter, the first thing that you must do is you need to bake the mesh maps. Mesh maps are basically like function of Substance Painter only it will help us in using all the features, like nice features that substance has to provide like Smart Masks, smart materials. To use all of them. We first need to bake the mesh maps of our model. Also, if you remember, I mentioned that whatever material we create, it will show up as the extra set over here. So you can see this Game-Boy texture set right now, because we only have one material in our model. That's why only one of them is showing up. But if you have multiple different materials, we have like multiple different extra sets appearing over here and we can isolate them by turning them on or off. So it is really useful when we have like four or five different materials, but yeah, we only have one, so we don't have to worry that much about it. Alright, so to bake the mesh maps, also, if you've not see any of the windows from the shelf, the texture set lists, texture set settings, anything you can go over to window, and the views you can just enable or disable them, and they will appear from here. Alright, so the big mesh maps go with texture set settings and just click on big mesh maps. The baking mesh map window has changed quite a bit. If you are using an old version of Substance Painter, it will look very different, but you don't have to worry at all because the functionality is basically more or less the same. You will see this window appearing on your window on the left side. So just disabled ID map from over here and rest. Everything remains same. We don't have to do much changes in the baking mesh map window because the default settings are pretty much good. So the only things that I will be changing is the output size. I will increase this to forget, to get the best possible quality. You can maybe work with Tokyo also, if you have like a slow PC, because baking mesh maps can take a little while. So just take this two foci or to enable, apply diffusion and use low poly meshes. High poly mesh, because we only have a single measurement if we don't have like a high-quality different one or a low-pass anti-aliasing. I will set this to 16 X. You can work with forex also. It's fine. And rest of the settings will remain pretty much same. We do not need to change anything. If you want to, like, edit a couple of settings for specific mesh maps. Lignin select the normal map or the ambient occlusion map. And you can increase the secondary this, this will like in visa quality of the map for ambient occlusion Cartridge. Or you can see you can increase the secondary risk. And this will increase the quality of the mesh maps. But as I said, the default settings are pretty good. So I won't change much, come back to common settings and rest. Everything remains pretty much the same. Just make all these changes and hit bag selected Textures and just wait for it to finish. You can see it is baking and it might take a little while. So I will just resume the video when everything is done. Alright guys, so the baking is done. Now, I will just hit to return to paint more quickly, look through your model and you can see we have like nice little shadows appearing. Now in a model. Like nice emitted illusion appearing. So yeah, it makes it look much, much better. And just quickly look through your model for any kind of shading issues. You can face some after baking the mesh maps. But I don't think there are any. So we're good to go now, we can finally start with the texturing. So now that everything is finally, let's save our projects to hit Control plus S. And now we'll just quickly head over to the tutorial directory in Substance Painter Files, let's say the name as Game-Boy. Save it for it to save. And yeah, I think this is pretty much it for this lecture. We will continue texturing our model in the next video. So thank you guys for watching. I'll see in the next one 12. Creating the Plastic Material: Hello and welcome guys. So now we can start with the texturing process. So as we are now in Substance Painter, I expect you guys to know the basics of Substance Painter because I won't be covering that in this course, will directly start with the texturing process. If you want to learn about Substance Painter from beginner to advanced, I have a complete course on it. So you can check that out if you want to learn Substance Painter. Now we can start. I will just select the Game-Boy texture set, and we already have this layer when agate by default. So just select this and let's delete it. Alright, so basically what we can do is we can start by creating the basic Plastic materials that we will be mainly using for the body, the buttons, and most of the things. So yeah, we first need to create a Plastic Material. So click on here to add a new fill layer. And this will be our base layer. Alright, so as soon as you add a fill layer, you can scroll down and see all the properties over here. You can change things like the Base Color, the metallic value, roughness, and things like that. So let's just undo it. So the only thing that I will be changing right now is the color of our layer. So if you go over in the resources folder and in the links section, you will find this color palette link. Just open it up. This basically has all the color values for our Nintendo Game-Boy that we will be using so quickly, just open up this link in your browser. So it will be something like this. We have all these colors, so I will be just copying up this color over here for copy this up from over here, the gray one, and just paste it like this or here. And now we have the color basically. So this will be our base color. And also I will create a new folder or a group and drag and drop this base layer into that folder. Let's rename this folder to Plastic. Now basically we can start adding more layers onto it to give it like more detail, adding all those things like dust, roughness, radiation and everything. All right, So basically let's create another layer. So just select here and add a failure so that it gets added on top of it. And you will notice as soon as we do that or our color disappears because now we have a new fill layer on top of it. So yeah, don't worry, we'll use masks to mask everything out. Let's rename this to and just give this a dark color. You can also type in my hex code. I've already decided on a color, so 747474, something like this. And now basically we will add a black mask. This time I will be making use of the feature of Substance Painter that is Smart Masks. If you remember the big like some mesh maps and the start, that was so that we can use all these features. So if you click over here in your shelf on the Smart Masks section, you can access all these Smart Masks. You can drag and drop it onto your mask and you will see its effects. As soon as you do that you can see layer is masked out in this dirt fashion. So you can use from all these different like Smart Masks. And we can have all these results. You can click over this generator and you can adjust the settings to however you like. And if you want to like, change the color of the dirt and everything, you can select the layer, the fill layer, and just change the color from over here. That often is metallic. Obviously everything. It's undo it back and I will remove the Smart Masks as I will not be using this. I will just showing you for demonstration. Obviously you can choose anyone you want from you here. You can definitely experiment with this a little bit. I will be going for this one, soft dirt over here. Just drag and drop it onto here. Right away you won't notice any changes because it is like very subtle. If you turn it on and off, you can see in all these edges. But if you select the dirt generator from over here, let's adjust these settings a little bit and then we can get better results. I will increase the dirt live, it will maybe something like six. And contrasts can say stare at 0.15 only. I think that's fine. I will adjust the grungy amount next to reduce the amount of grunge to maybe something like pointing to. That's pretty good. Also, select the texture set settings and please the size of the texture two foci so that you can view everything properly over here. And I think it is still little bit darker. So what you can do is instead of adjusting the color again and again, you can go over here, click on here. This is the Opacity channel. So you can increase or decrease the opacity from over here. I will set this to something like ad. I think this weight adds like a nice bit of value to our texture. And it is not that like in our feces. It is very subtle. All right? Let's move further. And the next thing that I will be adding is I will be giving it a little bit of height information. I will be adding some bumps to make it look like a plastic material. So again, add a new fill layer. And this time we will be using the height can I will just show you in a second. First, let's rename this to bounce. I won't make any changes to this layer right now. I will just basically add a black mask. And this time I will not be using a Smart Masks. I will be using a simple failure. So to use a fill layer, we cannot really use it directly like Smart Masks, like we cannot drag and drop a failure to properly use a failure or a texture from over here, you can click on this section off a shelf. This has like all the different textures that you can use, all the grunge maps and everything. So yeah, to use it with the mass, you first need to click over here and add a failure. And now we can add that particular texture to this failure. So the one that I'm looking for is to this one sells one, right, and drop it like this. Alright, so we do not see anything right now. But let me show you, I will first change the suit, ripen a prediction. Basically this is just a UV prediction and adjust the tiling. And I think you can notice it a little bit. We can see all these cells structure. Let's just change the color of this so that it is easier to notice. Now you can see the like, now we can see it properly. Alright, so now let's click over here and come back to the mask and increase the tiling. Because as I said, I will be creating bumps with this. So obviously the bumps would be like really small. So set this to maybe something like 15 or maybe even smaller. So 20. Now, obviously, I do not want all this color information. As I said, I want to create some bumps, so I will be only using the height channel. So just disable everything and only keep the high channel. You can also do it like by clicking on each of them to turn them off all you can hold Alt and click on the height can and basically disabled everything. Now if you increase the height channel, you can see, you can give it height in for very easily. Let's see. I will be going for something like -0.02. You can see we have added like very small bumps to our material to make it look more like Plastic. As you can see, it gives it a nice bit of detail. Maybe I will decrease it a little bit to -0.015. Yeah, that looks much better. Next, what we can do is obviously we do not want this material to appear over all these things. This is the screen and we do not want the material over here. So look out of this, just close the folder and what you can do is they are like 23 different ways to separate out the material. One of them, obviously, again, we can add a mask and you will see it is not disappeared from all of the model. And now we can use this tool, the polygon. Select the mesophyll from over here and make sure to set the color to one to white. Now when you click over here, you can see it is filling. Now disappearing only over this area. Again, you can select the mask and select all different objects like this one. Cannot really see it appearing. So just move the lighting hold Shift and right-click and move the lighting link over here. And you can see we're filling all these different pieces with the material. You can also remove it by setting it to black color and then clicking. And you can see now the material or the layer is removed. Let's just undo it. Also, you can switch between this black and white color by pressing X. This is pretty basic stuff. But again, agitate. This is like one way to do it. I won't be using this method. I will be using a different method that is much, much easier. So you can click over here, right-click and remove the mask. And you can see now it appears again over all of our objects. Click on this icon over here. This is like the geometric Masks and this is like a really cool feature, is right-click on it and hit Exclude all. And now you can easily select the objects that you want to add this layer to. Select this one, this one, and this one. I'm for now, I think only we can select this thing also over here. These are all the objects that we want to add. This particular Plastic Material. And you can see how good it works. It was like really easy to do. The others continue making Plastic Material. Let's add some more details to it. Next, I will add another layer, and this time I will be adding a little bit damage to our edges or discoloration. Let's rename this to take this first and then add a black mask. You can come back to the Brush tool so that you don't see this appear again and again. Let's see, we can now use Smart Masks. I will be using this one. Edges strong, scratched edges, strong stretch. This one. It's drag-and-drop it like this. And yet now, I don't know if it is visible right away. If you can see right over here on the edges, if you turn it on and off, you can see a little bit of edge color has changed, just like the color and set it to completely white. And yet now is really visible. Select here and select the generator. And let's see how we can agitate. We can definitely decrease the contrast. Maybe something like pointing to, yeah, it looks much, much better. The next thing what I will do is obviously we don't want to appear this way. It is like very harsh. So again, we will adjust the opacity. So just click on here and reduce the opacity until it is like very faint. So maybe something like 40. And you can see dissuade, it looks like really good. It adds a nice bit of value to our edges. You can just turn it on and off and see. It makes it look much more realistic. And yet this way it looks like really nice material. Alright, so let's keep on moving further. And the next thing that I will add is maybe some scratches. So let's just make it a dark color. Something like this, maybe. Yeah. And then let's rename this to add a black mask. And this time add a fill layer. And in the picture section, search for scratches. And there are various different grunge maps that you can use for the scratches, but I will be using this one. Grunge does D scratch. I think this one is pretty