Creating a Street Environment in Unreal Engine 5

1. Introduction: Hello everyone and welcome to this new course. In this course, we will go over the entire process of creating a Japanese treat environment using Unreal Engine five, blender and Substance Painter. We will go over modeling in Blender, texturing using substance painter and setting up the scene, lighting and materials in Unreal Engine five, all the modeling will be done in blender. However, the techniques used are universal and can be replicated in any other 3D modelling package. The materials and textures will be created using Substance Painter, level art, lighting and composition will be done in Unreal Engine five. And this course, you will learn everything you need to know to create the final results that you see in the images and trailers. The same techniques can be applied to almost any type of environment. This course has over 9 h of content. We will go over every step in this course together and nothing will be skipped. The course does not have any kind of time lapses so that you can follow every step easily. We will start by gathering some reference images to gain some initial ideas and mood for our scene. We will erase these reference images in a free program called pure ref. After this, we will move on to blender and start modeling our main assets. We will start by modeling the main buildings in our scene. And after we're done with them, we will also create a bunch of different prompts to detail our scene even more. In that process of modeling will be covered in vendor only. After we have modeled all amino acids will export them to Substance Painter. Start the texturing process. We will learn to create high-quality and realistic materials and the key features of Substance Painter, like smart masks, generators, smart materials, etc. After this, we will import all our models and textures into Unreal Engine and set up the scene over there. The next step would be to set up a lighting and create a mood and atmosphere for our scene. We will make use of the new features of Unreal Engine, such as human to get realistic lighting for arsine. Next, we will set up a post-processing volume, further enhance the visuals of RC. Then we will spend some more time creating a lot of small props to further detail the scene. Even more like some cardboard boxes be a great sign boards, etc. We will end this course by adding a couple of blocks from Quicksilver mega scans to give the environment of finishing touch, setting up different camera angles, and taking high-resolution screenshots for our portfolio. So I hope to see you there in the course. Thank you. 2. Setting up the Reference Images: Hello. Hello and welcome everyone to this new course where we will be creating a Japanese street environment from start to finish. In this first lecture, we will start by installing a free program that is pure ref. It will help us in organizing and viewing our reference images easily. So to do that, just quickly open up Google and search for a free program. You can download it for completely free. Just click on the first link, then go over here and hit Download. Here you can select your platform. I am selecting windows. And over here you can donate to them if you want to. But for now we can just select a custom amount and put it to zero. And then just hit download. The download is done. You can basically just click on this installer and install the program as I've already downloaded and installed pure deaf, I will not be doing it again. You can complete do it. And now just search over here in search bar for VRF and open it up. Using pure ref is pretty easy and straightforward. So first what we can do is just open up the resource files that I've provided to you with this course. I will just quickly over there, open up this reference images folder and you will find all of these reference images that I've added in the course files. You can add some more to these according to your preferences. So now to bring this, now to bring them into pure ref, just select them all and just drag and drop them like this. I'll wait for the loading to finish. And you will see all of the images are now here in pure ref. So a couple of basic functions of pure ref. You can just hold right-click and move the window over your screen like this. You can do is you can also right-click and go over to mode and make sure enabled always on top for this will do is sorry, I buy extra and disabled it. Yes, enabled, always on top. Now what this will help us to do is we can easily model on our stuff. While we are doing it. Pure ref stays on top of the screen so that we can easily view our reference images. Like e.g. if I'm making this air conditioner outlet, I can just easily model it over here in Blender while I'm doing the reference image in pure ref, it is pretty handy. Next, you can also just resize the pure reference like this according to your screen size. Pretty helpful. You can also double-click on any of the image and it will automatically focus on it. Let's say I want to work on this one. I will just double-click over here. These are the couple of features that you need to know about your Ref. There isn't much to it. You can just hit right-click. And most of these features are self-explanatory. So first, let's just quickly say what pure ref seen. So go over to Steve and hit Save. I will save it over here only. And let's rename it to reference images. I will save it over here only in the reference images folder. Now, it's safe. And wait for it to finish. Alright, so the scene is saved now and we have all our reference images over here. Let's just increase the size of some of these reference images, which are appearing to be pretty small like this one. So that the sizes of all the reference images is pretty much comparable. Alright, like this I think is pretty good. You can arrange them however you may like. And I think this much is it for our first lecture. In the next lecture, we will start by blocking outdoorsy, and then we will start with, and then we will start with the bottom of different types of buildings and things. Alright, so these are our reference images. You can add some more to these if you want, do like insurgent Google. And so these are all our reference images for now. I will be adding a couple more to these as the course proceeds. And you can also add some of your own. I think this is enough for the first lecture. In the next video, we will start by blocking out the environment in blender and start with the modeling phase of our course. We will be learning a lot of new things in this course, and I hope to see you there. Thank you for watching, see you in the next video. 3. Creating the Blockout: Hello everyone. So in this lecture we will start by blocking out the environment so that we know already how everything will be looking at. After blocking out, we will slowly model everything one by one and add more details to our scene. So first let's just quickly open up pure ref. And I will load up the scene that we saved in the last video. So it Right-click, go over to load and load recent and open up this reference image is fine. Wait for the student to load. And alright, so first I have opened a blender. We will create new blender file. So you can just click anywhere. And we are the new blender file. So first what I will do is press a to select everything in Blender, and then just press Delete to delete everything. For now, let's scale the window a little bit down. So what I will be doing is I'm trying to go for a street intersection environment like this one you see over here, you can just double-click on it and your reference focus on this image. You can see over here we have a t point like thing with the roads and we have a couple of buildings in the front and inside. I'm trying to create a similar environment. Obviously, we won't be creating so many unique buildings. But yeah, I'm trying to go for something like this. So to start off, what I will do is first let's come back to Blender. Just quickly enable screencast keys. Now what will happen is any of the shortcuts that I perform, you can see them over here. So it will be easier for you guys to follow me in this course. Alright? So the first thing that I will be doing is I will press Shift a to add a new object, go over to mesh, and let's add a plane. So basically this plane will be a ground. So let's scale it up a little bit. To scale objects in blender, you just need to press S and now you can scale it up like this. Or a different way would be to just go over here, press N, and open this toolbar up over in the Item tab over here at the top, and you can see the dimensions over here. So we'll just set the dimensions to exactly 40 m for both x and y. So you can just drag and select both of them at once like this, and type in 40. And you can see it is now 40 m. So the next thing that I will do is I will select this plane and press Tab to go into the Edit mode. We can now edit the word disease and everything of this plane. So what I will be doing is we'll be creating these pavements or these roads over here. So to do that, we will be just adding some edge loops. To add an edge loop, you just need to press Control plus R. And you will see this yellow line appear over here. Just use your left-click. You can move this edge loop over your plane like this. And I will place it somewhere around here. Alright? I will again press Control plus R, add another edge loop. Let's place this one over here like this. And this will be a straight road. And let's create another road. I will press Control plus r. Again, you can use your scroll wheel to increase or decrease the number of edge loops. So this time I will be going for two edge loops and just use my left-click and then hit right-click to place them exactly at the center like this. Alright, so now what I want to do is I want to measure the length of these roads. So to do that, there is a pretty easy method. You can quickly go over here in the overlays menu and enable. Excellent. Now, what will happen is if you select this edge, you will see 0.334 m or its length is written over here. But you will notice as this complete plane is 40 m. But the edge length of this edge is written over here is 0.667. So this definitely seems wrong. So why is this happening? Because we haven't applied the scale yet of a plane. So just press Tab to come out of the edit mode, press Control a and apply the scale. And as soon as you do that, you will see the measurements are appearing correct now 13.3 m, and this one is somewhere around 6.69. So let's see. I will press two to go into the edge select mode. So one is for what it is, it will press one on your keyboard at the top, like this, you can see we can now select the vertices of our plane. But if you've been pressed, now we can select the edges. And if you press three, then we can select faces. So yeah, pretty basic stuff. I will press two. And we can select edges and see there are measurements. So hold Alt and select this complete loop at once. Then again, hold Shift and Alt. And now I will select these two complete loops at once. Now again, see the lens are written over here of all the edges that we have selected. Now press S to scale them up and raise x to lock on the x-axis. As you move your mouse, you will see the measurement values over here are changing. You can see that. So I will keep this road around maybe 6.5 m, like this. Then again hold Alt and select this complete loop. Then hold Shift again and press Alt, select this loop. Then press Y to lock it on the y-axis like this. And for this road, Let's give it a length of around 7 m. As you can see if I will press three, how to select the faces. This will be our Lord, and these can be our pavements. Alright, so to create the payments, just simply select all of these phases. Over here like this, redshift plus D. To duplicate them like this. It right-click to place them exactly at their position only. And now to separate both of these objects, just press P and now separate the selection. So now what has happened is if you will stab, you can see both of these are two different objects. We have our ground and we have our payments. So you're pretty neat stuff. What I will do is select the pavement whereas G and move it a little bit upwards. Then press tab. And you can see over here, we have these three separate phases, but we don't really need three phases for this pavement. So to solve this, Br2 for Ed, select, select this edge, then select this edge while holding Shift, press X. And instead of deleting the edges, just select dissolve edges. So if you select dissolve edges, you can see both of them have disappeared. But if you selected, let's say, delete edges, so plus x again, and this time delete the edges. You will see the face has completely disappeared and now we just have the edges. So let's hit Control Z. We do not really need to do the edges, we just need to dissolve it. So press X and dissolve it is. Alright, so now we just have a single phase over here. Alright, this a to select everything and just press E to extrude downwards like this. We have created our pavements there. Select them, press Control a and apply the scale. Make sure you keep applying the scale. Because if we don't, it can sometimes mess up odd functions and modifiers in Blender. Alright, one more thing that I want to enable this go over here in the top right corner in the shading menu and make sure to enable shadow and cavity. This will make it a little bit easier to view all the edges and also enable shadows in our scene. And here it is little bit taxing on your computer. So if your blender gets laggy, you can disabled both of them. Alright. Now I will select the pavement. Go over here in the modifiers section, and let's quickly add a bevel modifier to this. You can see as soon as we added a bevel modifier, the edges have smoothened up a little bit. You can, these are degrees of segments, but let's keep it at one only. We just keep it fairly low poly I will decrease the amount of the debit. Go over here in shading and makes sure that enabled harder normals. As soon as you do that you will see enable auto smoothing object data properties to go over here in Object Data Properties and enabled or disabled, you will see what this will do is if you will disable auto smooth, you can see the hard edges, but if you enable it, we have artists move over here and just make sure to enable both auto smooth and harder normals over here else it won't appear. Next thing that I want to do is I want to make these payments over here to have a little bit of rounded edges. So that is pretty easy to do is press tab. Go ahead and select this edge. So to select the edge first Br2, and select this edge. Make sure to select this one also at the same time. So hold Shift, select this one. Basically just press Control plus b to bevel it like this. You can see via bundling it. First what I will do is I'll just go over here and goodly disabled. Excellent, because it is kind of distracting. All right, Again, risk control plus D to bevel it like this. But this is not that smooth. So use your scroll wheel to increase the number of segments like this. Pretty handy stuff. Let's give it quite a number of segments to make it, to make it smooth. And I will give it a bevel up around this much I think is pretty nice. Stabbed them out of the edit mode, and yeah, it looks pretty good. Next what I will do is I will just select them both and move them to different collection. And let's create a new collection. And I will rename this to block off. Alright, so basically this is a block of collection. We can create a separate other corrections like for building one building to building free, just to keep everything organized so that we can view everything properly. And the next step would be to just quickly save a blender. See. So press Control S. And what I will do is, let's go back and I will create a new folder over here. And let's rename this to blend files. And I will just give it a name of lawful for now. We can change it later on. Obviously. It's saved. And we have our road and we have our pavement over here. You can see these edges. So to solve it, just right-click and hit Shade Smooth. And yeah, they are gone. You can also select a ground plane and just right-click Shade Smooth. This also enabled auto smooth. It is a nice practice to do this for each and every object so that everything stays uniform. Alright, so the next we will be adding a couple of cubes that will be acting as a building. So again, press Shift plus a and let's this time add a cube seven for the top view, you can press seven on a number pad to view the top view. Then G to move the cube around, and let's place it around here. One more thing that we can do is we can press Slash on a number pad to isolate the cube like this. You can select any of the objects in your environment, then press Slash, isolate them, like this on them properly without any obstruction or anything from any other objects. So slash again to come out of it. And this time I will select the Cube press Slash for the isolation mode and I want to move the origin point. So origin point is this orange color point you see over here. We'll notice whenever I scale or rotate it, it rotates from this origin point to lease or to change this. What we can do is press Tab, press three for Face. Select, select this face. Then press Shift plus S, and select cursor to select it. This will bring this 3D cursor over here. Then what I can do is select this object again and go over here in the menu and set origin, origin to 3D cursor. This will bring the 3D cursor to the bottom face like this. So you might think of why we have done this. I will just show you now slash again to come out of it. And now what I will do is I will enable snapping. So go over here and set the snapping to face, I think. Yeah. Then you can just press G to move the queue. And as soon as you hold Control now, you will see now the cube is snapping to the face. So it will be easier for us to place it on the ground perfectly like this. And one more benefit of doing this is like moving the origin point to the bottom phase. When you try to scale your queue, you will see if I press S and Z, you will see it scales perfectly how we exactly want. It won't move like a below the ground. It will just scale above it because we are scaling from this origin point. To show you the difference between I will just create another cube root. Let's place it over here. Let's give it roughly the same size. Let say I want to increase the scale of this cube and this Q on the z axis. I will select this one, press S and Z. And I'm easily scaling it on the z axis like this. I can increase or decrease the height of the building very easily. And it does not move below this ground. But if I scale this one on the z axis, you can see scaling on both direction because the origin point is at the same time. This makes it really handy for stuff like buildings and everything. So yeah, make sure to just move the origin point at the bottom over here and I will just delete this for now. We'll just quickly look through the reference images. You will find these two images of residential buildings in Japan. Kind of like building I'm trying to create for this one. Let's scale it accordingly. Now, what I will do is select the building and move on to item for us so that we can look over the dimensions easily. Press S. And as you can see, this building is a pretty long one on the y-axis to press S to scale it, and press white, block it on the y-axis. And I will scale it to around 16 m. You can just click over here and type in 16 so that it is pretty much accurate. Then let's press S then Zach to scale it on the z axis and let's decrease it a little bit. I think around 8.5 would be pretty good. You can view it like this way. 8.5 would be fine. For the x-axis. Let's make it a little bit thicker. Again, around 6.5 would be pretty good. We can move it back over here and little bit to the side. Yeah, that looks fine. I guess. You can adjust the size of our ground and pavements later on also, for now, I clean this building looks pretty good. You can press Control a and apply the scale to this. Next, what I will do is I will just shift plus D to create a duplicate of this layer is this one over here. And another building that I have selected is this one. I will try to create this one. Maybe this is like a longer building on the z axis, a little bit thinner on the y-axis. So let's press S to scale it and scale it down on the y-axis. Around this much ice cream. Value of 5.5 would be pretty good. Then we can scale it up on the z-axis. I'm thinking around 11.5 m would be pretty good. So we can set this to 11.5. And this we can set at 5.5. Yeah, this looks pretty good, I think in my opinion, another thing that I will do is we will create a variation of this building one only and place it over here. So again, just press Shift plus D to duplicate this recession for top view. Duplicate this, and let's place it somewhere around here, like this. One last building, I will create another one over here. I will select this one, a seven foot view. Let's duplicate this, place it like this. I want to decrease the height a little bit. So plus S and Z. I think around here is fine. Let's increases thickness a little bit. So I would just ask them and maybe set this to around 7 m, I think, is to create a little bit of variation, different buildings. Next, what you can do is we can press Shift plus a to add a camera just to see how our scene would look together, like a rough idea of it. So to set up your camera, you just need to hold Control Alt and zero. And you can see the camera is now over here. You can go to view, enabling camera to view. And now you can move it according to your mouse. Very easy. Maybe we can work with something like this. Let's disable this to love the cameras so that it does not move. And you can press zero on a number by view the camera. Another thing that we can do is we can quickly select this press Shift plus D, scale it down a lot. Scale it up on the y-axis like this. And just create these small walls that we can place around the corners. Well, them I'm just roughly giving them a size. Fields, right? Distinctly again, change the position of my camera. Around here. I'm just zooming in and out a little bit like this wall. Let's duplicate this. Press Y. We've locked it on the y-axis and paste this one over here. Like this one. Duplicate our Z rotated on the z axis by 90 degrees. Something like this. Maybe. We will be working in this space only. So we will be creating these four different buildings. Then we will be creating a lot of different stuff. Like we will try to populate the areas around the pavement. We will be adding sign boards and lots of stuff like that. First, it will be tasked to create these buildings only because we have to add all these details, these windows, doors and everything. And he had tried to make them unique so that environmental looks good. But for now, I think I am pretty satisfied with my blowhole. Hit Control Plus to save your files. And in the next video, we will start with the modelling of a building one that is this one. So we will be using the models from the blackout only and try to retail them a lot more. Before ending, just quickly press a to select everything. And you can just deselect the camera. So hold control and make a selection like this to de-select this. Now press M and move this to block out that we have all of the stuff in the block or collection only. So you can easily enable or disable it. It keeps everything handy. Hit Control plus S. And thank us for watching. I'll see you next one. 4. Modelling the Residential Building: Hello everyone. Let's continue in this lecture, we will start with the modelling of our building one. The first, let's quickly open up your ref loading our reference images file. So these two are the images that I'm trying to follow for this building one. So let's start first. What I will do is I will select this press Shift plus D. Duplicate it, right-click to place it over here only. And now press M. And let's move this to a new collection to select New Collection. And let's name this building one. It okay, and now what I can do is just quickly disabled the blackout collection so that I can easily work with this cube only. Alright, so let's start. So the first thing that we can see over here is let's add some of the basic stuff over here. So you can see this thing at the top of the roof. So let's add a cube. What we can do is first delete this, select this, press Shift plus S, then cause it to select it to bring the cursor over here. The reason I did this wherever this cause that is present in Blender, if you will add a new object, let's say I added a cube, Shift a and add a cube. It will be added at this causal link. So that way it gets added exactly at the center of this big Q and zag. And let's move it at the top. Alright, so time to scale it up. This S and Z, scale it down on the z axis. I think this much will be fine. I'm just roughly scaling it. I think that looks pretty good. Start to go into the Edit mode. Press three for Face, Select, select this face. Let's move it back a little bit. Obviously we can modify all this stuff later on. So this looks fine for now, I guess. Select the cube this time press Tab for a more risk control. Our lakeside edge loop right in the center. It right-click to place it exactly at the center. Risk and ruthless be, to bevel it and give it a bible of this much amount I think. Now plus three for Face, Select, select this front face and press E to extrude it. Like this. You can press one for the front view and now press G and X and move it back a little bit. Just fine. I think. Again, press tab, select this face this time recipe to extrude it, and let's extrude it till here to create these tiers. I think here is fine. Again, press Tab, risk control, odd, add an edge loop like this. Now select one for the front view, risky extraordinarily here and press G and Z and moving down. You see it kind of looks like this building only. We can move it a little bit further in here. Next again, press Tab Control art and add another edge loop over here, like this. Registry for Face Select, hold, Alt, select all of it. But this time instead of just pressing E to extrude it, we're creating this thing over here, press Alt plus a0 and then extrude faces along normal. An extruded like this. Then you can eat. Then you can do for Edge Select, hold all select this complete loop. Over down a little bit and create something like this. I think this looks pretty good. Stab again, address three, Face, Select, select all of this, and move it down a little bit. Alright, in this way it was fine. Let's just undo it. Alright, so this is the basic shape of our building one. Next, Let's start by adding all these details. That is these doors, windows and everything. Let's quickly press tab, go over here and enable edge length. Select this edge. So this is around 3.6 m and this is around 4 m. So quickly. Three for side view, you can enable X-ray from over here. So what actually does, basically is if you disable x-ray, there's three for the right side view. And you try to select all the vertices. You will see only the vertices that are at the front are selected, but not the ones at the back. But if I enable X-ray from here, now if I select all the vertices, you can see the ones at the back are also selected. Now what I can do is just move it a little bit upwards like this so that they are roughly the same size. Both of them are 4 m. That's fine. I guess. Now selecting this top piece and move it to here. Alright, pretty good, I guess. Next let's start creating these doors and windows. There's three for front view, let's add a cube. And now I will be using Booleans to create all these cutouts over here. Let me just quickly demonstrate what is basically a Boolean. If you don't know already, I will just delete this cube and add a new one. Move it over here, scale it up. And let's duplicate this again. Press Shift D to duplicate. Alright, so basically we have these two cubes and I will just show you how we can use booleans. So to start off first, we have to enable an add-on. For now, I will just minimize this pure ref. So click over here, you minimize this on the taskbar. Go over to Edit Preferences. In the add-on section. I've already searched for it. But if you go to the add-on section and in the search bar and search for the Bowl Tool or down. And if this add-on is disabled by default, you can just quickly enable it. And now we can use the Boolean modifiers very, very easily. Alright, so let's say I want to use this cube. And I want to create a cutout of this cube onto the skills. How can I do that? I just need to select this first, then I need to hold shift and select this one also. Now use Control plus minus shortcut to use the Boolean difference operation. So you will just see what exactly it is all about hold Control and hit Minus on your number pad. And as soon as you do that, you can see this cube was used as a cutout onto this cube. And if you select this cube, you will notice a Boolean modifier is added over here, and the difference mode is currently selected. So there are like three different modes for Boolean modifiers, the difference, union and intersection. First one, we are going over this difference. Basically. You can see we use this cube and we created a cutout using it onto a different object. This is the difference Boolean operation because we are subtracting this cube. And you can see we are creating this cutout like things. So it is very useful when we are creating some complex shapes. You can even duplicate this cube. Place it over here. Again, select this first and select this. It controlled plus minus. And you can see we have created another cut out over here. And we can read very interesting shapes with this. You can disable overlays and see it properly. Alright, so now let's go over the next modifier. That is the union modifier. So it is pretty self-explanatory. It works exactly the opposite of the difference modified if you select the union modifier, you will see both of these objects are now joined together. You won't really see the difference right now. But if I select this object, that is this, this cube that has both the Boolean modifiers and add a bevel modifier to this. You will see that the bevel modifier is being added to these areas also where both of these cubes are being joined. So now both of them are a single object only. We can enable hard, enormous, and auto smooth quickly. And if I create another cube and try to place it over here, you will see the difference between the edges over here and the edges over here. They look like as if they are a single object because we are using the Boolean union operation over here. So now if I again select this cube and the shortcut for the Boolean union operation is, Let's demonstrate it with this new cube. So select this cube, like this huge one. Then risk control and the Plus key on your number pad like this. And as soon as you do that, you will see both of these are joint. But the bevel modifier is not really working like it was working with this one. So the reason for this is if you will notice over here in the modifiers that the bevel modifier always needs to be at the bottom of the modifier stack for the Boolean modifiers to work correctly. So make sure you always remember this whenever you're working with the Boolean modifiers and you add a bevel modifier. The bevel modifier should always be at the bottom like this. As soon as you do that, you will see the bevel modifier I started to work. You can enable and disable it and see the difference for yourself. Alright, so with this, all out of the way, let's just select