good. Drag and drop it right away. You can see how it adds a little bit of dust marks and scratches to our martin and makes it look like more organic. And let's adjust it a little bit. I will click on here for a certain this tool driving a conjunction. I think we can increase the tiling. Definitely not that big. We can also increase the balance to make the effect a little bit more apparent. Yeah, that's pretty good. I think. I will just decrease the opacity to somewhere around 70. Make it a little bit lighter. I think this looks pretty good. You're going to turn off all the layers and then open them one-by-one like enabled them one-by-one to see how they act like different information to your material, make it look better. I think the last thing that I will be doing is I will simply be adding the roughness variation layer. So just to add like a little bit of roughness variation in our model, because right now it is all the same roughness As you can like movie lighting and see. There is no darkness variation. I will just show you how we can add that. Alright, so does really simple. Again, you just need to add a new layer, roughness radiation. And obviously we only need the roughness channel. So hold Alt, click on here and disable everything. Let's increase the roughness to maybe something like 0.4. Because over here we have like 0.3. Maybe we can set this to 0.25. Now we have 0.4. Add a black mask, and simply let start a failure. Let's search for grunge VAB over here. And the one that I will be using is whether I will be using this one, range map 007. So just drag and drop it over here. And let's see. Yeah, if you'd like, look over here now and try to move you lighting, you can see we have like different roughness variation over here. You can also view it properly if you go over here and select the mask. Let's set this to try Blender and we can properly adjusted. I think this way it looks much better by setting it to try Painter. So just press M. Now if you look over here and move you lighting, you can clearly see that there is a bit of roughness variation going on over here. And we don't have like everything is same. You're going to turn off the layer and see for yourself. Basically, these are the little subtle details that add a lot of Information to your material. All right, so now I think our material is completely done. If you want to use this like Smart material in your different projects, you can right-click and create a smart materials out of this. Select this. And you will see it will be appearing over here as Plastic underscored one. You can definitely use it. You can rename this to something else, maybe smart material, Plastic. And then create a new smart materials so that it does not clash with anything else. Like yep, over here. Alright, so yeah, that was it. Next, what we can do is we can create duplicates of this and added to the buttons to create like wages colors from it. Let's just first rename it to something proper so that we can know everything properly. I will just rename this to Plastic white so that we know. Now let's press Control C and Control V. And this one we can name it Plastic red. Open up over here. Come back to that, this website and copy this one. Copy and select the Base. Click over here and paste it like this. I can see the color change to red. Now, click on this icon over here, geometric mask, right-click and exclude all. And just select these two buttons. And basically that was it. So you can see the edges look like really weird because of this particular layer. So maybe we can just turn it off. Or if you want, you can change the color to something else. Maybe something that is related to this color. Like this. Make it look a little better. Also, I will be turning off the bumps because we don't really need them on these buttons. Like we will look like really weird. And for the roughness mediation, I will set this to 0.3 to make it a little bit more shiny. And the Base roughness value goes to 0.2. Maybe 0.1. Just to make them a little bit more shiny than the normal body. Anya, this way I think it looks really good. Alright, let's press Control C Then V. And this can be at Plastic black. Again, Let's copy this one from over here. Select the Base, click over here and paste it. Right-click exclude all, and select this, this, this, all these. Now obviously the edges are again causing some issues. So first, let's just save, enable them and change the color. Something along these lines only. Also for the dirt layer, I will make the color a little bit darker and reduce the roughness value blue point to. Next for the edges, I will maybe go for somewhat of a lighter color. We can maybe make this lighter. And then we can just use the opacity even more to something like 20 or even less than maybe. Just so it does not look weird over here. Yeah, that's better, I guess. Alright, next for this area, I think we can just select this one Plastic white, copy it and paste it. Bring it over here. The top right-click exclude all at Sandec this part and these two buttons. And for only this color, I don't think we have anything on this color palette just for that color. So let's open up our reference image and look at it. This sort of color. And let's just created on our own. The Base Layer click on here. Done off the edges for now. Yeah, I think something like this looks pretty good. Let's enable that the edges, Let's see, Let's go back to curvature or just the global balance. I think this Smart Masks does not really work well with this thing. Let's remove this and we can try something else. So let's remove the smart filter and click on the Smart Masks, and let's try something else. Extra edges blur. Began in Italy. Use the global balance. And yeah, I think this one looks much better for this type of thing. We definitely need to reduce the opacity a lot. Yesterday is like really like maybe like 15 will make the color a bit darker. I think this looks really nice. And turn it on off and see. Obviously for this also we will be turning off the bumps. And yeah, I think our model looks like a really nice to Textures are coming out pretty good. For the last thing that we need to do is we need to create the screen. So for that obviously, we can create a separate folder and let's rename this to screen. And let's just save everything. So before moving further, just to save. Alright, so again, add a new fill layer, drag and drop it into the screen. Click on here, right-click exclude all and just select this. And the screen can be off, somewhat like a green color. Something like this movie works pretty good. Obviously, you can experiment with this. And we need to set the roughness value to zero. Just so it is like really shiny. All right, so for now, this looks pretty good in my opinion. And this lecture is already quite long. So I will hand it up over here and we can continue working on a Textures from here on the next video. So Angus watching, I'll see in the next one 13. Working on other Materials: Hello and welcome guys. So in this lecture, we will continue to shrink our model. So let's work on the screen a little bit more. I will select the fill layer and first let's rename this to base. And I want to switch up the color a little bit and not quite liking this one. Again, if you remember, we can go up to this link and we can just copy this color over here and then paste it onto our hex code over here in the substance painter. But this color, I don't really like it that much. It looks like really weird and I just don't like it at all. So I've decided on a completely different color. If you want, you can go for this one also, or you can go with the one that I have selected. So I will just copy it up right now if you want, we can copied from me this is the code 83053. I think this color looks much, much better if you want to compare it to this one. This looks like really organic and authentic, so I wouldn't be going with this one. Alright, so next to add a little bit more detail to our screen, I will be adding some roughness variation. We can add things like fingerprints and smearing is all over it so that we get a little bit of more detail. Because right now it is like really plane. So create new fill layer. And again, we can disable all of the channels except the roughness. So hold Alt and click on the roughness channel for the roughness. Let's see. Let's keep it at 0.3 only for now. I will rename this to fingerprints. And let's add a black mask. And now if you go into the texture section and search for a fingerprint range map, you will find a lot of these ones. So let's see, we can try maybe this one. I think this one looks really nice. So first select the mask and add a fill layer. And then you can just drag and drop it over here like this. And right away, we notice that it does not look that good. So to view it properly, go over here and view the mask so that we can use the mask properly. You can see the mask is like really large. The fingerprint is looking like this big onto our object. First, let's change this UV protection to Dr. Trina. And yet now we can increase the tiling, maybe something like two. And now I think it is appearing a little bit more properly or not. Screen, so press M to view it again. Now you can see it looks pretty good. We can maybe increase the balance. Naked, even more apparent. Maybe let's set this to 0.7. Next, what we can do is if you think this is a little bit too much, what you can do is instead of adjusting it from over here, one thing that you're going to do is you can select the roughness from over here and just decrease it completely. You will see that when you decrease, the effect will soften a little bit odd. Another thing that you can do is go over here and select roughness and then decrease the opacity of the roughness. If you remember, we were earlier in base color. So this opacity is connected to the base color if you will decrease it right now, nothing will happen because this failure does not really have any kind of base color channel. So to control its roughness, opacity first need to select roughness from over here. And then we can adjust the opacity. So maybe we can set this to something like 75. I think now our screen looks like really authentic and nice flowing. Keep it this way only. Let's add another layer. Let's come back to base color. Alright, so this layer would be our lives, a little bit of dirt and dust onto our screen. So first let's set up the color. I've already decided on a pillow. I will just copy of the gold. And you can copy too if you want to. You can copy these values also. It will work pretty much the same. This is the color that I will be going for. An expert you can do is we can reduce its roughness. So that is not dyed rough and it matches with the screen. Maybe set this to 0.05, something like that. And next, again, we need to add a black mask to mask it out properly. And you can use a grungy map if you want to do. It is totally up to you. I will be using a smart mask. Smart mask I'm going for is let's see. Yeah, this one does surface. This one works really well with screens. And you can see it appears something like this, not the result that we want. I want it to appear only on the edges. So what I will do is I will select the mask And basically we will set it to false. And as soon as we do that, you didn't see this has the effect that I want. And the effect was inverted. So we just need to turn it off. And now we have our dust or dirt on the edges of the screen. So next what we can do is we can decrease the opacity of this because obviously this is too much, so maybe something like 30. But it is really subtle. And you can see this way our screen looks like really nice. Anya, I'm pretty happy with it. Next, what we can do is we can ship quickly all of the remaining things like these small things over here. So let's see. First I will select this material, the plastic Blackboard, and click on this icon. And I will select this piece, this small piece over here. And this one. And maybe this beside the back like this. These are the pieces I want to add the black material to. Next week can create an iron material for these nuts over here. You can also use a smart material if you want to select a smart material and search for iron. And you will find lots of different iron materials or you can search, you will meet Steve. Yeah, there are different steel materials that you will find or you can create one on your own if you want to. It is really easy. I, it is really small, so it won't be that much visible. You can add a fill layer. You can set the metallic value to one to make it look like a metal. And now just adjusted scholar. And we have got ourselves looking steel material. Obviously it is not that detail, but are not suddenly really small and won't be that much, which is good. So I just wanted to show you, you can click over here, right-click exclude all. You select your notes very easily. And you can see you if I did the iron material to them, but I will delete it and I will just use a smart material only because I think it looks much better. Let's use this steel scratched. And you can see smart material has all these like dust and scratches and like bumps, everything added to it already so that we don't have to do anything. You can click over here, right-click exclude all, and select this. Select this, like this, and select this. I think I will also select this little button over here. Yeah. I will also select this thing also. This is also steel material and the like the plastic lag and select this box also because this is like a USB chip, so it can be a black color. And for this gold one, we can just add a fill layer, give it a gold color. The metallic value to one degrees, the roughness. Click over here, right-click exclude all and deselect this. Basically we have a very basic looking shape. That's perfect. I think. Last thing to dictionaries this thing over here. So what we can do is, I will first, let's rename this to select the screen material that's Control C and Control D to duplicate it. And this will be our battery sign. Right-click exclude all and just select distinct. And now select the base layer and just turn the color to black. And you can turn off the dirt layer. That's pretty good. So we're pretty much done with the basic picture of a model. The next step to do is to add all these texts written over here, here, all these things. So if we look over in the reference image is only a methyl here, not in the reference images, but in these textures. I've added all these Alphas that we can use to share our martin, all these texts, I've already added them. So it would be really easy and fun. I think this is it for this lecture. In the next lecture, we will be adding all the texts and everything. I'm finished with the texturing process of