all of this and delete it. And the last Boolean operation is the intersection. Again, I will create two cubes. Show you what is the intersection operation. In the second Both of these cubes and this time select this one first, hold Shift, select this one. And now press Control and the slash key on a number. But you will see what this has done. This has created like a intersection over here, like we still have this tube over here, but we have this cutout going through. You will see even more properly when I add a bevel modifier. We have created like a hatchling thing. So basically this is the intersection mode of the Boolean modifier. You can see over here. If you select this piece, you can see the intersect is selected. And you can also select this and add a bevel modifier to this. It will work separately. You see pretty cool stuff. We can create various interesting shapes with the Boolean modifier and it is used a lot when we're creating like sci-fi designs to create all this stuff. These three were the basic three modes of the Boolean modifier, and now we will use them. We just create our doors and windows, like cutouts for our doors and windows. So let's again bring back pure ref, create a cube risk-free for the front side view in place, the first door somewhere around here, scale it up like this, bring it out in the front like this. First select this cube, and then select this object, then press Control plus minus. And as soon as you do that, you can see we have created this door cut out over here. I will just select this and maybe select the top face and extended a little bit towards the top like this. Here I think is fine. Let's move it a little bit onto the right side. Again, breastfeed. Let's duplicate this. Scale it down. And this can be a window. Again. Select this, then hold Shift, select this press Control plus minus. Create the difference. To create the window cut out over here. Again, duplicate this, press G then y, and move it over here. And this time let's create the window on this side. Alright, again, select this, then hold Shift. Select this press Control plus minus. Now quickly just select all three of them. Duplicate them, and try to move them over here to see if everything fits correctly. So it kind of does not. What we can do is one thing we can do is we can increase the size of the building, or we can just decrease the size of all these windows and doors, everything perfectly. So first I will select this first window, and let's just scale it down a little bit. I will scale it down on the y axis like this. I think this one is fine. Let's place it around here. Let's kill the door down also a little bit. I think this is fine. Next, we can just select this window. Somewhere around here, scale it down. I do. This must be fine. Yeah, somewhere around here. And we can just select these three and believed them one-by-one. Again, select all three of them. Shift plus D. Then he'd wipe it off on the y-axis and place it like this. Now it fits perfectly. You can now select the complete building while holding Shift and hit Control plus, minus. Alright, so now everything fits perfectly. You can select both the dose and just move them a bit of foods like this. Also, I will just select the main building, rest seven for top view on the number pad. Enable X-ray and just select all of these vertices from over here and move them. Just fill it with inwards on the y-axis like this. Alright, now I think it looks perfect. One more thing that I want to do is I would want to just remake this thing that we did over here. So what we can do is let's just quickly three, hold Alt and select all these faces. Press X and delete the vertices. And select this bottom phase also. And we can just delete the vertices. Press one for vertices select hold Alt, select this complete loop. There's moving till here. And press F to fill in the face like this. Let's create this again over here. Press Control R, add edge loops in here. Plus three for Face. Select all oil. Again, press Alt plus E, extrude faces along normal. And I just wanted to extrude this a little bit. Not too much. Salt plus E extrude. This much, is fine. Yeah, that looks much better. Now let's finally start by creating our windows and doors. I will just scale it up a little bit. What we can do for now is we can just select all three of them and delete them for now. We can just work on these three and later on state we will just duplicate them four times over here. That will make our work a lot easier. Select the main building and just remove these three are Boolean modifiers that have this red color over them. That means they are not really working because we deleted them from over here, so we can just easily remove them. Alright, I'll select the doors, scale it up a little bit. Fine. Now what we can do is save this window, redshift plus S, then closer to select it to bring the cursor right over here. Now I can press Shift a and add a cube so that it gets added exactly over here at the center. Alright, let's try to match the size. Now what we can do is press Tab to go into the Edit mode. Read three for Face, Select, select this face. Before that, I will just press Control a and apply the scale first. Now press Tab again. As I insert this and create something like this. I can just extrude this inwards like this. To create this window like shape. Let's make it a little bit more ticker. That's fine. Right-click, Shade, Smooth this, and also add autos mood. We can also add a bevel modifier to this. Again, duplicate this and scale it down. Now in Redshift day and this time I had a plane. So this will be our window glass. Later on while we are texturing, we will add the glass material to this. I think I wouldn't do it looks pretty good. We can also add the bevel modifier to the building like this. You can see how it affects our edges. It makes them pop out a little bit more. Go over here in a bit harder normals and also at auto smooth. Let's give it a label of 0.00, 10.01, 30. Yeah, that's pretty good. Alright, next, let's work on this door for S3. Again, select this cube, redshift plus S, then it goes into selected. If your origin point is not dyed the middle over here, what you can do is go over to Object, Set Origin and origin to geometric being the origin point, right? Extender. Alright, Now press Shift plus a and then add a cube. Again, scaled according to size like this. Now first what we'll do is we'll create this frame over here. As you can see. I think that would be pretty easy. Just press Tab. First, applied escape and press Tab. Let's see, we can add an edge loop over here. Press three for Face, Select, select this face and this one does. I insert this? And you can see it is inserting this way. But we want a frame over here also at the partition. So press I once, then press i again. You will see now it is inserting individually. So press I want, and if you press one more time in other phases are being inserted individually. So you can press I turn that on or off. So yeah, pretty handy stuff. One more thing that I wanted to show you is if you will press Shift while inserting or beveling or any of the stuff like that. The movement would be really smooth and you can place your inset or bevels really close. But if you don't hold Shift, it will be like really fast. I didn't really like hard to manage. So you can just hold Shift while in settings so that you can insert it perfectly. Alright, something like this. I think it would be pretty good. Now just press E, extrude this inwards. And we have created our door frame. We can also add a bevel modifier to this if you'd like. Linus killed, enabled harder normals and artists moot. And make sure to degrees the baby. Alright, now we can add another view. And now this will be ago. And again by shifting this time add a plane. And basically again, this will be last material in this, bring it forward like this. We will detail out later on like adding all this stuff. For now, I think this one is fine. Alright, let's work on this window. Select this. First, go over to Object set origin and origin degenerate tree. You can see the origin point shifted. Now press Shift plus S because it is selected. Again, add a cube. Actually go ahead and first, we can create this frame. So again, we have to do the same thing, scaled it down, and match with the scale of the cutout. Next, move it inwards. That's controlling apply the scale press tab and again insert this and extrude this inwards. We can add a bevel modifier and apply the scale. Alright. Next what we need to do is we need to create these window frames. Now. Again, add a cube. Three first, add a cube, grit, scale it down. Now scale it up. Let's control they apply the scale press tab. And this controller and add an edge loop. Hit right-click to place it exactly at the center. Let's move it inwards. Didn't hear numbers tab select both of these phases, press I, intersect them individually. Now just extrude it inwards. Add a bevel modifier. Reduce the bevel amount. Basically, now we have a Windows if you want, but we can do is just select this red slash on the number back to isolate them. And what we can do is basically we can just separate them both. So two separate anything, restaurant for vertices, select hold Alt, and select this complete loop over here. Now you can press V, and as soon as you do that, you can see the vertices that have no separate it out. Now what you can do is press a to select everything recipe and separate by loose parts this time. So as soon as you do that, you can see now both of them are separate objects. But still what we need to do is again, a slash come out of the isolation mode. This time just select this one single window rest slash. And you can see we have this hollow or face over here. So press Tab and just select all four of these vertices while holding Shift. And just press F to fill in the face. Again, select this one slash, this tab. Select all four of these vertices. And then press F to fill in the face. And now you can see, we can clearly see the partition over here. But you can do is select this window and move it a little bit from the front window looks much better. Now basically we can just select everything that we did like this. Make sure to de-select the main building so hold Control and deselect it is three for front view press Shift plus D. Then why I love it on the y-axis, they sit somewhere around here. Now firstly, like this, you need to only select these boxes that have this outline. Select all three of them by holding Shift and select your main building, then press Control plus minus. Alright. Now you can say that all of it. And make sure to de-select the building. So hold Control and deselect it. Press Shift plus d, then z, and move it up over here. Like this, I think. Now just select all these boxes with the outlines. Now again, select your main building, then press Control plus minus. You can see we have a little bit of problem over here. We can just quickly select all of it again. Make sure to de-select the building, is move it up a little bit so that it does not really interfere with this platform over here. I will do is now select the main building. Enable X-ray. Let's select all of these vertices and move them down a little bit. And select this one and just move it up like this. Disabled overlay and just see how everything looks. And yeah, it looks pretty good. Alright, so I think this is it for this lecture because it is already quite long. We will continue from here in the next one. And you're watching. 5. Detailing the Residential Building: Hello everyone. So let's continue modeling or building one. I will open up your left. And now let's create the stairs over here. That would be pretty easy. I think let's just add a cube first three, and let's place it over here. Let's scale this down around this much. I think. Just scale it up on the y-axis like this. Alright, now to duplicate this, we can basically just simply add an array modifier to this to make our work easier. So go over to modify it and add an array modifier. And you can see if you move the factor on the x, y, or z. You will see another stare over here and you can just create number of copies. But what we need to do is first let's set the X factor to increase the Z factor. Do I think minus one? And the X-Factor to one or minus one. And yeah, we have something like a stair and now we can just increase the count. It kind of goes off a little bit at the bottom. So let's just decrease the zed value. We just make them fit. Yeah, I think that fits perfectly. Another thing that I want to do is I will just select the main building. Select these all phases, press three and select this face, this one. And just press I to insert this like this. And now just extrude this downwards like this. To create something like this, just to give it a little bit more detail. And I will also disabled. Excellent. Alright, so next, let's create these railings over here. So to start off, let's just simply start by adding a queue. Raise 74 top view, and let's place it somewhere around here. First. Scale this down, around this much I think. Now we can scale it up like this. I think around 6 m on the z would be pretty nice. Yeah, that's pretty good. Select this again, press Shift D to duplicate, rests X and place this one over here like this. Now as you can see over here, we have a couple of these railings. So we can just again use the add a modifier to duplicate it over and over again. You select the I modifier. This time we don't want it on the x, we wanted on the y. So the x value to zero and increase the y factor. So let's see. I will duplicate it around seven times. Now, just decrease it to fit it perfectly over here like this. Yeah, that looks pretty good. Next, we have a rating over here also. Just select this one, and I will duplicate this, press X and place it over here. Now let's just roughly scale this down. So press Tab to go into edit mode. You can go into the vertices mode, suppress one and select all these top vertices, and just bring them down by pressing G then z. Like this. Make sure you are in the X-ray mode so that all the vertices are selected at the back. Now, I will just press Control R, add an edge loop over here like this. S3. Select this face. And now just press E to extrude this here. Now press G and Z and place it over here. So pretty easy stuff. You can see this line kind of feels a little bit slanted. So what we can do is press Tab, enable X-ray and just select all of these vertices and move it down a little bit that it feels straight. Yeah, I think that is better. Now, just select this one. Press Tab, press three for Face. Select, select this face over here. Enable X-ray first select this face and just press E to extrude this year, I think. Maybe we can increase the scale of this. You can see this x8 fighting, we call this because the phases are overlapping. So what we can do is just select this and increase the scale on the y and just a little bit. And it will go away over here also. This increases the scale on the y-axis a little bit. Alright, now press Control R again and add edge loop tool here. I'll select this face and extrude this still here. Add another edge loop over here. And now select this phase three first, select this face and extrude it inwards. We might need to push it in a little bit. So select this and just wait till here like this. And now select this one and just push back the array modifier. That's perfect. Alright, now let's clear the small bars over here. That is also pretty easy to do. Again, we need to just create a cube. And this time scale it down a lot more. Scale it up on the z axis and bring it out over here. Something like this, I think is pretty good. I'd add a modifier to this again, rest one for the side view. And let's see. Let's duplicate this. Move it down on the z axis just to fit it perfectly. I think 0.135 or 0.136. Yeah, that's perfect. I think. Again, select all of these, duplicate this, press X, and now place it over here. You just need to change the values on the array modifier, set the z value to zero degrees the array. Again select this and first duplicate it, press Y, and place this one over here. Now again, select this duplicate. The X factor to zero. Just make sure to remember the value 4.17. I will set it on y for 0.17 and now set the X factor to zero. Now place it over here. Now just keep on increasing the account. If you want, maybe we can reduce the number of bars over here. If it is looking too much to you, you're going to select this and set the count to 60 maybe. And just increase the factor. Yeah, maybe I think that looks a little better than earlier. Yeah, that looks pretty good. Let's hit Save. And let's see what else we can do. We can maybe add these ridges over here on the top. Risk control are at two edge loops. First, let's apply the scale for this risk control a. Apply the scale. They stab, press Control R and add two edge loops. Scale them up a little bit. On the z axis. Let's see. Select hold Alt, select both of these edges by holding Shift and Alt. Now we'll just press control plus V, bevel them like this. And now make sure to add one single segment between them like this. Now select the segment in the middle. So hold Alt, select this, then hold Shift and Alt select this. And now to push it inwards, we just need to press Alt plus S. So the old plus S. And we can just shrink this like this one. We can also add the bevel modifier to this. You make it look a little better. Something like that. Maybe adding the bevel modifier isn't doing that much, so we can just remove this. Yeah, that is fine. Alright. So our building is starting to come along and I think it looks pretty good. We will we are basically adding a lot more details like the days two doors and stuff like that. And we also creating this electrical meter over here. Say I think this is it for this video, we'll continue adding details to our building in the next video. Thank you guys for watching. I'll see you in the next one. 6. Creating Doors and Windows: Hello and welcome to chapter five. So let's continue adding details to our building. I've opened up your reference blenders, so I suggest you guys to do the same. Alright, so let's start. First thing that I do want to change it. I want to move down these windows a little bit. So just quickly select them all like this hold Shift and just select all the windows. Now what you can do is just hold Control and deselect the main building. You can just press G and C If only the windows are selected. We have selected this also hold control and remove this. Alright, so now only the windows are selected. You can press G to move anything and just hit right-click to cancel your moment like this so that you can place it back where it was. Alright, so Bridgette and z and let's move it around here, I think is better. Yeah, that's fine, I think. Alright, let's see. Next. Let's just add a couple more details to the roof. And over here, select this press tab. And let's select this bottom face. I insert this, and let's extrude this inverse slash to isolate this. And reshift plus S then goes into selected. Let's add a cube over here. Scale this down, scale it up like this. I add a modifier to this. Set the x value to zero and increase the y value. Something like this. I think. We can do a similar thing over here also. This press tab and select these faces. Then press I to insert them and just extrude them inwards like this. Now again, I will create new cube. Let's just select the cube and select the main building and press Slash to go into the isolation mode. Bring it out over here. Scale this down. Xr to add a modifier to this also. I'm just increase the x value and let's duplicate it. Like this. Select this press Shift plus S goes into selected to bring the cursor over here. And let's add a cube. Again. Scale this down here. Start scale it up. Now again, I'd add a modifier, the x value of zero and increase the y value. All right, I think this looks pretty good for slash to come out of it. And let's see. Yeah, I think that looks fine. Alright, Next, let's see what we can do. We can create these windows over here. So they are also pretty easy to do. You have to just do the same thing like we did with these windows. So let's just add a cube. They sit over here, scale it this much. Now just select this first and select the main building and press Control plus minus. Also one more thing that you will notice is right now, if you select the main building, we have a bevel modifier right in the middle. So just drag it down at the bottom. You will see as soon as you do that, the bevel modifier is now working. Make sure it is at the bottom like this. Alright, now just select this cube press Shift plus S because it's selected. Let's add another cube scale this down. One for the front view, and let's scale it up accordingly. Now we can just press Tab, press three for facedown leg press I and insert this. First, apply the scale. Now insert this and just push this in words like this. Again, add a cube. Now, scale this down. This down on lot, I think this much. Now just we will add a modifier again. Next factor to zero and increases the y factor. In order why I think we need to increase the Z factor like this. Now this increase the count. Yeah, pretty much this is what we needed to do. But we can do is you can just add a cube at the center like this, increase the size of it, and bring it out over here. Like this. Maybe I will just select all of it and scale it up just a little bit on the y-axis, on the x-axis, like this. Yeah, I think that looks really nice. So just select all of it and reshift plus D and place it over here like this. Now select this cube and select the main building, then press Control plus minus. Let's move this a little bit inwards. Also select the stairs over here, this tab. There's enable X-ray and select the word C's over here. And move them like this a little bit. We have something like this only on here. That's fine. Again, I will just select this, this, and this, and move it a little bit inwards. Yeah, that looks fine. Next, let's see. We can also create this pipeline thing over here that goes down like this to a building. That is also pretty easy. We can just maybe select our building and select this roof, then press Slash, go into the isolation mode so that we can work easily. Press one for the side view. And basically I will just add a cylinder. Scale it down. Let's place it over here. We need to scale it down a bit more. This much is fine. Just a bit more. Yeah, that's fine. I guess. Let's see now, to create these curves over here, it is pretty easy to do. Let me just quickly show you press Tab to go into the edit mode. Make sure to enable X-ray. And if you select the spring too low here, so just select the Spin tool. So the way it's been two looks at it spins your geometry around, your 3D goes up. So first we need to move our 3D cursor right over here somewhere. So hold Shift and use your right-click. And you can see we can move the 3D cursor by using Shift and right-click. So just place it somewhere around here. Now, if you will. And now if we will go to tool over here, you will see the settings of the spin tool like this, the x, y, and z-axis. So if you try to spin this while holding this plus icon, so it does not give us the desired result. That means the axis. We said that kid was wrong again plus one and let's change the access to y. Okay, right now the full cylinder is selected. So make sure we just select these vertices. Announcement this and you can see we are giving it that spin. And we have easily created that down. It's done like thing over here, but this is quite large. So again, press Control Z. This time, move this pin tool closer like this. And let's see. This is something we want. You can open up this thing over here and just set the angle to 90 degree. Angle is exactly at 90. You can see we can increase or decrease the angle from over here like this. And we can also add more steps. So step says these number of segments in between make it even smoother or like low poly. So let's just set it to 12. And also set the angle to do. Now just extruded outwards like this. Move it down a little bit because it is kind of slanting over here. If you want. We can also enable this that is proportional editing. If you press G and Z and you will see this circle around your movement. Like whenever you move something, you will see this circuit. So if you use your scroll wheel, you will see that the area of the circle is increasing. So basically what it will do is whatever is inside this open, it will be affected by your mind. If you try to move this, you will see this is also moving over here. But we haven't even selected this. So this is the, this is because of proportional editing. Even if you scale something, you will see this thing over here is also getting affected. But if you disable proportional editing, you can see only this thing is being scaled or only this thing is being moved. But if you enable proportional editing, will see whatever is inside the circle is being affected. So you can increase or decrease the size. You can see as soon as you get out of the circuit, it is not really being affected. We can just maybe add a little bit here. Yeah, let's just turn it off. Again. We need to create another tone. So hold Shift and right-click place your 3D goes over here. Try to spin it again. Not really that it's largely born. So let's again try moving it somewhere. That expediting, excrete something like this. And now this plus E extrude downwards like this. Let's move it a little bit like this. And yeah, I think that's perfect slash to come out of it. And let's see. I think it looks fine. We can just duplicate this and place it over the right side also. So yeah, pretty nice stuff. Let's just hit Control S to save our files. We can work on these doors. Maybe. That would be a next step. So let's zoom in over here on our first dog. Let's select this and just slash to go into the isolation mode or the local mode. The second is select this press Slash. Now press Shift plus S then goes into selected cube over here, first, scaling this down over here at the top and scale it up on the y-axis like this. Slurs press Control, apply the scale. And this time what we need to do is instead of using the difference of Boolean operation, we will use the intersect first press tab and make sure to come out of the screen. You'll just select this one, selection. Now press two for Edge, Select, select this edge and now hold control to select all four of these edges. So that is a shortcut. You can just hold Control and Alt. And select college is like this. And press Control V to bevel them. Bevel, something like this. Because if you can see over here, the edges are rounded. So press Control V to bevel and give it like two segments I think is fine. Then just hit right-click Shade Smooth. Also make sure to enable auto smooth. Now for selling this piece, then select this one and then press Control plus slash. Add the intersection. And you can see we have added the intersection. It's not looking that good. But if we add the bevel modifier to this also, I think that looks much better. Scale it up on the y-axis a little bit and scale it down on the Zaid. Alright, Next what we can do is again select this piece, redshift plus S goes to select it. Let's create another cube scale this down, and truly apply the scale. And this time the select this, select this and press, then press Control plus minus to use the Boolean operation, the Boolean difference operation, and makes sure to move it above the pivot so that it works on it. You can see right now that all the edges are looking kind of harsh. So go over to shading and enabled hardened normals. So make sure to enable auto smooth. And you can see they are smooth now over here also, make sure to do the same. We can maybe add another cube over here to scale this down and place it inside like this, is to add a bit more detail. Also if you want, you can add rounded edges to this. Also just press Tab again, raised to select hold Control and Alt and select these edges and press Control V. And I think this weird kind of looks better. Slag to come out of it. And let's see. Yeah, I think it looks nice. Thanks Larry squared this thing over here. So that is also easy to do. I will again add a cube skin this down. Over here. Scale it up accordingly, apply the scale and again, give it a little bit of bevel. Control and Alt and select all these edges and risk control me. And don't forget to shade, smooth and enable artists mode. And now just select this and select this risk control plus minus. But basically select this press Shift plus S goes into selected. And also don't forget to move the bevel modifier down. Now just add a cube, scale this down and add a modifier to this. Increase hazard factor like this and increase count. Yeah, basically, this is something we wanted to create it. Yeah, Basically this is what we wanted to create. Let's hit Save. Let's see we can create a basic handle like this one. We can really see what is going on. So I will just add a cube. And let's see what we can work with this. Obviously, the environment would be pretty huge and things like this won't be even visible. So I won't give much thought to it. Just add a simple box. Let's add a bevel modifier to it. Enamel harder normals and also auto smooth. Decrease the amount. And maybe you can just duplicate this, scale this down and create something like this. Because to be honest, it won't be even visible from faraway. That's fine, I think. Alright, so now our door is done and what we need to do is we need to just copy all these details that we created onto the remaining doors. So because we have like an interstate Boolean operation, copying and pasting can be a little bit tricky. So what we can do is you can just select the complete door with everything. Make sure to select everything. These two things also over here, and de-select whatever we don't need. Basically just select the complete DOE. And first I will just delete all these three doors. Again, select everything. You can just use Control to de-select everything and just to see if everything is there. And now hit right-click, press Shift D to duplicate and y and place it exactly over here. I think this would be much quicker. Now this select both of these doors while holding shift. Makes sure to de-select whatever we don't need. Yeah, we have just selected the doors and now press Shift plus D and place it over here. Alright, so now we are done. Let's disable overlays and see how everything looks. Okay. One thing we kind of messed up, I think when we were moving the windows down, I think I forgot this one. So just select this and move it down over here. Just quickly. Make sure everything is right in its place. The doors are looking fine. Alright, so now we can just hit Save. I think the only thing left to create with this building is these couple of electric meters and virus over here, just to add a tad bit more detail. But I think rest of it looks pretty nice. So I will just hit Save. And I think this is it for this lecture. We'll continue from here in the next one. Thank you guys for watching. 