Nintendo Gameboy. So thanks for watching. I will see you in the next one. 14. Adding Text Details: Hello and welcome guys. So let's continue the texturing. In this video, we will be placing all the X, all the symbols and everything. Let's start first. What we need to do is obviously we need to import all those textures into Substance Painter. So just go into your course files and the Textures folder. Let's select them all till here. I will just drag and drop them onto the shelf like this. And this way we can import it easily. You will see this dialog box pop up. So what do you need to do is you need to make sure that you select it and only imported as an Alpha and not as a texture. Because basically all these images are Textures. All these images are Alphas. These are like black and white images. So yeah, we will be using them as Alphas. And these three or the rest of them, we will be using as Textures when we will be creating the Cartridge is we will import them later on. Alright, so we don't need to select each and every one of them and then select Alpha. We can just press Control and everything would be selected. And now just select Alpha for one of them. And now all of them have been selected as Alpha. Alright, Next is where we want to import our resources to. The first one is current session. Current session is basically if you import it into current session when you close Substance Painter, you won't find these files or these Textures. You cannot use them later on. If you use project, you can only use them in this project only. So we will select project only. Third one is liability. This way, they will get like permanently imported into your shelf and you can use them in any project that you want. So these are very specific to the Nintendo Game-Boy only. So I will be just selecting project. So we will be just needing these images in. This. Now hit Import. And as you can see, all of them appear over here. One more thing, if you like, kind of get lost in the shelf. You can easily separate out everything from over here. So this is Materials, smart materials, Alphas and Textures are different. So this is for Alphas and this is for Textures. So basically all you grunge maps, all your light color Textures and everything Base Color goes over here. And this is for only Alphas. And even here also, if you want to find the ones that you have specifically important, because a lot of them already come with Substance only. What you can do is you need to click over here so that this thing appears theta. Now you need to select your assets. As soon as you do that. I haven't voted a lot of them for my other projects, but the ones that we important just now we won't find them over here. That's because these are the assets that were imported like permanently into the shelf. So we do not need to go over your assets. We need to select the project freedom because we imported them into a project. So click over here and now you can find all these Alphas that we just imported right now. So these are like a couple of different things. So project is for the ones that you've just imported into this project only. And your assets is basically Once you haven't voted for life thing into your shelf. Alright, so let's select project. And now or we can start adding all these texts onto our model. So now let's see. We can start by opening up our reference image. Let's open up this one. And we can start by adding all these ones, like this one like golf and on these ones volume connector phones, because these are all similar to each other, we can place them all in a single layer only. We just need to add a little bit high to add text or the files that we have added and we will be done. So let's see. First we will just add a layer. So they are like 23 different ways to do it. I will show you both of them. First is we can add a simple paint layer. Paint layer is different from a failure. As you add it, you will see nothing really happens, but now you can paint away your model like this very easily. So the special thing about doing clearest that you can change the inflammation of your strokes however many times you want. Let's see. First I said this color to red and I start painting like this. Then maybe I want to change the color. I changed it to blue eyed, a little bit of metallic and decrease the roughness. Then I printed it like this. And you can see we have painted like completely two different strokes in a single layer only. And you can do it as many times. You can double-click on any of the Alpha and you can see it appears over here. You can use it to stamp it this way. You can now change the color, change the color, make it back to zero metallic, select any different alpha, and then Stanford like this. So you can see we can change the, all the information of the stroke or however many times we want in a paint layer. This is like a useful when you have to add like different strokes of different information of roughness, metallic and everything. But the main disadvantage of using a paint layer is that we cannot really change the things at a later onstage. If you have like Made a stroke like this. This is like completely permanent and we cannot really change this later on. But the thing that filled areas. So let's just delete this. Now when I add a failure, and let's say I will just add a black mask. And now you can start painting again. We cannot really see it properly, so let's make it completely white. Now if I select the mask and again start painting over it, you can see Migan again paint the white color. We can select any of these logos are Alphas and stamp them very easily. They would all be the same color only. So that is the thing about failure. But the great thing is we can change all of them whenever we want. You can see we can change the height, we can change the modelling, we can change the roughness, everything however we like, and it would affect all the strokes. So this is the main difference between a paint layer, new fill layer. So you can choose according to you, I will be using a failure only because it is very easy to change all the stuff and customize it at a later onstage. Whereas with the paint layer, like everything is permanent and we cannot really change it. As I said, first will be doing all these ones like this one over here. And the ones are the sites. We can add a basic simple failure. Let's rename this to I didn't folk and disable everything except the high channel. So we'll click over here. And now we can give it any height value we want. We can give it a large number for naught or less, maybe 0.254. Now, add a black mask. And now when you painted, you can see, you can paint with height information very easily. If you decrease it, sorry, if you select the failure and you decrease the height information, you can see now it appears inwards, whereas now it appears outwards. So began this height value whenever we want. So let's first start stamping. Select the mask, and let's select the phones one. So double-click over here. Zoom in and you can hold Control and use a right-click to increase the size of the brush to fit it like this and just stamping very easily. So you can see very easily I did like alpha or the, this detail. Also, another thing that you can do is make sure to set this to orthographic view. What this will basically do is if you hold Alt and Shift, you can snap it perfectly and your model is completely flat now, whereas if you were in perspective, it can get a little bit weird. If you like zoom in or zoom out, you can see it is not perfectly flat. And you can like moving around with the perspective view, but with the orthographic view, it would be like completely flat. Wherever you move it. If you stain the like snapped View, you can hold Alt and Shift. And then you can snap to different uses like this, like we had in Blender. So this can be the Front View and you hold Alt and Shift and then move to the bathroom very easily. With orthographic, it really helps when you are like stamping things like stickers. So it is very helpful when everything is like completely flat. It makes the process a lot easier. Whereas in perspective, you will notice that things get a little bit weird when you try to move it around. Make sure to set this to orthographic view. And this is like too much as you can see in the image also reference image. We can definitely decrease the height in for a lot negative 0.1 or even less than 0.05. In something like that works lot better. Alright, let's see you next week and go over here. Let's just add this backside. So select this one. Make sure to first select the mask. Then select this double-click over here, then hold Alt and Shift and move towards the back side like this. Then also hold Shift, then you right-click to bring the lighting towards the back. Now increase the size of this. I just stamp it like this. Really easy. Let's see. Next we have this external connector and the volume one. So over here holding Shift and again snap it to the side. Now select this external connector Alphas, and we need to rotate it. So what you need to do is scroll up over here. There is a shortcut also, if you hold Control and use your left-click this time, instead of Right-click, Right-click on for size and left leg is for angle. You can rotate it very easily, but it won't be exact 90-degree. So we can just change it from over here. They said this to 90 degree. And yet it is not perfect. We need to C1s where it is facing, so it is facing this side. So I think we need to rotate it by going at no, sorry to 70, I think. Yeah, that's perfect. Scale it up a little bit. And just like this, you can just hit Control Z to remove. It. Might take three times to just get the perfect one. That's pretty good, I think. Now select the volume. So it is already rotated scaling down. Alright, so that looks pretty good. I think again hold Alt and Shift and go to another side. And let's see. So firstly, this contrast, okay, so upon Ross is not over here. I think I forgot to copy it earlier. So I'll just quickly go back in and bring it. You guys I think probably already have it. I will just quickly import it again. Select project. And yeah, over here. So again, double-click over here, select the mask and we need to locate it. So just type in 90 over here because you need to go daydream this side. We need to scale it down a little bit, Definitely. Yeah, think that's pretty good. So next, we have over here this long new text. Don't really know what exactly it means. Let's see, we decided faces. So it is basically Side only looking to scale it up and just place it like this. Yeah, I think I'm pretty happy with it. Next we have this off and not just again, hold Alt and Shift and snapping in the Front View. Let's bring the lighting in and select the often on one. The angle back to zero. And you scale it down while holding control and right-click and dislike. It also has these ADOS, which I think Substance Painter already has. So go back to all libraries. And in the Alphas section. Let's search for arrow. Any I think this one would work pretty good. Stubborn link over here. We can scale it down and just place it like this gated by Wednesday degrees and place it like this. Next we have this dot. I am sure there wouldn't be one in give me searching by circa lighting. There isn't one. I think. We definitely can use something like this, namely, does not really matter. But if we want do you can create one simple looking like alpha in Photoshop of a circle. If you really want to. A very small one. So I will displace this one only. I think it was. Alright. Alright, let's move ahead. I think this was it for this layer safest. And one thing that we forgot is before to texture this part. So it is kind of plane right now. So I've been just select this and duplicate this Plastic. And I think this part over here has like a grayish color. We can just extrude all and just select this one. This one. And just change the base color to dark grayish kind of. First, let's turn off the edges. Also turn off the bumps. Any, I think that's fine. Alright, so next we have these blue-colored text over the front screen and also this white color text. We can create two different fill layers for one, for the blue, 1.1, for the white one. And that way we can do it. So let's just start. I will again add another fill layer. Let's rename this to blue text. We can rename this layer to hide Text. So everything stays organized. Alright, so again, for the color, I will just quickly open up that same link. I think that link hide the blue color to select this link. And I'll quickly open it up in my browser. Alright, so let's copy this and see if it works. The Base Color just based the heck code. Alright, next, let's add a black mask and come back to the project Alphas, remove this circle. And we can start by this Nintendo Game-Boy. So double-click over here, control and use right-click to increase the size and said the, or this one, set this back to the angle back to zero. I think the Garland is fine. Let's see. The size of this. So it is roughly around, which starts from over here and comes across this first red button. Let's see it a little bit. Something like this is fine. We need to place it a little bit downwards. I think this is pretty good. Let's select the Select button. Next. I'm going to rotate it. Let's see. I think we rotated it by 30 degrees -30 in. We cannot really do negative numbers. I think we need to do it this way only. Let's try 3304035. It moves pretty good. You can just hold Control and use a left-click to maybe rotate it out roughly. And I think this way it works best. So it is somewhere around 333. Let's just see again. Actually clean the is a little bit. And yeah, that's fine. I think select the start one now. And again, standing like this. Similarly for the a and the need. Definitely a bit smaller. Yeah, that looks fine. I think in my opinion. We also have the small arrows placed over here. Let's add them to over here. I will again come back to the height text-only. And in the old library research for ado, let's select this one. Is back to zero. And please one over here. Shaky couldn't 90, place one then this uncertainty is to one at last we put 70, I think, but yeah. And then this **** good over here. All right, That's pretty good. Next we have this white text. So again, we will add another layer, this keeping this color only for now, add a black mask. Project for you can move this arrow search query. Select the battery relation back to zero. Yeah, First we have this guy three over here. Yeah, I think that's pretty good. For this one. First, Let's select scale it up And it starts from this area of the screen and makes it roughly about somewhere around here. So we need to basically eyeballed it. Feels to me, I think in guiding this, go ahead with this only began maybe select the white color and make it a little bit brighter. Yeah, that's fine. I think. Rename this to white text. Next, we need to add these blue and engage stripe. So here, let's see how we can add them first for this blue stripe, maybe we can use the blue text narrowly. You select it. And first we need to go back to all libraries and I search for square. And you will find this one square rectangle. And you will notice it is like really squarish. So like adjusted according to this, we need to adjust the size X and Y. I think reducing the byte. Yeah, if you reduce the Via lot, then we like, like a really thin strip. This size is fine. Now I will show you how we can exactly place it in a straight line. Just click over here first. Make sure the position is perfect. So just click over here once that hold Control and Shift and you will see this straight line appear and just drag it till here and click once again. And you will find this extremely straight, like paint stroke. We will like it is the parts that we don't need. The spirit is like much, much easier. Yeah. So the way we will go about erasing business, and that's very similar way only select the it is. And what we will basically do is we want it to start from somewhere around here. We will first degree the size of the this hold Control and right-click and degree the size. Then hold Control and Shift. Click over here first, just around here. Then hit Control and Shift and just drag it straight down. And you can erase it this way and now remove this part. And similarly, I will least one like this while holding Control and Shift. And now you can remove this area. First. Let's add one over here also. Somewhere around here, I think you feel like those spaces too much. You can just quickly undo it. And again, click over here once then hold Control and Shift and bring them down. Now you can remove everything in degree. And you can see we have created a very simple looking straight stripe. Now. Make sure to just you don't change the size of the brush because it can mess up with the placement and the size of the stripe. Let's quickly create another folder for the pink color. Let's see what we can do. First, I will copy this color only. Or maybe you can copy this layer only for the buttons that you created earlier. So just select this, basically a copy it, come out, select this and hit Paste. Add a black mask. And let's rename this to strike. Delete this Holderfield. Anya. Now click over here and make sure to place them perfectly. I mean, again, it is integrated onto it does not matter that much. Let's see where it starts from. So it starts just about with the text-only somewhere around here and refine it. Again, hold Control and Shift and just make a stripe like this. Now go back to the it is up and we want to make sure that everything is aligned perfectly. This node is fine. Add one over here. You can also hold droll and right-click and then move your mouse up and down to like increase the hardness to what? So that it would be like perfectly sharp. Now again, click over here. I swapped it just you move into line in the middle. Now, I will select band of blue text again and just make sure it has perfect edges. So just click over here or Control and Shift. And easy playing this Just so we'd have like sharp edges and not please let us. Now I'm just making sure they are of equal length. That looks pretty good to week. I'm pretty happy with it. We will select this pink stripe and maybe make the color a little bit lighter. It is too dark right now I think. I think that fits much better. See, I think model is coming out pretty nice. I wouldn't select the blue text and just make it a tad bit darker. This is too much. Yeah, I think know 11 was fine. Let's see. The thing pretty much done with the texturing of the model. One thing is left. We need to add the number over here, Shift and right-click. Let's bring the lighting back over here. And let's see how we can do that. For this one, I think we can simply use a paint layer only for these type of things like this is very easy and simple. So let's just add a paint layer. And let's see. First I will select a square. So you need to just double-click on the square. So now it could be selected. Yeah. Let's adjust the paint layer little bit because we did all these things. Incentive, this simple cyan color that is selected over here. Alexa. We need to make it rough for lighting does not like shine. And give it a little bit of height, 0.1. Let's see. I think this is pretty good. Just click over here, then hold Control and Shift and drag it like this. Bring it out this way. One thing that I will do is I will add a filter to this, and I will show you what filters can do. A light, a basic filter, and add a blur filter to this. What I basically did is let me just show once again, I selected this layer window here and add a filter. And now in the filter I would just add a blur filter. You can see as soon as I did that it just blurred our high-intensity a little bit. And dissuade is not very sharp. Definitely. We don't want like blur this too much. Maybe something like this is pretty good. And we can add another thing that we will be the HSL perceptive. And I think that would help us to control the color a little bit better. Even after we have made the strokes. This is like a little bit of hat. Then we can use like adjust the color at a later on stage. Yeah, that's pretty good. Now let's select it back again. Go back to project and select the number. First. We need to set the color back to black. And then just simply stand good over like this. Okay, So because we identified levator and whatnot, it is kind of appearing a little bit weird. So let's just add another Painter. And now it would work perfectly. Make it a little bit lighter. Yeah, I think I'm pretty happy. Vedic. Rename this to what we can name is listening with black text. And this is so let's just hit Save and end the video for now. Maybe if we have a couple of changes are some things that I want to add on if you can definitely do it later on. But for now I think I'm pretty happy with the texturing. In the next video, what we will be doing is we will model the Cartridge and texture it. It would be like pretty easy and a pretty fast into them. It will just add a bit more detail to our model. We can place a Cartridge over here at the backside. And I would just make it look good with the renders, tangos watching, I'll see you managed fund 15. Modelling the Cartridge: Hello and welcome guys. So we are back in blender now and in this lecture we will be modelling the Cartridge for our Game-Boy. So let's start, or what I will do now is I would just turn off this Game-Boy collection so that we don't have anything in our view. And I will press Shift plus tests and goes into world origin, bring the cursor exactly at the same them. Now if we will enable back the reference images collection and just quickly press three or one for the Front View. You will see in this reference image, we also have a smaller proportion for the Cartridge. So we can definitely use this image to create the Game-Boy Cartridge. But I've also added certain separate reference images that focus entirely on the Game-Boy Cartridge only. And we like having proper resolution so that we can create it properly. It is not that high-quality over here. So it might create a little bit of problem for us. Why modelling it? So I'll just turn it off. First, press one for the Front view. Then we can press Shift plus a and in the image, the reference image and ugly head over to your reference images folder and you will find this image over there. So just bring it in. Like really high-quality so we can definitely use it for creating the Cartridge. It is much better than this one. This process is pretty similar. I will just select it because he didn't push it backwards. One again. And let's start by first pressing Shift a and adding a cube. Enable X-ray. Let's quickly size the job. Fair, that's pretty good. Stand by. And for thickness, we can just like roughly give it any alone for now. We will change it later on. But let's just give it something like this. One again. And let's see, we can start by creating this small cutouts. So press Tab, press Control R and add an edge loop over here like this. Then add another edge loop over here like this. Then what we can do is press one for vertices, the length, these vertices press X. And a. Very simple. Now you can just press Tab rescue for Edge, Select, select this edge and press F times to fill out the phases. Yeah, pretty easy. Alright, I will quickly enable bad the Game-Boy. And let's just go freaking the Game-Boy in this space so that we can know what type of thickness we want to work with. All right, so I think something like this would be alright. Maybe we can decrease it a little bit more. Alright, that looks pretty good to me. It fits pretty bad. Yeah, I think that's fine. Now what I will do is I would just select it again. Let's bring it out over here. Miscible, bad, the Game-Boy one. And now we can just scale down the reference image according to our new size. All right, So I think that's perfect in my opinion. So let's press Control a, apply the scale first and then we can add a bevel modifier just to be able out the edges and decreasing. Enabled hardened normals and are to smoke. Express one again, enable X-ray. And obviously we need to bevel out these edges a little bit because they are pretty rounded. We don't have to do the bottom edges lighting. But for the top ones, you can do is press tab, select this one, this one, and these four hold Shift and select all of them. Restaurant enable X-ray. Now, just press control V and Bevel them out. Like this. That's fine. I think sheets mode, this enabled artists mode. And let's see, next week can create this cutout over here. So Shift plus a and let's add a cube Scaling down, scattered about into the reference image. And yeah, I think that's good. That's controlling. Apply the scale. Disable x-ray and press Tab. That's true for and select Full Control and Alt and select all these edges. Then you can just press Control V out. Wait a few segments so that it is pretty smooth. I'm just trying to figure out perfectly inside it. Yeah, that's pretty good. Now let's just right-click, Shade Smooth. This. Apply the scale once again, enable auto smooth. Now just select these two press Control minus and move the Boolean modifier above the modifiers like this. Now to make the cutout look a little bit better, press Tab the name but X3 plus three for Face, Select and select this backside face. And what I will do is I will bevel this phase out like this. So that it gives us this like Smart age feeling like this one. Select this, this S Then by an idiot like this. That looks pretty good to me. I think. Let's move further. Again, enable X-ray, and let's create this cutout now. Shifting. First, we can create this thing over the edge. So if you see in the reference image, these edges are like kind of beveled out for what we can do to create this first press Tab, press Control, our controller and you can add edge loop over here. And again press Control R and add edge loop like this. And if you remember, we learned how we can snap these edges together. So make sure to select vertex snapping from over here. Press G then Zach, move it around and hold Control. Snap it like this. One for vertices, select, select these two J, and then say these two plus J to join them altogether. Now going to hold Alt, select the complete loop is less than Z and now press zero just to make sure they are perfectly in straight line. Now I will place them right about here. What I will basically do is I would just select this edge and select this edge. Then press Control V and degrees amount of bevels and just bevel it out like this. Let's just quickly view it in the reference image. How much we have to bevel it actually just about till here. And yeah, I think that's fine. Yeah. Let's proceed further now, enable that x-ray redshift. They are the cues in this cube down. Now try to match it with the reference image again. Yeah, that's fine. Going to apply the scale. And now again, this tab is true for excellent hold Control and Alt, select all these footages. Press Control V and Bevan it out. You need to see how much we have to give it. Yeah, that's fine. Now you shade smoothness, enable auto smooth, bringing back. It is like a very small cut-out through this. A little bit inwards. And select them both risk control minus. And now move the Boolean modifier above the bevel modifier. Yeah, that works perfectly. If you see a little bit of shading issues here and there, I think adding awakened nominal modifier, Yes, will fix them. Say I just started baking normal modifier. Next, we can create this small little triangle over here. Shift the lexi. You can add a cube. Maybe we can go through the cube So the way we can create a triangle shape out of this is press Control a. Apply the scale first, restart and press one for word. Select, select these two vertices plus M and merge and center. Just to merge them and select these two words, sees press N and merge at Sanctum. Create something like this. Then we can maybe press tab, select all these three edges. One for Front View enable X-ray. First, we need to align it properly again. I think that fits better. Now, press Control E, apply the scale again and select all of these edges. And now it says debit them out. Make sure this gain is applied. More or less enable artist mood. And let's just moving backwards. And yeah, I think I'm just looking fine. Move the Boolean modifier above the bevel modifier. Just a little bit of shading issue going on over here. If you enable, it gives sharp, it gets fixed. But I don't think it is that seniors today, I think I'll just keep in viscerally for now. Maybe we can fix it later on because it is not that much. Maybe adding a bit more edge loops would fix this. So just add a couple of edge loops over here that fixed it. So just press tab and in the main object just add a bunch of edge loops by pressing Control or, and you can see that fixed that issue. Alright, let's move further. Select this press tab and select this bottom face. And now I will just press I to insert this like this and extrude it inwards like this. It won't be visible from the bottom, but we have to create it. It is like the USB chip area that gets inserted into the machine or something like that. And we can give it like rough shape. Let's add a cute scaling down. Displays a small cube over here. Let's duplicate this, bring it out. This properly. I'm selling this one. I'm just bringing down over here. And yeah, just create something like this. Now again, I will select this slash for the isolation mode. Shift plus S goes or deselected. I