7. Creating the Electric Meters: Welcome guys. Let's continue detailing our building. As I said earlier, we will be creating this electrical meter as the last detail of our building. So let's start. I will disperse quickly shift they add a cube, three for the front view, and let's place it over here. I think about a size of this much is fine. Let's apply the scale press Control a. Apply the scale, add a bevel modifier to it, decrease the amount and enable harder normals and auto smooth. Next, we can just press Shift plus S because they're the selected. Add another cube over here. Let's scale this down. Scale it up on the y like this. Now, this time I will be using the intersect operation of the Boolean. So for select this, then hold Shift, select the big cube, then press Control plus slash, something like that, and just move the bevel modifier below this so that it works properly. And also select this piece over here and move the bevel modifier below. There's decreased the amount a little bit. That's nice, I guess. Next we can create this handle over here that is pretty easy to do. Just add a plane. Okay, In this, on the y-axis by 90 degrees like this, I'm just pressing R to rotate, then pressing Y to log on the y-axis, and then just typing 90 on the number. But now scale this down, scale it up on the z axis. Next step, enable X-ray. And one for the vertices. Select, sorry for the ED, select Br2, and just select these two edges over here. Press one again and now press E to extrude them like this, press X and log it over here. Now basically we have a handle. Let's move it inwards like this. Now to give it thickness, we can add the solidify modifier. So go over here, are the solidify modifier. Apply the scheme. And you can see, you can adjust the thickness of the hand very easily. You can see the thickness is kind of weird over here, around the corners to just enable even thickness. And you will see that is now fixed. So let's decrease this still here. And also I will add a bevel modifier. Enable harder normals and auto smooth. You can also press tab, select both of these edges, then press Control V. And better than like this. Make it a little bit smoother. Shapes. Move this, and yeah, that looks better. I think. Select the menu press tab and select all these vertices. And move this a little bit over here. Now select everything and just bring it out till here. I think it's fine. Yeah, that looks fine. I guess. Next, there's just simply add another hue. Scale, this down, place it over here. Basically just died a bevel modifier to this and also don't forget to apply the scale. Alright, next, we can add another cube and create a bunch of MCB switches over here. Like this. Light escape, the best stab at a couple of edge loops. I'm sorry, one over here. This one over here at the top, and another one over here. Now select these faces plus I plus I again to insert them. Extraordinary outwards. Now press Control plus and legs are a bunch of more edge loops. And just select all of these faces. This, I even set them a little bit and extrude them outwards. Something like that. Obviously it won't really even be visible from pretty far away. So we can just read something pretty simple. We don't have to go too overboard with the details. Let's duplicate this and just scale this down. Alright, I think that looks fine. Next we can create a couple of wires. Give it a little bit more realistic feel. Alright, so how we can do that? We can just press Shift plus a go over to curve and I add apart. So now if you go over to curve and don't see all these objects over here. So don't worry, what you need to do is just go over to Edit Preferences, Add-ons section search for extra objects and just enabled both of these. The curve also add Cove extra objects and add mesh extra objects enable both of them. This will give you a bunch of different options over here in your menu. So go over to go and add a path. So now you will see the straight line is being added. But if you will rust out, you can see, you can adjust it like a code like this. You can see we have a curve over here. So how we can use this to create wires? Let's just press three first and rotate it on the y-axis, I think, yeah, by 90 degrees. Rest of fun. And let's see. I'll place it over here. Just below our meter. Like this. This, this and this slash going to the local mode. Now select this press tab. I'll just adjust your wires so that I go over here like this and just make them look a little bit organic. I'll select this one and Brazil and y and place it over here. You see something like that. To view it even more properly, you can just select the Via, go over here in the object data properties under the geometry section. If you increase the depth option over here under the bevel menu, you will see now the wire has some kind of thickness and you can easily see an adjusted. So let's play down over here. That looks pretty good. I think. Next move this over here. Let's set the thickness to around 0.015. Now there's duplicate this via press Shift plus D and move it over here like this. And let's see, Just give it a little bit of variation so that they don't look exactly the same. Both the wires or something like that. Slash again to come out of it. Just make sure they're not overlapping with the Royal, like over here. So select them, bring them out a little bit. Next, we can select these two things also. And just select everything. Press Slash. Again. Duplicate this via, place it over here. Let's decrease the depth of it to 0.01. And this one will go right over here. Inside this. We can select this and delete this vertices to make it a little bit easier for us. I'm not doing much, I'm just trying to move them accordingly. It's pretty simple. You just have to get a little bit of hang of it. Again, duplicate this. Timeless move it this way, like this. And again duplicate this and just make one single via go over. In this thing also. Alright, that looks pretty good. I think to me, Let's hit Control plus S first. And now what I want to show you is if you go over here and enable statistics, you can see all the words, see that everything over here. So actually, these cars do have a lot of vertices, so we want to reduce them a little bit. If you select this and decrease the resolution from over here, you will see as soon as you decrease it, the vertices over here also degrees. And the quality of this wire also falls down. You can see it is now very low poly. If you increase it, it is very smooth. So I think it was earlier at 12, a value of, I think four is pretty good because it is fairly low poly and it won't be even visible from far away. So just quickly select all of them and set them to four. So instead of doing it one by one, there is a pretty neat little shortcut that you can edit all of them at once. So just select all of them. Now while holding Alt, just decrease this. And you can see you are decreasing for all of them. If you don't hold Alt and you change any of the values, you will see only this one is being edited. But if you hold Alt and then move it, you can see all of the selected objects are now being edited. Just set it to four, like this. And now we have also reduced the number of vertices because obviously we will be duplicating it quite a lot of times, four times precisely. We'll just select all of it, everything we just created. Let's hold Shift, select all of it and hold Control and deselect all the extra objects. You can just press G wants to move it and see only the things that you want to move. Our selected. Right-click to place them back over there. Let's shift plus d y. Over here. Again, press Shift plus d z. Place it over here. Now again, shift plus D, Then y, and place it over here. So really simple stuff. Disabled the overlays and see how you're building looks. I think everything has come along pretty nicely and it looks pretty good. One thing that I want to do is I want to select all of the venues over here, this one, and just move them to the left side a little bit because it is kind of getting a little bit crowded over there. Now hold Control and just de-select these extra objects. Only the windows are selected for G and Y. Just move them a little bit the left side. And yeah, that's perfect. Make sure to hit Save. I will just minimize your risk for now, we don't really need it. And the next thing that I want to do is if you will see the arrangement of the wires is pretty much the same on all four of them. So quickly, select this and try to randomize the movement of the wires a little bit so that they don't look exactly the same. Thanks for this one also. And this one is the last one, I think. So, yeah, just quickly do a couple of changes. Overall. You can just select them completely and move them over to the right or left algebraic or just some kind of variation so that they don't look exactly the same. Alright, so that's better, I guess a control S to save everything. And I think we're pretty much done with our first building. You can enable that the blackout and see how it looks over here. Obviously, we already have a block. That's why everything is overlapping. This thing. Let's disable back the blackout. It's saved. Right now, all of the objects related to building one are in the collection collection. So just selected, I'll press M and move it to the building. One collection like this. Yeah. No, it's perfect. Hit Control S to save everything. And I think this is it for this video, we will continue from here in the next one. Thanks for watching. 8. Modelling the Second Building: Hello and welcome everyone. So let's continue. We are done with the modeling of a building one. So what we can do is we can just hide this collection and again, enable our block out. This time, I will start by modelling this building, and I will be following this reference image over here. This one. The building we will be making will be of this line. So what we can do now is just select this building redshift plus D to duplicate it, right-click to place it in this position only. And now this M and move it to a new collection. Let's create a new collection and naming buildings. Alright, now we can just hide our local Collection. And let's start with the more lean on this one. So if you see in this reference image, this building is pretty easy to make. We have a shutter and then two floats over here and a couple of windows. So if you want, you can try to create this on your own. But let's start now. I will first start to go into the Edit mode and enable edge length. And before doing anything, make sure to apply your scale. So just press Tab, press Control a, and apply the skin. Like now, we can start. First, let's buy roughly creating the shapes over here. Press Control plus and add an edge loop. And I really give this shutter or height of around 3.5 m. So you can see over here on this edge it is currently 4 m. But if you hold Alt, select this loop, then press G and J and move it on the z axis like this. You can see over here, the values are changing. And you can see now the values are changing for the edges, whichever ones are being affected right now. So I will give the shutter or height of around 3.5 m. So you can see over here, 3.5 m. Maybe a little bit more. Next, let's press Control plus art and add for-each loops like this. And these will be our two floors were here. But let's scale them up a little bit first. So press S and Z, scale them up on the z axis. And if you see over here on this edge, I want the height to be around two bidders for both of them. So you can see it is currently 1.97, 1499, so 2 m, like this frequency, we have these two floats over here and over here we have our setup. But as you can see, we also need to read the sign boards, so we need a bit more space right over here. Just select both of your floors hold Alt, or maybe just select one of them. Hold Alt and select this complete face loop. And first, make sure to come into the face mode. So press three, then hold Alt and select this loop, G, Then Zach, and move it around here. Like this. Also hold Alt, select this face loop and move it just a little bit upwards. Yeah, I think that looks pretty good. I will come back over here, select this edge loop, and just move it a little bit more. In my opinion, I think that's perfect. Alright, so let's move further now. I will press three for Face Select. Let's select both of these phases. I insert them. First, make sure to apply the scale. Now press I to insert them. Let's insert them till here. Now just press T to extrude them inwards. Press E to extrude them inwards like this I think is fine. Maybe I will give both of them a little bit of both height. So hold Alt and select this complete loop, then hold shift and select them both again, press S and Z, them up a little bit. Alright, now I will select both of these faces, press I to insert them. And now risky to extrude them inwards. Again, press tab. Now let's select Shut up. And if you can see over here we have a little bit of ledge. So let's try creating that. But first, I will just press Control R, add an edge loop over here. Like this. This ball-like thing. Move on here. And let's add another edge loop over here. We can just press Control R at two edge loops like this. It right-click, then this S, then y. And just scale them equally. Also I will just quickly disabled. Excellent. Alright, so now if you best three and select this face and tried to extrude this inwards. You see we have a bit of a problem over here. As you can see, we have this phase overlapping when you weirdly. So to fix this, we have a different tool. If you go over here, you can see this extrude region. Just hold on it and you will see this extrude manifold. So this is a different type of extrude. Selected this one extra manifold. And you will see this yellow color icon on whichever phase you select. Now as soon as you extrude this inverse, you will see we don't really have that face below us. That works much better. Again, I will press Control R at edge loop over here at the bottom. Select this face and now extrude this outwards like this. And yeah, I think that looks pretty nice. Press Tab again and make sure to de-select this tool again, go back to the selection tool. And first let's create our windows. So press three Shift plus a first press Tab to come out of this object. This object redshift plus S then closer to select it. And now we can basically start by adding these windows. So it is pretty simple. Press Shift plus a cube. Let's place this first cube over here. Alright, so scaling, scaling down, this one over here, it up on the z axis a little bit. That first risk control, they apply the scale press tab, select this face, then press to insert this and extrude it inwards like this. Now basically add a modifier. Set the x vector to zero. And these are why. I think till here is fine. Now as you can see, it does not really fit. So what we can basically do is select this, this DAB enable X-ray. Just select these right-side vertices and G then y, and move them till it fits perfectly like this. Yeah, that's perfect in my opinion. Now what I will do is basically we select this, duplicate, this, place it over here at the top. Again, enable X-ray. Dab. Select these bottom vertices and place them over here like this. Press Shift plus they add a queue. And this queue can go in the center. Gave this down. Now bring it out over here and scale it up on the y-axis. Alright, so that looks pretty nice. Select all three of these objects, press Shift plus D, and duplicate them. And logged on the z axis. And let's paste them right over here. Make sure everything fits properly. You can also use DAB plus three for Face Select, select these three phases over here, and just press E, extrude them outwards. We add a little bit of land over here. For the roof. Let's select these three phases. Risk, I, hold Alt and select this loop and risky to extruded. Alright, so next we can start working on the shadow. I think it is pretty easy. How we can go about creating it. First, let's add a plane. Place it over here, rotate it by 90 degrees. Like this. Scale this down a lot. I think this might is fine. Now basically what you need to do is scale it up on the y-axis like this. I think we need to scale it down. A big mismatch is fine. Now press Tab to go into the Edit mode, add a bunch of edge loops like this. Let's add three segments with right-click. Select the middle one is three for right-side view. Make sure to enable proportional editing over here. G