will add a Q. And again, we will create those like golden chips, lighting it out over here, and just add an array modifier and duplicate take a bunch of times. Yeah, that's pretty good, I think. All right. Let's move further. Make sure to hit Save and just set all of them and press M and move them to the Cartridge collection. Enable X-ray, and let's create these cutouts now. Let's see. We can do is we can press shift D and let's add a plain simple plane. Rotated on the x-axis by 90 degrees. Down, please. One over here. Like this Let's bring it out over here to here. Like this. Select this one and move it back. I think that was pretty easy. Now, we can just duplicate this present and moving downwards. Move both of these vertices behind and place them accordingly. Now, we can add one more word, see if you want to make it look a little bit mode called select the middle-age press Control V and Bevan it out. To give it a smoother look. We can do the same thing but this also select this now press Control me and never any doubt. Alright, so again, I will select this, duplicate it. Let's see, we can select all of them, press S and X and just type in zero, make them flat. This one is like completely straight, so I think it works. I will select all of the edges in the between because you don't really need them for this one, X and dissolve them like this. So pretty easy for the bottom ones, I think we can use these tools. Let's see. We can just select these to enable back x-ray, duplicate them, and bring them down over here first. Then type in S and Z and minus one. Flip them out like this. They're pretty easy as you can see. I think this works pretty good. Just select all of them and just press Control J to join them and bring them out over here. Now let's add a solid if I modifier to give them thickness, you can see the thickness is being added in different directions. So just press Tab, press a to select everything, then press Shift plus ten and it is still not getting fixed. So what you can do is, let's see. I will select these faces, these phases and these spaces. So just leave these two out because these two are the ones that are flipped. And now press Shift plus men and select insight. As soon as you do that, now, all of them are moving correctly. As you can see. We have basically snacks worked, we had to do. Now just select this press Control minus to create the cut-out. Bring it out over here like this. Now, we need to move the Boolean modifier above the bevel modifier effect. And our next step is to duplicate it over to the other side. Just select it. Added mirror modifier. And we need to do is disabled the mirror modifier for not, so that it does not get weird. And we can select the middle axis as this object because it is exactly at the center of these two. And we want to duplicate it along the left hand right of this object only. So it selected, go over to mirror object and select this as the middle of the object. I'll select first, enable it back. And yet now it is modelling properly. Alright, so Cartridge is looking pretty good to me. Let's hit save and keep on working further. Hristov. And we can add a bunch of edge loops over here just to give it a little bit more generically. So again, press Control-A. And let's see, we can add a single point because age is not being added. Again in these to select them, both, GA could join them. Now similarly I two points over here also. And just select them both and join them like this. Then select this, then Jake and join them. And listen this inverse J Alt and select the complete loop, press S then Z, and type in zero to make them flat and move it at the top. Now just add a bunch of edge loops in the between. The moving like this. We need to add another one. Now select this and this is J, S, and Z and type in zero. Now you can add a couple of edge loops in the middle Alright, so that's pretty good I think. Alright, so now what I basically want to do is I want to make this cut out like up here, over here also till the Back Side. So I will just select this enable X-ray and setting all of the objects of it. Then just press Shift plus D to duplicate them. And then he'd right-click to place them exactly over here. Recipe and separate out the selection like this. Just so they are like completely different objects. Let me select it. There are two different objects. I've been moving a little bit behind, so that we can easily select them, press Alt H to bring back the hidden object idea. Basically these two are completely safe. I will just select this one. The one will duplicate and just now enable X-ray and just delete all of these words. C's over here at the site plus X and delete them. And answering all of these vertices, risky, invest X to extrude them to hear only. Move it over here. And now I will just show you what I basically want to do is select this, select this press Control minus, and create the cutout. And I was selected, I'm moving like this. And now increase the solidify modifier. Them didn't hear was selected and move the Boolean modifier above the bevel modifier. Now I will just increase the solid if I like this. That kind of looking a little bit take from over here. So select this best, stab it all. And just as G and X and move it like this. Looking pretty good in my opinion. There's continuum and we can give it a little bit detail on the Back Side also. If you go into the difference images again, you will find the full dog, the backside over here. So it is something like this. Let's see how we can create it back in Blender. And first, let's see, risk unfold plus one to view the Back Side properly. And now we can turn off the reference image for now. So just disable it from over here. So now let's just add a cube, redshift. They add a cube scaling down. Move it out over here. Now let's see. We can first press Control a, apply the scale Stat, press Control R and add two edge loops like this and hit right-click to place them at the center. Press S and X, scale it out. And we can maybe select these two loops. Let's Control V and Bevel them. Make sure they don't have any edges in between them. Now just extrude it out like this. Select this, then select this, then press Control minus. Let's bring it out. Yeah, I think that's pretty good. We can now move the bevel modifier below the Boolean. And I came, that is pretty good. Next we can add two cylinders in the center. And once you've over here at the top like this, again, press Control plus one and let's add another cube, scaling down and place it right about here. Yeah, I think something like this is fine. More of a doubt. Again, select this. I'm just going from minus show duly at age the modifiers. And you finally, you can just add two cylinders, scale them. Now, this one is kind of like a UV sphere. So let's see, we can add one sitting Right above this shared smoothness enabled artists mood and use the Boolean modifier. This move the Boolean modifier above the bevel modifier. If you remember, we added this bolt factory add-on so that we can add boards. So let's just place a single mode in the Santa in maybe scale this down and little a big shift plus S goes there to select it. Let's add a board bags. So let's see, we can this kind of a weird shape. Maybe I'll just go in something like this and then we'll change this to the top is something like this. Yeah, I think that's fine. We don't have to go that deep about this. Step. One and enable X-ray and just denude all of these vertices. You can hold Alt and select all of the loops X and delete them. Now just select this, then select this press Control C and copy location. Rotate this by 90 degrees. Is by minus in getting this. Now just scale it down. Basic back over here. Yeah. I know I will add a UV sphere just above this. Scaling down on the y-axis to make it a little bit squished. And now use the Boolean modifier on this NGO modifier stack. Yeah, more or less we have something like this only. Buddy. I'm pretty happy with this. Alright, so let's hit Save, select everything, press M and move it to the Cartridge is collection. Okay, So one last thing before finishing up the lecture, I'm noticing that is our bevel modifier is not really working anymore. As you see with the edges. They look kind of like very flat and you cannot even see them at the backside. I did not notice this earlier, but now I'm noticing that the bevel modifier is not really working. So how can we fix this? So the way easy way to fix it would be to just select it and come down to the bevel modifier. And another geometry tab is disabled clamp overlap. As soon as you do that, basically they will modify, starts to work in, but everything would be weird. Like you will see all the shading issues and geometry overlapping with each other. The reason for this is whenever we disabled clamp overlap, now the overlap clamp is removed and geometric and freely overlap with each other. The bevel modifier won't stop it. So when you increase it too much and we'll see, it gets really, really weird. So first what we need to do is we need to set this to even lower number, so something around 0.002 maybe. Now, or what we can do is if you see all the shading issues, just select it, press tab. That is because the geometry's colliding with the Boolean modifier. So press tab, select this one and move it a little bit upwards so that it does not collide with this and select this one and move downwards. Now you will notice that we are not facing any type of shading issue, but it still looks like pretty weird. Let's keep one fixing it. And when I will move this a little bit inwards. And these moms also, I will just select them. Push it a little bit inwards. Just to fix that shading issue. Maybe we can visit or degrees it dropped to 0.001. Yeah, that looks the best, I think in my opinion. And we can see this is poking out. So press Tab recipe for Face Select and just moving behind like this. I wouldn't bring it out words just so the cut-out is like very faint. Because I don't want this Boolean cut out to be too deep. Or right now you will notice that the edges look much, much better. And we can see everything properly. And we don't actually see any huge shading issues. We see a couple of them like very closely but far away. They won't be that noticeable. Last thing that I'm noticing is some shading shoes over here. So let's see. This kind of tricky to like work when you vSphere. So I will just scale it up first and address S them via and squish it up a lot. Now we don't have any kind of shading issues, but it looks kind of weird. But I don't think it would matter that much. I think it looks fine. Cartridge looks much, much better this way, I think. So let's just super safe. And yeah, I will ended up over here, the next lecture, we will apply all the modifiers and UV, unwrap it, and start with the texturing process in Substance Painter. So thanks for watching. I'll see you managed 16. Texturing the Cartridge : Hello and welcome guys. So now in this lecture let's apply all the modifiers and UV, unwrap our Cartridge and export it to Substance Painter to start with the texturing. Alright, so if you remember, I mentioned that we need to keep a copy of the original model with all the modifiers in that. So instead of like a creating a duplicate file, what we can do is make sure everything is disabled, only the Cartridge collection stays enabled. I will just select everything over here. First, let's select this image, press M and move this to reference images collection. And now you can just press K to select everything. Shift plus D, duplicate it and just place it anywhere you want. You can trace it about here, this M and move it to a new collection and meaningless to Cartridge up like. So now basically we have two different collections, one with the modifiers applied and one with the modifiers are all intact so that whenever we have to make a change at a later onstage, we can do that. So I will just disabled this collection and began selling this collection to select everything or deselect everything like this. And press F3 and search for it. Convert to mesh command and just select Convert to mesh to apply all the modifiers. Make sure everything is moving right. Now, just quickly delete all of these pieces. All right, now basically what I will do is I'll address a to select everything first. Then we can press Control a and apply the scale. Now while everything is selected, just press Tab to would edit mode a to select everything, and then press Control plus T, triangulate everything. And then you can press Alt plus J, remove the access triangulation. So basically, if you remember, we did this with the Game-Boy also. It helped with the shading in Substance Painter. So yeah, we will do this beforehand only with the Cartridge. Alright. Now one thing I'm noticing is we have quite a few shading issues over here. If you look at from far away, it is not that visible, but still, if you want to fix them, maybe we can just select it and go over here, add a baking normal modifier and just enabled keep sharp. Enabling keep sharp. You will see most of the issues are fixed Now. The model looks fine. So I will just add the wiki novel Modified enabled, keep sharp and select Apply. Now I will again risky to select everything. Then press Shift plus D, duplicate it in press X and place it right over here. So basically, I'm doing this so that we have two different cartridges and we can give them two different colors. Just to add a bit more detail to our render, it would look nice. If we have two different Cartridge is will die different colors. You can maybe create more also if you want to, but I just keep two. Now I will select it, go over here and add new material. Let's rename this to Cartridge to copy it to all of the objects while this is selected risky. And now press Control L and link the materials like this. Alright, so make sure to now apply the scale of your spreadsheet to select everything then controlling and apply the scheme. Let's head over to the UV Editing tab now. Just select everything and press U and Smart UV project and hit Okay. We can give it a little bit of eyelid margin, but I think the UVs are pretty good. All right, so now let's try Exporting this to Substance Painter. Always good to reopen and Substance Painter now. And while it is opening up, we can press a to select everything, go over to File Export and is quoted as different OBJ, the legacy one in the exports folder in which to Cartridge is enabled selection only and now it export. Let's go back to Substance Painter close this and create a new project. Click on Select, and we can select the Cartridge is fine. It okay. And just quickly look for any kind of issues if you find any. But I think everything is pretty good. Though everything is looking pretty good in the first row only. So