then y and scale down this circled by using the scroll wheel. Something like this. Shade smooth this. And we have some cream of this sort. Now, basically just add the array modifier again, the x to zero, and set the white one. And basically just keep on increasing the count. And we have something that looks like so different shutter. Maybe we can make it even more smoother. Let's select both of these edges, x and dissolve them edges. We have something like that. First enabled auto smooth. We can see it kind of looks very harsh if you want. If you like it this way, you can probably keep it. I will just select this edge over here, press Control plus b. And basically just bevel it like this. Make it even smoother. And now just press Alt and then rotate by 90 degrees, three and place it over here. Scale it up on the y-axis. And now bring it out over here. Select this account. I think I shared. That looks perfect. Especially if S goes or deselected. Let's add a cube, scale this down. Let's place it over here. Duplicate this. And just place them like that. Both of these youth, and let's just join them. So press Control J to join them. And now you can see there are two of these. So we can use the mirror modifier to mirror it. Over here. Select this add mirror modifier. And now we need to mirror them according to this object. So what you can do is basically just select this middle object eyedropper, and select the shutter. And you will see me or easily mirrored them. Control plus S. And now let's just fill in the sign boards. So pretty simple to create again. Add a cylinder, rotate this by 90 degrees. On the y-axis, scale it down. They sued over here. Smoothness and also enable auto smooth. Scale it down on the x-axis. It's controlling applying scale, stab. There's three for Face, Select and select this top face. Just insert this. And basically you extrude this inverse. We have pretty much the same thing. Maybe we can make this thing a little bit thicker. Okay, make sure to disable proportional editing. And now also we can add a bevel modifier. Enabled harder normals add auto smooth, decrease the amount of the bevel modifier. That looks perfect. Now add a modifier, the X factor to zero and increases the y. Let's create four copies. Move it a little bit towards the right, like this. We can place it a little bit outwards towards the beginning, like this press Shift plus S goes or deselected. And again, let's add another cylinder. Scale this down way. We can just keep them flying like this. It really isn't even visible. Or, or, or a better way would be to just press Slash. We're first going to a local more press tab. Select this back phase, reside inside this inverse and just create something like this. And yeah, just so it looks like it is connected to the building even though it really won't be visible. But yeah, for now, we won't be adding this Japanese text. We will be adding it later on, but for now I think this image is pretty good. Let's hit Control plus S. And before ending this lecture, press Control a to select everything. And now basically press M and move this to the building to collection. Let's enable both the building one and bidding too. And I think they look pretty good together. Alright, so I think this is it for districts. You guys thanks for watching. I'll see you the next one. Make sure to save your file. 9. Creating the Store Building: Hello, Welcome guys. So let's continue making our buildings. One thing that I want to do before starting is less as disabled. These first and enable black the Blackout. We have created this building and this building. So for this building over here, I will be just simply copying and pasting this one only. We will be creating a color variation for it. Like over here you can see these two buildings are pretty much the same, but they have different colors. So similarly, we will be doing some sort of thing for these two also. Like they will have the same model but different textures to create some variation. So what we can do now is just disable the blackout, enable building one, and select all of it. Make sure to select everything. Then just press Shift plus D to duplicate this. And now you can just hit right-click to place it right over here only so that they both overlap. And now press M and move this to a new collection. And let's name this building three. And now turn off building one and enabled that the blackout seven for top view. And let's just place it somewhere around here like this. They are pretty much disabled the blackout. And we will have something of this sort. Yep. Now, what do we need to do is we just need to create a last building. Disabled all three of these collections enabled by blackout, select this building. Okay, I think I by mistake selected this also. Let's place this back over here. Now select this building press Shift plus D. Duplicate this, hit right-click, and now press M and again, create a new collection and rename this to building folk, disabled the blackout. And let's see what we can do first, I will just press Control a and apply the scale. And also in the edit mode. Just enable excellent for now so that we can properly see all the edges land. And the building that I want to recreate is we have something like this over here, like this building. We have a sharp like thing, like a convenience store. So I will try to create something like this building over here. It is not really that visible, but I think we will be able to do a good job. Alright, so let's start First. We will be basically again adding a bunch of edge loops. Press Control plus r. And other force is loop that we're adding is for these doors over here. So I think about 3.5 or 6 m is pretty much enough. Next, we can add two more edge loops of risk control on your scroll wheel. And two of them. And now we will be adding for these windows. These windows I like a little bit wider. So press S and Z, and let's scale them up around 2.8 m. And let's see. Yeah, somewhere around here, it's pretty good, I think. And for this thing over here, the sign board lighting, we can basically say this cube press Shift plus S goes to select it. And simply I will just add a new queue listed over here. Scale this down. And now scale it up on the x-axis like this thing. A size of around this much is fine. For now. I think obviously we can change it later on. Press Control a and apply the scale first degree, is it to one meters around here? Alright, that's fine, I guess for now. Let's start detailing the building now. It is pretty easy, in my opinion, just select this first tab. Let's move it a little bit downwards. Rheostat, select this face. Press I to insert this. And now just extrude this inwards in here. The windows, but I will basically do is instead of extruding in, first press Control R and add two edge loops like this. It right-click. Select all three of these phases. And now press I to insert them. Press I once again to insert them individually. Place them somewhere around here and now press E, extrude them inwards. I think it is a little bit kickoff as I, again, I think around this much is fine. But it's e to extrude this inwards. Yeah, that's pretty good, I think. Alright, next what I will do is I will just press Shift a add new cube, scale it down, place it over here, move it out over here. And now scale it up on the x-axis like this. Just to create a ledge for these windows. Something like that. Also I will add a bevel modifier to this building so that all the edges are a little bit more visible. Enabled harder normals, and also enabled artist's book. And make sure to decrease the amount. Let's add a bevel modifier to this cube. Also apply the scale. Add a bevel modifier and do all the usual stuff and just decrease the amount. Next for this sign board, I will first apply the scale. Add a bevel modifier. Enabled harder normals and auto smooth. And let's see what we can do. First, I will press tab, there's three for Face. Select, select this top face. First, I will just press two for it. Select hold Alt and control, and select all four of these. Reduce risk, unfold B and Bevel them like this a little bit. To make the edges smooth. Then press Tab, press three, select this face, press I to insert this. Now just extrude this inwards. If you had like a bit of shading issue, as you can see, don't worry. You can just press G then vi and move it a little bit more inwards and it will probably solve itself. That's pretty good. Again, press Shift plus k and add a clean, place it over here, rotated by 90 degrees, and just move it out over here in the front. And we can basically use it as our window over here. We can select this ledge like thing, duplicate this and place it over here at the top also. And let's see, for now the windows are fine. Next, let's work on these doors over here. Shift they add a cube, scale it down. Again, place it over here at the top. Ended up on the x-axis. Alright, now I will be just adding a bunch of cubes. I think it's data cube listed over here. Bring it out in front. Gail it accordingly. If you press one and you are seeing the backside of the building, you can just press Control plus one and you will see the front of it. Move it inwards. I think the extrude that we did was pretty deep. So just select the building slash tab again and select these three phases. G then dry and move them a little bit outwards. Select this cube and bring it out over here. Also select the small cube over here and also bring this out. You press control a apply the scale was dab. And let's see. Let's Control. Act two edge loops. It right-click to place them in the middle. Disable edge length for now and just scale them up on the x-axis and place them both in the corners like this. Let them vote. Rest. I insert them. Now just extrude them inwards. Just a second, I'm scaling the cube accordingly. Again, press Tab, add edge loop right in the middle. It right-click. I'll select both of these faces and I, and now it's sodium inwards. And these two basically you're going to be our gates. Add a bevel modifier to this so that the edges are like more visible. You can clearly see the difference between disabled that bevel modifier and you cannot even see the edges properly, enable it. And it adds a lot degrees a bevel amount. So that it is like really subtle. Enable both harder normals and auto smooth. And yeah, that's pretty good. Enable X-ray, I will select just this middle. Middle vertices. Scale them up on the x-axis like this. Just to make it a little bit thicker. Like this was fine. We can just press Shift plus S. Those are selected and add a cube. Like peered. The handles. Handles can be pretty basic. You can just use something like that. Now add a minute modifier to this. Select the dropper tool and select this gate. It will basically mirror this itself and add a bevel modifier. Apply the scale. You can see if you don't really apply the scale, the bevel modifier is pretty messed up. The bevel Israeli like long on this one and very sharp on, over here on these edges. But if you apply the scale, it is uniform on all edges. And now you can decrease it and you can see it is pretty uniform on apologists. Yeah. This is what happens when you don't really slider scale. The handles. This way are pretty good. Again, what we need to do is we need to add another plane. Move it out over here, rotated on the x axis by 90 degrees. Now just scale it up throughout the dose. Will basically again add a glass material to this maybe Unreal Engine or in Substance Painter. We can see that later on. But for now, basically this is our building. You can just enable the rest of the things and see how it looks. Also, let's enable blackout. Don't really want to see all the cubes, just the ground over here. I think it fits in pretty nice. Select this thing and let's move it a little bit over here. That looks very nice. Let's hit Control S to save our files. Disable the Blackout again. One thing I will do is I'll just select this ground. Both of the ground objects redshift plus D to duplicate them so that they are separate from the lockout section. Right-click, press M and create a new collection and rename this to ground. Now we can just disable the blackout. Okay. One thing, one more thing. So I also want to select these walls and I will also put them in the ground or leaf, press M and move them in the ground collection. First press Shift D to duplicate them. And now press M and just move them to the ground collection. Basically. That is what I wanted to do. The reason I did this so that we can view everything properly without the obstruction of the blackout buildings. So yeah, that is pretty much I think I'd environment the main buildings over our environment. Obviously we will be creating a lot of small props and things like that. Now I will again disabled back all this stuff. And now again, let's shift our focus to our building for one thing again, building for is currently just the signal cube. So select all of it, press eight. Make sure to disable the camera. And now press M. Move this to building for over here. Alright. So I think this pretty much it for the building for, we can obviously add other things later on, okay, one thing that I will do is if you see this meter like thing over here, let's add that to the building. That's pretty easy to do because we have already created that. We can enable back our building one. Select this meter from over here. This thing, this thing, this thing and distinct. Make sure to select them all. Redshift the Press x and move it right over here. You can press the full stop key on your number bag. We just focus on any of the object that you select. Maybe we can scale this down a little bit so that it is a little bit smaller. All right, Now, let's see. You can select this press Shift plus S goes into selected, add a path. Or we can maybe copying this wire, or let's just create a new one. Go to curve and add apart this on the y-axis by 90 degrees. Move it up over here. Let's give it a depth of 0.01. I think that was what we gave over here. Maybe a little bit more. 0.02, I think. Let's just go with 0.015. I don't really remember what we added over here. Let's just quickly check it here, 0.015. Select this. And again, we need to basically add a bit of organic. Notice. These buyers are just move them like this, selected, right, to give it a little bit of curves. And also make sure that it does not really overlap with the wall over here. Again, maybe at two of these wires. Duplicate this. Now again. Move it towards the right. That looks fine, I guess. Alright, again, we need to select them both and make sure to set the resolution preview to fall. Maybe, maybe you can decrease it even more savings. Because this wire does not really have much dawns. Alright, it's saved now. Now just make sure to select this portion of the building. Press M and move this to building for. Alright, now you can again disable that the building one. I think this was it for our reading for and now Control S to save it. And yeah, I think this is it for this video, guys. Thanks for watching. I'll see you in the next one. 10. Applying the Modifiers: Hello and welcome guys. So now that we're done with the basic modeling of all our buildings, now what we can do is we can start with the texturing process. But before that, obviously we need to apply all these modifiers and also UV unwrapped bad models and then export them to Substance Painter. And then finally we can start with the texturing process. So now what we need to do is, as you can see right now, if you select this building, let's focus on this building first. And if I select this piece over here, you can easily move this box and move the position of our cutout over here. But if we apply all the modifiers, we won't be able to change such things like, you can see all these modifiers over here. If we apply all of them, we won't be able to change them. So the results would