I would just go over here and enable importantly anti-aliasing. Now let's make the mesh maps straightaway. So go over to texture set settings in big mesh maps. And now let's do the same settings quickly, which we did for the Game-Boy also, I will disable it maps and rest. Everything remains pretty much the same. It makes electric Textures. I'm just waiting for him to finish. Alright guys, so the bag is done now I will hit Return to painting more. And again quickly check if the, any shading issues with the big. Everything is perfect in my opinion. So now we can finally start with the texturing of them. The first, go back to the Layers tab, and let's just delete this oil layer. And before starting, I will just quickly save my project. Control-s And even though Substance Painter Files folder, I will save it as Cartridge is. Alright, so now for their material, I will be using the same Plastic material that we created in the Game-Boy, a project already. So I will just quickly open up the Game-Boy project and create a smart material out of it. I didn't add in the video also, but I will just quickly show it again. Wait for it to open up their scroll down. I can send it this plastic white selected. We can maybe just for Exporting, rename this to something else. Let's rename history course Plastic. And you right-click and select Create smart materials. As soon as you do that, it will be right over here. Now I will just quickly rename this bathroom Plastic white only. And now you can open back. Your Cartridge is finally of Substance Painter. Go to File and Cartridge is. Alright. So if you head over in the smart materials section and searched by course, you will find this course Plastic Material. Just drag and drop it onto the Cartridge. We wait for it to load. Any. I think that's pretty good. We need to adjust a couple of settings, but yeah, it is looking alright. In my opinion. Also, I will go over here and increase the size of the texture. So it gives you two foci so that we can view everything properly. One thing that I want to do is I want to increase a tiling of these scratches because right now it kind of looks pretty big. We can also tell it from here also. I think this works much better. I think There's degrees the balance to make it a little less about it. This way. I think it looks much better. Alright, So now I think it is time to change up the colors a little bit. So select the Base. And let's see. We can made me go for like a bluish color or son doing create a new copy of this material folder. Alright, so now for one of them, we can change the color to something else. That's for now. And click on here, right-click exclude or click on here, right-click exclude all. Now select this one and give this color to this one. I'm big on here and give this character, this one. They have completely different colors. Now for one of them, we can maybe go for something bluish or something kind of yellowish. I think I will go for yellow. Something like this, I think looks pretty nice. We definitely need to adjust the edges layer on it. Because it looks really weird. You can give it a dark color like this. I think something like that looks fine. Nexi just give it a completely black color. I'm decrease the opacity from here to 15. I'm still not sure. Yeah, I think that looks fine. I'll just go ahead with this only. And for this one, we can change the color to something grayish like we have in the reference image over here. Just so it does not like clash with a Nintendo Game-Boy because it is basically the same Plastic Material right now. So what you can do is you can open up the reference image, open up this one, and you can just make your Substance Painter little bit smaller like this. Now what you can do is go over here, select the Base Layer, and click on this Eyedropper Tool, and select the color. Like this very easily. I think these two colors are pretty good. I'm satisfied with them. You can adjust the edges layer now. Maybe we can just reduce the opacity. Yeah, that right away looks pretty good. Let's set the opacity to something like that. We need extra money. 20, looks alright. Let's try doing the same thing with this also, I will send the color back to white. And let's try decreasing the opacity to maybe something like 15 Honestly, I think that looks much better. I'm satisfied with this. Let's continue and texturing it. These species over here. Let's see. We can just start a simple black layer. Make it a black color. Right-click exclude all. And just select this piece as the black color and this one. This one, and this one. They won't even be visible. But yeah, I think this way it looks fine. Next, create another layer. We can rename this to black plastic. This one can be our gold color for the chips. Let's see. Set the metallic to one degrees, the roughness and adjust. Learn a little bit. Yeah, that looks alright. I'll select this answer like this. Alright. Rename this to next week and in materials. So let's create one. The metallic value to one and degrees the roughness. A little bit. Right-click exclude all and select this. I'm I think this is too big, so we will just use a smart materials. We can definitely create a decent looking iron material, which is by adding these types of layers again and again. But if we have the smart materials, Let's just use that one. That looks fine. I'll just select the base layer and make it a little bit brighter. Let's see. Over here, I think yeah, you can increase the luminosity is to make it a little bit more shiny. And yet that's fine. Let's proceed further now. I will open up the reference image. Let's close this one. On the backside. We have something like this. I didn't really either Front Side different semester. Let me just quickly add it. Alright, so here you go. I've added the Front Side reference image also. Share it basically looks something like this. We have a Nintendo Game-Boy logo over here and a picture of the game. So we can definitely add those things. Let's start. Again. Add a new layer. Rename this to Text. Disable everything except the height channels. So hold Alt and click over here. And let's see, add a black mask and give it a little bit of height info. Now. Okay, So this is a completely different project, so I think we need to import our actions. Once again, we can just select the Nintendo Game-Boy one because rest of them we won't be using drag-and-drop with over here. Come back to all levies and drag and drop it. Select Alpha, reject, uninvolved, select the project freedom, and yet it is over here. Now, select the Alpha, increase the size. And you can easily Stanford like this. Let's just first say the View to orthographic so that everything is flat. The lighting over here. Let's check if everything is in the same though. Yeah, I think it looks all right. Place one over here also. Yeah, I think that is pretty good. I'll come back over here. Let's set this to 0.1. Maybe. We can also add a blur filter to this just to make it a little bit like not so harsh. Nothing really happened because we added the filter to it in the layer, but we need to add the filter to the mask, select the mask and now add our freedom and select the block. Nowadays working, set the intensity to something like 0.1. We're pretty good to go. You can see if we disable the filter. It looks pretty harsh, but we did with the Front End enabled. It looks pretty good in my opinion. Now hold Alt and Shift and move towards the backside. Let's come over here. Select this reference image. So we have something written over here made in Japan and framed. This is basically paid into bending, I think. Yeah. So let's see, if you will notice we don't really have a texture for them. And just show you how we can do that manually in Substance Painter. So it is pretty easy rule to all libraries. And in the Alphas section, just search for font. And you will find a couple of forms over here. Some of them are like my custom font that I've added. But they are many forms that are adding by Substance Painter only for you guys to use. We can select any one of these. Let's see, I think we can use this one, font, Orbitron. I think it would look alright. So the way we can go about this is just select your mask. Double-click over here and you will see Substance is written over here and easily standard. But if you scroll down, you will see you can change the text. Replace this text with invading Japan. Like it is in the reference image over here. Let's just Stanford over here, you can see it is not fitting properly. What you can do is you can decrease the size like this. And now it is fitting when Stanford like this over here. I know it does not really match with the reference image, but I just wanted to add this segment to show you how we can use custom fonts in Substance Painter. We can definitely create a very simple-looking Alphas out of this in Photoshop and get the exact same font if you want to do it. This will also list Stanford over here also. I think in my opinion, it looks pretty good. The Cartridge prop is like really small to redact. There'll be save it indefinitely if they go hybrid this. Now let's just this text. So I'm standing right over here. The size a little bit. Alright. I'm pretty happy with how the Textures are turning out. I will hit Save. Alright, so now we can import a texture that we will be adding over this area. So just open up this Textures folder and just select these three and drag and drop them onto the shelf. Select them all, and make sure to import these as Textures. Import them to your project and hit Import. All right, so now again, we have a couple of different ways that we can add these textures on do our models. So let's see. First is you can simply add a fill layer. And then you can drag and drop this texture onto the Base Color like this. We will see it will appear over all of your model. So definitely we don't want that. So add a black mask. And now go over here polygon field and just select this face. So that only appears over here. To select these parts also. Just make sure to select them all. Don't worry. We don't have to be precise with it because I won't be using this method. This is not that great of a metalloid in my opinion. You can see it has its flaws as you have to select all of these Small Faces. And now what you basically need, we need to adjust settings from over here. So if you press F1, you will see this appear up this UE screen. There. You can see all your UV islands. And if you move the texture, you can see it is moving over this face. So just hold, shift and degrees the size of it and you can place it over here. You need to maybe rotate, rotated to properly align with the 3D model over here, then you can scale it up accordingly. And it is like a lot of effort. You have to place it currently. This way. You get my point. You can adjust it however you want in this window and then place it over here. We will also notice that when you move it around, this texture is like repeating. So if you want to turn that off and then come over here and set this to none. As soon as you remove that you will see it is only the single texture. So it makes it a little bit easier to place it around as you can properly see where you have to place it. If you like, move it out of the frame, you won't see anything so we can move it back. So as I said, if you want to place it this way, this is also a method. You can definitely do it. As you can see, I've already placed it. It is not that perfect, but yeah, you can definitely work with it. You can come back to the Fill Layer now and you can adjust things like adding height to it. As you can see, adding height or changing the roughness and all the things like that you can definitely do with the failure. And it definitely gives you much better control with all these settings as you can change the roughness and metallic hide anything you want at any point. But the other way that I will be showing you, let's just delete this and this time add a fill layer. Now you can press F2 Back to come back to the 3D view. Any at this time we will be using a paint layer. So just start to paint layer with paint layer as you already know, if you like make a stroke, you cannot change the settings of this. You have to like if we change this red color. Now if you want to change this to something else like you cannot do it, you have to let completely, it is the stroke And then you need to select your brush back again. And then you can change the fellow. And then you can add it again. But as I said, you cannot make any changes to the inflammation of the existing stroke. So you cannot change any of the information of these two strokes. You can obtain the roughness of the metallic so you get the point. So now we're using a paint layer. So if you add like a sticker onto your model using Apparently you won't be able to make changes later on. But yeah, I think it is very easy to place it as compared to affiliate. So how we will do it adequately enforced and select this tool, tradition one, this is the prediction painting tool. And you will this white box appear over your screen. And you can now just drag and drop this ticker one onto the Base Color. And you will see it is appearing over your screen and you can move it around while holding Alt and using a left-click to move it around very easily. And then you can paint it wherever you want. Pretty basic stuff. You can easily place it wherever you want and then paint on it. But as I said earlier, you cannot really make any changes to this main stroke. Now you cannot change the metallic or the roughness. Alright, so let's see how we can place it exactly over here. So to change the settings of this window over here, you need to first, and when you press S, you will see the screen goes darker. So that means you get now agitate. And you will see all the shortcuts appear over here. So if you use ascii, so press S, then use your right-click. Then you get in visa size of it. If you use your left-click, then you can rotate it. You can also hold Shift to snap it like this by rotating. And if you press S, then use your middle mouse button, you can panic around like this. You're going also panic while holding Alt and then moving around your screen. That is also a way. But even also panic around this way. You get my point. Now let's place this perfectly into our, this little window. S then increase the size of it. Now this carefully, they sit exactly in yeast. You can see this method is much, much easier as compared to the other one, the field, even as we can easily paint it like this, you can see how easily we painted the sticker onto the model and don't have to do anything. The only disadvantage of this is that you cannot really change anything. Now, as I mentioned earlier with paint layers, if you have to make any change, you have to maybe like erasing or just undo it completely. Again, select the projection painting tool. And let's say I adjust the roughness and the metallic, and now I paint it again. You can see now it looks completely different. But yeah, I cannot really make any change to the existing strokes. Get my point. I'll just quickly undo it. Said roughness back to 0.3 and metallic to zero. Or maybe we can just disable everything except the color channel because you only need the color information. And yet this will be painted over your model. Basically that was it. We can now move over to this one. And let's just drag and drop. Again, select the prediction binding to and drag and drop this one. You can use whichever one you like. Again, over it. Very easy. Alright, let's come back to the paint layer. I'm in the paint tool. And you can see Cartridge is look much better. These stickers, I don't do it. What I now want to do is I want to add HSL perceptive reader. So click on the layer one and add a filter to it and select the cell precepting. This will help us to control the colors a little bit as they are looking like, really bright as compared to a cartridges. So degrees of lightness of them. Just a little bit. You can also decrease the saturation at advect. 