be permanent. Now make sure you are happy with everything as it is. And then we can apply the modifiers. But instead of directly applying the modifiers onto these objects, only what we can do is just hit Control Shift and S. And we can save as, and we can create a new blend fight and just rename this to lockout final, maybe the Blackboard underscore final and hit Save As. So basically now we have two different copies of the same file and we can just apply the modifiers for all these objects. So first let's turn everything off and just turn on building one. Just to give you an example of applying modifiers means, let's say I select this piece right now as you can see, I can adjust the count, increase the number of objects in this lake. In region number of objects in this array. Do whatever I want to like, increase it or decrease it. But if I go over here, click on this arrow and now apply this. Now I can't really do anything. We can press tab and we can edit these objects however we want. But we cannot really make any changes to the array modifier that we had earlier over here. Obviously you can add new modifiers and you can edit them as you like, but you cannot make changes to that old array modifier. But if you just undo everything back and bring back that array modifier over here. One more thing that you will notice is let's just select this press Slash. Right now, if you press tab, you can only edit the single object over here. Because we are really using this object and then copying it multiple times over using this add a modifier. So let's say you only want to edit this, this piece over here, this tear in the middle. So first you need to apply the Add Modifier. Now you can edit every single one of them individually however you may like. But that's not my point. I just wanted to make it clear that in some of the objects we first need to apply the modified, then only we can make the changes. Alright? So to apply modifiers for all these objects, we don't really need to select it and then go over here and apply them one by one. What we can basically do is just press a to select everything. Then press F3, search for the command and search for convert mesh. So you will find this convert to Mexico, but as soon as you click over here, you will see everything has been collapsed. And like all the modifiers are not there and everything has been applied. But you will notice there are some of the issues over here. As you can see, a couple of our objects have been completely disappeared. So why has that happened? Just hit Control Plus date to bring everything back. And let's try to fix this. Now. Again, the modifiers are still there and I know that fixed for this, it is pretty easy. As soon as you go over here on the object data properties, you can see this thing over here. So what this thing means is that this object data is being used by two different cubes. So we don't really want that. What we need to do is just click over here. And now both of them have unique. Again, if you select this, this one, you can see both of them have same object data. We just click over here. And now both of them have unique. You just quickly need to do this for all the electric meters and all the doors, because this issue rarely happens when we use the intersect modifier. So just make sure to remember this. Whenever you use the intersect modifier, makes sure to just click over here on this object data to create a unique copy of it. Now basically we are good to go. We can again press a and then press F3, and now just hit Enter. And let's see. Now I think everything is pretty much okay. If you still don't understand what went there, I will quickly add a cube. Scale it up. Let's add another cube. Let's place it over here like this. And if I use, let's say the difference 45. So hit Control plus minus four, select this, select this and hit Control plus minus. We don't really have any issue of object data over here. Let's hit Control Z. If I use the union one, then also we won't have any issues. But if you see, if I select this, then this, then press Control plus slash. And that is for the intersection. You can see we have this intersection over here. You can even add the bevel modifier to this. We just make it a little bit better visible. Now if you go back to the object data properties, you will see we have this tool here. So that means both of them are using the same object data. And now if we select all of them, press F3 and tried to apply the mesh, you will see we will have some issues. So hit Control Z and just click on this icon to make them both have unique object datas like this. And now if we select all three of them, press F3 and just convert to mesh, everything is pretty much good to go. Just make sure to remember this. All right, now what we need to do is, now as you can see, all of the modifiers have been applied. If you select this cube and try to move it, you will see nothing really happens because we have applied all the modifiers. And we cannot really change the position of this cutout now and it will be permanent. So that's why what I did was I created another copy of this blank file. So if anything goes wrong, like in a later point in our course, we can always fall back to that file and use the model that still have their modifiers intact. Now, what we can do is if you see all these objects with the bulb is like this one that we use for the Booleans. We don't really have any use for them now, so we just quickly need to select them one by one and just delete them. Because there is no point of having them now. Just make sure you don't accidentally delete a real object. Just delete all these all objects. Like with the wireframe visible. You can even press G to move on and see if only the wireframe objects have been selected. And now press Delete this one also over here. Now we have pretty much applied all the modifiers for objects. As you can see. If you just press Slash, go into the isolation mode, you can see all the cutouts now are permanent and we can actually edit them. We cannot do this stuff earlier when the modifiers were still there, like the Boolean modifiers. But after applying, you can make all these changes in the edit mode. But yeah, we don't really need to make these. Alright, so we have successfully applied all the modifiers and deleted all the useless objects for our building one. So we basically need to do the same thing over and over again. So I think pretty self-explanatory. So you can just now enable building to select everything. And then press F3. Also make sure to apply the scale first. And now press F3 convert to mesh. We didn't really use Booleans for this one. I think we're safe. Now again, all the modifiers have been applied. Disabled this quickly enable building three. So this is pretty much the same building, press a to select everything. And if you remember, we first need to sort this thing out of the intersection problem. These same object data properties. These objects that have the same object data, we just need to make them have unique object data so that there are no issues when we apply the modifiers. Alright? So yeah, basically these were all of them. Press a to select everything, press F3 and hit Enter. I'll just quickly go through all these Boolean objects that we do not need anymore and delete them. Okay, So Arlan, I think disabled reading three enable that we're looking for. Also, it's pretty simple. Just press Control a to select everything. Again, press F3 and you can watch or read it again. I forgot about this thing over here. Just click on this icon. Now, we're good to go. Just delete this Boolean object is small one and rest. Everything is fine. I guess. The last one is this ground. This one also, I will just press control a F3 and convert this to mesh so that all the modifiers are applied. And yeah, basically this was it. I don't think we really need a wall over here, so let's delete this. And yeah, basically this was it hit Control S. And now we have applied all the modifiers and deleted all the Boolean objects that we do not really need anymore. Now what we'll do is in the next video, we will start by UV unwrapping them one-by-one, and then export them to Substance Painter. And then start with the texturing process. Thanks for watching. I'll see you in the next one. 11. UV Unwrapping the Buildings: Hello and welcome everyone. In this lecture, we will be starting with the UV unwrapping of our buildings. So let's start with this building one. What we can do is we can just quickly disable the rest of the collections and just keep this building one. So as you can see, this building is a pretty huge asset with a lot of different small objects. So we cannot really UV unwrap this on dosing the UV map. So for this particular building, we will be having two different uv maps. And when we import this building into Substance Painter, we will have two different texture sets to work with. And then at the end we will have two different sets of textures that we will be applying into two different materials. So basically how this will work is we will start by creating two different materials in Blender only, and we will assign the materials according to the objects in this building line. We can differentiate them on the basis like we can have one material with all the main objects of the building like this huge part, like this one, this one, all these main portion of the building and the rest of the materials we can have all the smaller objects like the doors, windows, and everything remaining. So after we have assigned all the material, then we will UV unwrap them according to the materials they have, like the ones with the same material will get UV unwrapped together. And then after that we can export this model to substance painter or Unreal Engine. And yeah, so basically to start, what we can do is let's select this main part of the building. That is this huge block. Go over to the materials section and let's create a new material. And I will rename this to building one. Underscore mean. Alright, so now I want to apply this material to this thing. Let's select maybe this, all these pillars over here. And this. Now we can maybe over here also these things and the stairs. Now maybe what we can do is just press Slash to come into the isolation mode to see everything if all the correct things are selected. So this is a way to recheck. We're fine. Now what we need to do is we need to copy this material. Just select this one again, hold Shift and select this main object. And you will see this building one underscore main material. And now we need to copy this to all the objects that we have selected. So we do not need to do this manually. We can just quickly use a shortcut. So while this thing is selected, make sure your main object is selected that has the material control plus L. And now link the materials. As soon as you do that, you will see 12 is written over here. That means this material is being used by 20 different objects. So now you can see all these pieces have the same material, but not these ones like the doors and the windows. They do not have this material. All right, now, I do not really want to see these objects that already have this material. So to remove them or to select them, what we can do is instead of now pressing Control plus l, just press Shift plus L. So this is to select the link materials. So as soon as you do that, select the link materials. All the materials would be selected. With this material, like I have this already selected and now I want to select all the rest of the 11 objects that have this particular material only I will just press Shift plus l, then select all the link materials. So that means all the objects would be selected that have the same material. So this is a pretty handy shortcut Control, L and Shift plus L. So now hit material. Now all the objects are selected with this particular material. And now I can just press H to hide them so that I can work with the rest of the objects. So let's quickly just select any door. So let's select this one, create a new material. And again, this will be building one underscore like doors, windows. We can maybe name that. And now press a to select everything because we want the rest of the objects to have this particular material only. And now while this door is selected, hit Control plus l. Now link all the materials and you will see 109 written overhead. That means we have 109 different objects that are using this material currently. Alright, Now press Alt plus h, and as you can see, we have two different materials over and complete a big asset. So now if I want to select all the objects of this second material, like this door windows material, I will just select this door or maybe select this door, redshift plus l. Then select all the link materials. And you can see only the pieces that have this doors, windows, or material are selected. And we can do the similar thing for the other material. Alright, so now with all this out of the way, we can go to the UV Editing tab to start with a UV editing process press Tab to come out of the edit mode. And now first risque to select everything. And make sure the first step of your UV unwrapping processes to just apply the scale. Because of the scale is not applied, it can mess up with your UV unwrapped. So just press Control a and make sure to always apply the scale before starting with the UV unwrapping process. Risk control, apply the scale. Alright, now, as I mentioned before, we want to UV unwrap the objects that have the same material together. So first I will select this main object. Shift plus L and select material. Now only the objects that have this material is selected. Press Tab to go into the Edit mode as a to select everything. And we won't really be UV unwrapping them like one-by-one. We will just quickly use the smart UV project that is the shortcut to UV. Unwrap all of it quickly. Go over here and make sure to enable display stretch is to see if any of our UV islands are stretching. And also select this thing over here. What this will basically do is if you select a couple of vertices over here, those same vertices would be selected over here also. Now press a to select everything with you and then hit smart UV project. And now hit Okay, as you can see, are UV unwrap is done, but it is not really that efficient because we have a lot of empty spaces over here. So open this up, this menu over here, decrease the angle limit, and let's see what we can work with. So after setting Nanga limit to absolute zero is increase the island margin. And yeah, I think this UV unwrapped looks a lot better. There are not many empty spaces. Yeah, I think we can definitely work with this step. So now we're done with the UV unwrap of this building one underscore main press tab and press H to hide this. Now we will be UV unwrapping the rest of the objects. So just select them all. Press a press Tab. Again, press a to select everything and hit you and smart UV project. Now make sure to set the angle limit to 66 again, because sometimes it can mess things up when it is at zero. It can take a long time to load and makes sure the island margin is also set to zero now hit Okay. And I think this one came out really well with the default settings only. So we can definitely work with this step. And as you can see, we now have two different uv maps. If you press alt plus H to bring everything back, Let's say I want to see this particular UV map with the main building one are the main material one. So select this piece or select any of the piece that has the building one underscore main material, redshift plus L. Then select the link Materials tab and you can see one of the UV maps is this one. And the other one is selected door redshift plus L and select the link material. Now press tab and the other one is this one. Alright, let's come back to the layout tab. And we are done with the UV