0.45, I think is pretty good. And 0.45 on the light meets this video, we'll look much, much better if you've disabled the filter, you can see they will look like ready, brighter you, but now it looks much, much better. Another thing that I will show you is there's just renaming some stickers first. If you want to add a bit of cheap damage onto your stickers that you have added. What you can do is you can add a black mass to the paint layer like this. They will completely disappear, but don't worry. Now what you need to do is you need to select, remove this. You need to select any Smart Masks or any of the grunge maps. Like let's say I searched for. And we can use maybe something like this. Add a fill layer to it first and drag and drop it onto it. And you can see we have added a bit of damage. It is not reading Perfect. Let's see. We can rotate it by 90 degrees. I'm not going to add it, but I'm just showing you how we can do things like this. You can increase the contrast to make it look like as if paper is being Stretched. And yet you can add a little bit of it here and they're leaving the tiling a little bit. I can see it a little bit of the day. Then you can maybe let's see. I had a mask to it, add a filter to it and maybe select the thing that I as the glow. You can see it makes it a little bit blurry over here on these edges. Maybe we can try other things that, that is I walk. This will also give it a nice effect. As you can see, who turn the filter on-off. You can definitely play with this. I'm just giving you my opinion. You can change the grungy map. You see different results with different maps. And you can see which fits better according to your personal preference. You can also, what you can do is, let's say I choose anything. Let's say I add this, increase the contrast. Just the balance and which will bring, Let's try something else. Aren't that good? Let's say we add some this type of damage. Who are cartridges? And now you want to add a bit more by yourself, but you can do is you can select the mask, go over here and add a paint layer to the mask. Now, make sure to move the paint layer below the WACC. And now let's see, we can come back over here to the brushes section. And let's say I send a three brush. And now if you will see if you tried to paint around, okay, first change the color to black. Remove the like. If you change it back to white, it will start appearing back again as you can see. But if you change it to black, you can now manually remove it from the areas that you want to speak for it to save. And let's say you want to remove it from over here. You can also manually add the effect using a brush. Gives it a nice look like. So you change the brush. Now. If you press X to switch back to white color, you can see you are not painting it back again. And the stickers that said these are some of the negatives that you can use to make your margins are Textures with even better. Just remove the paint layer. Let's just completely remove the mask. If the Cartridge is clean. Or maybe we can just add a black mask to it. Instead of a black mask. Let's add a white Masks so that way they stay on. And now when you select a brush, so let's add a paint layer. Select the brush and then try to paint with black color. You will see you are removing it. It's assumed user dirty brush and I will little bit off along the edges. Just so it looks as if it is being shipped off along the egg is a little bit definitely, this is totally up to you. You can do it however you may like. I don't want to add too much damage to my stickers. I wanted to keep them a little bit fresher. I would just add a little bit of damage on the corners. You can also use different types of brushes to get like different types of deserts. There are a lot of options to choose from, definitely like this one also. I think good in my opinion, I'm happy with it. I will. Lastly, just quickly item walk through into two. It makes it look better. In my opinion, density is finite, good 0.1. Let's just hit Save. And yet now I'm happy with how the Textures have turned out for this. In the next video, we can just export all the textures. The Nintendo Game-Boy, and the Cartridge is back to Blender. And then we can start with the lighting and rendering process. So tangos watching, I'll see you next one. 17. Lights, Camera and Final Renders: Hello and welcome guys. So in this lecture we will be Exporting all the textures from Substance Painter back into Blender. But I also added a couple of more sticker Textures that you can add to the Game-Boy if you want to just select them both and lives drag and drop them into the shelf. Select as texture and into the project. It important. Again, we need to do the same thing. Hold Alt and Shift and snap it through the Back Side View. Maybe. You can add a paint layer. And now use the prediction Paint Tool. And drag and drop. Let's say this module sticker over here began scammed very small sticker. Just to add a bit more detail. Maybe not here we can Lindsey to over here. You can press S, then increase the size of it if you want to. I would just decrease the size of it a little bit. Yeah, this is much better. And let's drag and drop this one. We can stamp a few of them either Back Side. These are a couple of Pokemon sugars. Now let me just select the eraser tool and delete. If you like painting. A little bit can access. I'm just showing you how we can add a little bit more authentic details to your models. In something like this looks pretty good. Just for demonstration purposes, you can experiment along with this however you like. You can move a lot of different kinds of stickers or any kind of like extra additional details that you want to add onto your model. Let's rename this to sticker. And yet I will add a filter same as HSL perceptive to just make it a little bit darker. The color tone of a Nintendo Game-Boy for 0.45 is fine. It you saturate it a little bit. That's pretty good. Alright, so now for export Textures from Substance Painter to Blender, you just need to hit Control Shift, and that is the shortcut for Exporting Textures. You will see this window pop up, or you can also go over to file and hit Export Textures. All right, so we only have to worry about the settings over here. So first is output directory. This basically means where you want to export your Textures. Just click over here. And I will head over to the tutorial that in green. And let's see, we can create a new folder. Let's rename this to Blender Textures. Different from this Textures folder. In here, create another folder and let's rename this to Game-Boy. Open it up and hit Select Folder, and you can see the path is appearing over here. Next is the output Template. So in this here you will find like a various different templates of different softwares, like we have Blender. We also have Unity Unreal Engine. We want to export this to Blender. So that's why we will be selecting Blender, will be SDF is select this one. If I M lane, let's see. We can go with VNG, maybe 16 bits and size can be for cake and rest, everything remains the same. You can also select the extra set. So if you have like multiple different texture sets in your model, like enabled and disabled them from over here, if you will live on to export one dataset or two, and you're going to adjust the specific settings from over here. But these are global settings. And like 95% of the times, you only have to admit over here only and you don't have to do anything else. And yet, when you have done all the settings, just hit Export and wait for it to finish. Also, let's open up Blender. Open up this phi, and let's disable this for now. And open up Game-Boy. Now you can go over, do the shading tab, and let's add the materials. So one thing that I do want to suggest to you guys first Bouvard, the Edit tab and in the Preferences menu enable an add-on for noradrenalin. Don't have this, anybody just enabled this Node Wrangler. It will give us a nice little shortcut that we can use to set up the Textures all at once. So what you need to do is just select this principle, VSD. You will find it over here by default in your material. Then hit control shift and D. And this window will pop up, go back. And now in the Blender Textures folder, you select all of them at once. Hidden principles, texture setup. And just wait for it to load and you will see everything would be loaded all at once. Gave it a little bit of time. As you can see, everything has been set up correctly. You can see, you can see the texture setup is done all by itself. You don't need to do anything. With this helps us a lot. Make sure to check that all the other pictures are in color space non-color, and only the Base Color is in sRGB. Rest of them should be nonpolar. Now we didn't go back to Layout. And if you view this in the render view. So currently we are in the EV shading. But let's change this to cycles, because cycles is more accurate with the lighting and everything, it would be a little bit slower. If you have a GPU, you can change this from CPU to GPU and just give it a little bit time here, it would be much faster. You can also enable de-noise from over here. This will help to remove all those like noisy Textures you will see when you are like moving it around. We will see this noisy grainy texture. So if we enable this, it would be reduced a little bit. We can now press Shift a and let's add a simple light. Let's add a directional light so we can sunlight. You can press R and rotated like this. You can press R2 times to rotate with phi along this plane. And then now you can see odd extras came out pretty good. They are looking really nice in Blender also. So let's do the same thing for the Cartridge is to enable them back and go back to Substance Painter Files. And in the Cartridge is make sure create sale. Alright, so now again it's Control Shift and E. You need to again head over to our tutorial directory. And in this folder, Let's create a new folder to Cartridge is Open it up and select folder. And just quickly do the same settings that you did for the other object. And now hit Export. Now the export is done. Cancel, go back to Blender and select the cartridges this time and head over to the shading tab. Again, by this principle, be SDF is selected Control Shift and deep in the Cartridge is folder select all of them and hit principle texture setup. Wait for it to load our renders food is done. Now you can see the Textures are showing up properly. Over here. There's going back to the Layout tab for the render to load up a little bit. And you can see everything looks pretty good in my opinion. I Textures came out pretty nicely. Let's just bring them out over here in the front. Llc. Now we can start to like setup the render a little bit. Let's see how we can do that. First algebra Shift a and let's add a simple plain press one for the Front View and just place it so that it acts as the ground. Now scale it up. Make sure it is not overlapping like this because it can look a little bit weird. This way, the shadow looking wrapper. Now what I will do is I will show you a nice rubric versus the next scale it up like this. Select this press Tab to for excellent and selling this H plus E to extrapolate like this preset and just extrude it toward the top like this. Now you will notice we see this weird edge. So press control and apply the scale first. Then press Tab and I will select this edge, then press Control V and Bevan it out and make it smooth. Just to create that studio lighting effect. You can scale it up a little bit more if you want to cover it entirely. And you can see, now you can select this. I mean, the plane that we just started adding new material to this. And even like do things like changing the color of the background. Also make sure that it right-click Shade Smooth so that we don't see any of those weird shading issues. You can do a lot of things like in V8, a lot of different render settings, if you'd like, set this to completely black. And let's say I make this degrees in roughness. You can see now the background is like really shiny and things are being reflected. Alright, before we actually start to set up the lighting and like setting up the camera lighting and everything else. One thing that I wanted to do is let's come back over here in the viewport shading. Let's just disable the lien for now I would select the plane and the light, the stem, and move this to a new collection. And let's rename this collection, do camera and lights. We will add the camera redrawn and disable it. Let's disable the Cartridge is also. Now what I want to do is that I want to create like a parent object that we can select to easily move around this. Because right now if we want to move it, we need to select it all like this, then, then just move it. So it is a little bit of hassan. So what I will basically do is I'm shifting and let's add an empty object and add a plane axis. Move it over here in the middle of our Game-Boy. Like it can be roughly in the middle. It does not have to be accurate. Now while this empty object is selected, make sure the active selection, the selection is like this yellow-colored selection. And if you hold Shift and select something else, you can see now it is no longer the active selection. This object is that because addiction. So whatever is in this yellow color is that the selection and whatever is in orange color is not that good selection. So make sure this is active selection. Then press a to select everything. And now we can see everything is selected, but our empty axis is the main selection. And now what you need to do is right-click Parent and paid into object. As soon as you do that, what will happen is now if you selling this empty object and move it around, you can see all of the objects are moving along with it. This makes our lives a lot easier because you can easily select this, move it around, we can even rotate it scale. It makes it easier to set up everything. Let's do the same thing for the Cartridge is also, I will select this empty and this M, and move this to the Game-Boy collection. Let's enable the cartridges and make sure to do it for them one-by-one redshift, they add MD plane axis, move it over here. Now, select all of this and press H to hide it. Now just select this one. Now plus a, so that this stays the active selection. Right-click painting an object. There's all plus H to bring this back. Oh hi, This 174 top view, sorry, every neighbor screencast case. Redshift plus a and add an empty, move it over here. Now again by this is the active selection, this a right-click and parenting result plus H to bring everything back, we can just press a to select everything, press M and move this to the Cartridge is applied collection. All right, let's enable back everything. And this way, it wouldn't be a lot easier for us to move around things. We can place these tools over here. Let's see, we can just either next locate them by 90 degrees. That's okay then by -90 degrees like this and place them on the ground. Let's do the same thing for this also. Seven for top view basic over here. On top of this. I'm just trying to create some type of interesting looking render. Let's select this and rotate it a little bit this way. Alright guys, so now let's add a camera and set up the scene and little bits of redshifts plus a and add a camera. So now we will see the camera is added over here. If you want to view through your camera view, you can press zero on the number bat and you will notice that you are viewing your camera now as soon as you press zero. So to set up this camera, but properly it is really easy. What you need to do is basically move around your scene in normal view, how you want it to be placed in the camera. Like let's say I want it to be placed right about here, like this. As soon as you have placed your view correctly, then you can press Control Alt and Z. And you will see now the camera fits perfectly along your view as you have placed it, breast zero. Now if you're busy, you on your number back will be easily able to mute for your camera. And now to adjust it even better, you can go over here in this tab. So press N to view this tab. And in the View tab enabled log camera to View. When you enable this, you can move around your camera easily now as you move around your scene. But yeah, as soon as you set it up, make sure we just disabled it back because it can sometimes mess up things. Now we have done this. Let's viewed through render view once and I'm the setting that I will enable this. I think I've already enabled it. You can come up over here in the output properties and make sure render region. So what this will do is it will only show you the region that will be rendered, that is through your camera and rest of the things would be hidden. So make sure you enable this. Alright, let's set up some things a little bit more. What I will do is to view both sides of the vertices. Game-boy, I will place them side-by-side. So just select this. And now to select all of the objects at once because we need to duplicate them. Press Shift plus G. So this is selected group and I will select the children. And you can see everything is selected on its own. Make sure to hold Shift and select it. This also And now press Shift plus D to duplicate it. Place it over here. And now let's just rotate it by 23 degrees. Zero to view through your camera. And again, enabling camera to View. And let's place this properly. Now select this, setting, this first and rotate it like this, and select this one and rotate it. Something like this. We can also first disabled camera to View. We can select this thing over here, the Cartridge. And again press Shift plus G and select group children. And make sure to hold Shift and select this also. Then press Shift plus D. You can press G and then press Shift plus Z to only move it in the X and Y plane. Let's place it over here. Now press R Then eggs rotated by 90 degrees. Then you can reach seven for the top view and just place it inside this. Simply bring it out. So Bridgette and Z, Let's move it up till here. I think it fits pretty well. Say I plus G Then by two times, just to move it along the rotation. And now there's View, the render view, where zero for any odd camera, I think it looks pretty nice. You can maybe bring it out a little bit. Let's see. Yeah, that's pretty good. Again, I will select these two things over here. What we can do is just enable X-ray and select everything over here. Now just make sure to deselect this thing over here, hold Control and deselect this. And you just deselect everything by holding Control. Now press Shift plus D. Men Shift Z to place it right over here like this. Rotated on the y-axis by 180 degrees to flip them completely. And we can place them somewhere around here. Just to add a bit more detail to the scene. Just quickly select everything. Select all of these parent objects. Zero, nuclear camera. And let's would write about here so that everything is in the center. And I think I'm happy when placing the render like this. It now it's time to setup the lighting a bit better. Alright, So let's see. I will first just delete this one. We don't really need it right now. And go over the shading tab now. Make sure to view the rendered view, zero to View to camera. And now you guys must be currently in the object. If you select any of the object, you can view it there materials. But if you go over here and select the world, so click over here. I can get yeah, okay, yeah. Now it is looking and click over here and select void. And then you can get the lighting settings of the word. If you will notice, if I select this node over here, this is the node that is adding by default. If I just select it and delete it, everything would go dark. Don't worry, we will add our HDRI for own. So press Shift and select environment texture node to add over here. Now if we will check in the resources files, I've added a HDRIs, find that you can use. Obviously, it's totally up to you. If you want to use some other HDRI find, you can download it from the Internet. They're like great websites that provide HDRIs for free, like polyhedron 3D or ambient CGI. So they are logic and easily find them. I have provided you with one of them. If you want to use that one, you can definitely go for it. So just head over to the tutorial directory. And here it is, carpentry shop. So just open it up and now plug it in the surface. As soon as you do that, you can see we are doing the HDRI. It is a little bit weird right now, but don't worry, we'll fix everything. I think it is being caused because of the roughness is very low of this background, but we can fix that later on. So now select this node, press Control key, and you will add this mapping notes. So what we can do is we can rotate that GRA, however we want But first let's fix the background a little bit. What we need to do is type in zero over here and rotation. Let's select the background and come back to object. So what we basically increase the roughness to somewhat like 0.8. Yeah, as you can see, now, it looks pretty good. Alright, so let's change the color. Now click over here on the Base Color and increase the value. Maybe something like 0.3. I think this complements our renders anyway. Alright, so now let's go back to the world settings and we can use this napping node to maybe move around the HDRIs. And you can do things like rotating it around. You can rotate it to find the best possible lighting angle. These are the different settings that you can play around. Let's set it to something like 70. Also, add onto this thing. You can redshift date and add a thing like area light. Let's go back over here to Viewport Shading. And you can rotate it by 90 degrees like this first. Now if you view your rendered view, you can select the area light and maybe just increase the power of like add a little bit different kinds of lighting. You can change the color and you can add multiple different lines to create a nice setup. So that is totally up to experimentation for you guys. You can create different lighting setup for you. So what I will do now is I will just quickly out of my scene. Onetime, we just see how everything looks at. After seeing the render, we can see what things we have to free, so what is lacking in our render. So come over here in the render settings, make sure to just set up everything like this enabled de-noise for both of the viewport and the render. And we have this max samples over here. Right now it is currently set to 4096. That is a large number and the render can take a lot of times, I will just quickly decrease this 2000. And now you can hit F dwell on your keyboard to start with the rendering process and discard the video when the render finishes. So I'll see you there. Alright guys, so the render is done now. And if you zoom in over here, you will notice that our Game-Boy looks very, very weird with all these bumpy stuff going on. So I actually knew about this error and I know how to fix it. I just wanted to show you guys how it might look. This is because of the displacement map, but we basically need to do is This. Go back to Object and select and Nintendo Game-Boy. So currently if you just scroll down over here and check out the displacement node over here, the scale is currently set to one that is quite a large number for displacement, we need to just decrease it down to 0.1. For this and also for the Cartridge is also as soon as you do that, fix all of those bumpy issues that we're going on with a Game-Boy in the Cartridge. If you press F element to view the render, you can see everything looks really weird. So now when you have done this change, again, press F dwell and render it out. I will again wait for it to finish. Alright guys, so the render is again done now. Now if you zoom in over your model, it looks pretty good. Bumpy stuff is like really small loss, so it looks much better. If you wanted, if in-degrees it even more, but in my opinion, it looks pretty good now and the renders are coming out fine. Lighting itself is pretty basic, but I think it works. It looks really nice. And yeah, we can definitely work with it. If you want to now save this image, you need to go over the image. Let's save. And I've already created a folder, but you can just save it wherever you want and make sure to send this to JPEG or PNG and decrease the compression to zero, because we don't really need any kind of compression. Jpeg and set the quality 200. You can name it whatever you want. And then just hit Save As image. Basically the render would be saved. So we're pretty much done with a course over here, I've shown you how we can render things out. So what I suggest you guys should do now is to experiment with the lighting a little bit. You can experiment with the camera angles. You can take various different portfolio shots. You can take one single shot of the Front, only of the Game-Boy, one from the backside. You're going to take couple of different shots with the cartridges and whatnot. I definitely suggest you guys to experiment a little bit more. As I said, you can add multiple different lights to create a different kind of lighting setup. Another thing that I want to mention is if you head up over here and output properties, you can also change the resolution of the range. You can see that you can increase or decrease the resolution and play around with the aspect ratio of your render. You can maybe increase it to 25, 60 by 14, 40, or even you can raise it to focus also, I would suggest you guys to render it out in this resolution and also increase the render samples a little bit. Maybe 4096 is a bit large numbers, so we can work around the 2000s. But here you are. Renders would take a little bit, but the quality would be much nicer as the resolution is high and the number of samples is high. So you're taking your Final Renders, then you can maybe render it out, render it out in a higher resolution, higher samples. But when you are like really testing things, you can even set this to maybe 500 or 400 and degrees of evolution to only ten EDB. Let's render it out. One final thing in this resolution and the samples, and I will show you a couple of things in Photoshop. And then we'll end with the course. I didn't just go to quickly get F dwell and wait for the render to finish. Alright guys, so the render is done now and you will notice that the quality is much better with this one. So let's just save and save it as vendor to I will save it as JPEG and increase the quantity 200, Save As image and open a Photoshop. Disclosed this for now there 678 Photoshop open and there's just open up our render render to over here. So I don't really know that much about Photoshop, but there's one little setting that I always use and that will enhance your Renders by two or three times. So just go over to Frito, sharpen and select sharpen move. As soon as you do that you will see your edges are lot more sharper and you can just undo it once and see the effect. So everything is looking like kind of fuzzy. But as soon as you have Control Shift N Z to undo it back, you can see everything is like Photoshop and the edges look really nice. This is the one setting that I always do through my renders. And this will make your renders pop up a little bit better. Obviously, you can do other things like setting up the contrast or color, changing the brightness contrast to these are like the basic settings. I don't really know that deeper vote Photoshop, what you're going definitely do all these things. You can change the color balance, like giving it a different type of paint, whatever you want to show, that it's totally up to you guys how you want to do it. But there this is the couple of things that I wanted to show you in Photoshop. Definitely make sure to select up and more in the filters that will enhance your renders a lot. And yet now I wonder suggest you guys to take out a couple of different portfolio shots. Like you can take single shots and like take one buckshot Front from Front. Just set up different kinds of lighting setups. That would be nice. Alright guys, so this is pretty much it for this course. Thank you for watching. I hope you liked this source. If you have any doubt, make sure to Robert in the comments or message me. So then you watching, I'll see you then export