unwrap of a building one. So what I want to do now is before UV unwrapping the rest of the buildings. That is the building 234 and the ground. I want to test this building one by exporting it into Substance Painter and see if everything is working properly with a UV unwrap. And I want to texture this building one first so that everything works out properly. And then after that, we can UV unwrap the building 23.4. And then we will start with the texturing process of the rest of the buildings. In the next video, I will export this building one into Substance Painter, like do all the usual stuff being the mismatch and then start with the extreme precision fingers for watching. I'll see you next time. 12. Exporting to Substance Painter: Hello, Welcome guys. So in this lecture we will be exporting our building one into Substance Painter and starting with the texturing process. Alright, so let's start. So to export any model from Blender into any different program, you first need to select all the objects that you want to export. So currently we only have this one single collection enabled. So I will just press a to select everything. Go over here in the file section that in the export. And I will be exporting it as an FBX file. So select FBX. And over here I will just quickly create a new folder. So you can hit this icon to create a new directory. And let's rename this to exports. You can rename your export file over here, but I will just keep it to block out underscore final only in your expert dialog box, it would appear something like this over here. So everything would be selected and these two are unchecked. So what do you basically need to do is we just need to enable selected objects from over here so that only the selected objects are exported. But right now, we only have those objects present in our scene and we're selected all of them. So it does not really matter. And the next one is to select mesh from overhead so that only the object types of mesh get exploited if you have a camera that is also selected or any type of lights that are selected, they won't get exported in our FBX file. Only all the mesh object type, we export it, and only those ones would be exploited which we have selected particularly, let's say if you just selected this part over here like this and you left all of this, like this only. And then you exported something, then only these all objects would be exploited. So yeah, just make sure to press a to select everything. Then go over to File Export, and then it FBX. Now just come back one step and select this exports folder and make sure selected objects and meshes enabled from over here and now just hit Export. Now the export is done. So basically these were the steps to export any model from Blender into f vx. And now you can quickly open up substance painter. And we can start with importing the model into substance painter and starting with the texturing process. But first there is a little issue that we need to fix. I deliberately adding that so you guys can learn how to counter it. Okay, Let's start go over to File New. And overhead in this dialogue box. But basically you need to do is just go over to this file section and hit the Select button. And I will be selecting this blop out final FBX file that I just exported. Say I just double-click over here and rest. Everything pretty much remains that default because we can always change this later on after we are done creating a new project like we can always see in the documentary solution or the normal map format. For now, I will just say this export file over here and hit Okay. Alright, so as soon as you embody your model into Substance Painter right away you will notice a huge issue. So as you can see, the main object of a building over here is looking pretty weird. It appears to be showing up inside out. It is very possible that in your substance painter, this particular object, it's like completely fine, but like some other object is appearing inside out, or it is very possible that every object is completely fine. But still, we should go over how we can fix this type of issue because you might face it in some other project of yours. So basically this object is having flip normals. So, so basically this object currently has flipped novels and it is very easy to fix that. First we need to go back into Blender. And if we will go over here in the overlays menu and enabled face orientation, you will see your objects are now colored in red or blue. So basically the thing to remember overhead is if your object is colored in blue, that means it is perfectly fine and it is good to go. But if it is in red, you need to change its color to blue. Just find if any object in your model is red colored and if it is not in your model is completely fine and you can just go ahead with the exporting process. But if any of them is red colored like this, it is very easy to fix this. Select this main object, a Tab, to go into the Edit mode and press a to select everything. Then press Shift plus n. And as soon as you do that, it will recalculate the normals. And now you can see it is a blue color. Only. Makes sure if any other object of yours is red color. Just quickly fix it. Let's say if I want to turn this object into red color, I will just press Tab a to select everything that he then hit Shift plus n. And you can enable inside. And you can see now it is red color. Makes sure no object is red colored. Just select this press Tab plus a, then press Shift N, and it will recalculate all the numbers. And basically every object should be blue. And right now everything is pretty much blue-colored. So we are good to go press a to select everything. I'll just make this a rule of thumb that whenever you are exporting anything from blender to any other object. Before exporting makes sure to enable face orientation from over here in the overlays menu. And just quickly check if every object is appearing to be fine. So right now everything is pretty much okay. So select everything again and we need to export our file one more time. So go over to export FBX. Select the blob or final so that it replaces this file and hit Export. Let's come back to subsist paint the Create New Project. Select the File and select this new file. Hit Okay, and discard this one. Yeah, everything is appearing pretty much fine now. You can hold your OIT and use your left mouse button to move through the substance painter scene. And use your scroll wheel to ban like this and right-click to zoom. You can also zoom in or zoom out by using our scroll view directly. I think these are the basics of Substance Painter and you should be pretty familiar with all this. Alright? First thing that I will do is go ahead in the display settings. As you can see, all these jagged edges over here, they don't really look that good. So I want to fix them. Go over here in the display settings, scroll down and enable activate temporal anti-aliasing. And as soon as you do that, you'll see all of the jagged edges have disappeared and our model appears pretty smooth. Alright? So the first step, whenever we export anything into Substance Painter or sorry, I should say, whenever we import something into Substance Painter. And before starting the texturing process, we need to bake the mesh maps. So if you come over here in the texture sets settings, you will find this big mesh maps. If you don't find this texture sets settings window over here in the Window, toolbars in the views. And you can enable Texas at settings from over here. You can see we have two different texture sets. As I mentioned earlier, these two different materials are now created into two different texture sets. So yeah, pretty handy for us. This is what I was talking about. That's why we needed to UV unwrap them separately, if you will press F1. We can also see the duty view, that is our UV view. Select this door windows or texture sec. If you select the main texture set, you will see the UVs changed. That's why we need it to UV unwrap them separately, press F2 to go back in the 3D mode. Alright, so now I will just go ahead and hit big mesh maps. And now we need to set the parameters so the size, I think I will be just going with the highest quality for k is I think, really good. But if your PC is not that fast, you can even go with two k or wonky. But I will be going with folk assembled the ID map from overhead because we won't be using the ID map. We can enable diffusion and use low poly mesh as high poly mesh because we don't really have any high poly mesh. So yeah. The last thing is basically we can set the anti-aliasing to four-by-four maybe and rest. Everything remains pretty much the same. The default settings are really good, so we don't really need to think or that much. These all settings after everything is done, just hit bake selected textures. Now just quickly grab a cup of coffee or something because it might take a little while. I will just spend the video and resume when everything is done. Alright guys, so the baking process is done now. I hope it did not take long. On this okay button and quickly go through your model for any kind of potential issues. Can have a couple of shading issues sometimes, but I don't think we have any. Like if we will just zoom in over here, we have a couple of them over here, but these won't be even visible from far away, so we don't have to worry that much about them. And when we will apply any particular material to them, These would like completely disappear. Like they are somewhat visible, but don't worry, they won't be visible from that distance. I think everything appears to be pretty good to me and I'd bake came out really nice. Before proceeding. Let's just hit Control S to save our project. And let's see, I will create a new folder over here so that it is easier for you guys to find the different files so that everything remains organized. I will rename this to Substance Painter files. Double-click on this folder and let's rename this substance being defined to building one. It's saved. Wait for it to save. And I think guys, this is it for this project. We will be starting with the texturing of this building one in the next video. So thank you guys for watching. I'll see you in the next one. 13. Texturing the Residential Building: Hello and welcome everyone. In this lecture, we will be starting with the texturing process of our building one. Alright, so first what I will do is I will be selecting the building one underscore main texture set from over here. Because we will be texturing mainly focused on walls and everything. So yeah, if you want to select different texture sets, you can either do it from here by clicking on the particular texture SEC, or you can just hold Alt and control and then use your right-click and click over here like this. And then the main text inset would be selected. But let's say if I click over here on the door, then this doors windows Texas had it selected, hold, Alt and control, and then use your right-click. Very easy. We can also hide detection sets from over here, or use the focus more to only focus on the particular texture said that we are texturing. But for now, let's keep them all on. Alright, so after you have selected, we already have a layer over here. In a later step. Let's quickly go ahead and delete this. Also one thing that I want to mention, if you do not see any of these tabs over here, layers Texas set, setting the properties. You can go over here in the Windows section, in the views, and you can bring them in, in your substance painter and then set them accordingly according to your setup. Even the shelf over here. So yeah. First I will be applying a wall material to the vaults over here. So if you go over here in your assets, so click on this, the first one, materials and search for concrete. And you will find this concrete clean Medina. Just drag and drop it like this over here. Alright, so right away you can see it does not look that good, but don't worry, we'll fix it. So first what we can do is we can create a new folder. Let's rename this to walls and drag and drop this concrete onto the walls folded like this. Alright. So now what we will be using is we will be using a geometric mask because obviously we don't want the concrete material over these tears or things like that. So click on this icon over here next to the folder. Then right-click and hit Exclude all. So now the material is not present on any of the objects. But click over here again. And now select this wall, like this, this main piece over here. And now you can click back over here again. You can see one is written over here. So that means this folder or this material is being used by one object only. And that is this one. If you click over here again and maybe select this. And you can see the material is being used over here also. And two is written now. So two objects are using it. But yet for now, let's just select this one only. And now click over the concrete clean layer and let's set it up a little bit. First, I will change the projection from UV to try planar. And over here, let's increase the tiling to maybe 20. Also, if you're feeling like the texture quality is pretty low, you can come over here in the texture set settings and increase the size 2-4 K. And as soon as you do that, you can see all these scratches are visible more properly. But yeah, it will make your substance a little bit laggy and choppy. So I will be keeping a tequila when you will export everything we can export it at for K. Let's see. Setting the tiling at grantee I think is pretty good. You can increase or decrease it according to your needs. Maybe I will even increase it to 45. That is our basic concrete material. Next, let's see what we can do. We can maybe decrease the amount of scratches. You can see if you increase it, there are lots of scratches on the building. But yeah, let's keep it to 0.1 maybe. Next what I want to do is I want to add a bit of dust. So click on this vaults icon and add a fill layer so that the failure gets added on top of the walls like this. Like if you select the concrete layer and add a fill layer, it will be added in this folder only, but I want this layer to affect all of it. So I will place it outside the walls folder. Rename this group does select this, and let's give it a darker color, something like that. And now come over here in the smart math section. And you will find his dust occlusion smart mask is drag and drop it like this over here. And as soon as you do that, you can see a lot of dust has appeared over our building. But obviously this is like too much. So click on here on the mass settings. And what we can do is there are lots of different sliders that we can work through it. But, but first, I will just decrease the amount of grunge. You can see grungy is basically this dirt that is appearing all over here. So let's set the grungy amount to 0.1 and rest. You can see dust is added along all the corners and everything. You can maybe increase the dirt level. However you may like to increase the contrast. You can do a lot of things, but obviously I think this is too much and do everything back and yeah, I think just decreasing the grungy amount was fine. Alright, let's proceed further. Alright, so next texture, these pillars over here. So I think I will be giving them a metal material. So again, I will create a new folder first, let's rename this to metal. Now I will add a new fill layer to this. Let's rename this to black metal. Maybe. Set the metallic value to one. You can see already it looks like a middle. And next we can set the base color, something like that. Now again, click over here, right-click and exclude all. I can just select this thing, this thing. This one. Yeah, all these species. Also, I think I will select the stairs also. Let's see how that works out. We can obviously change it later on if you don't like it. Let's make the color a little bit lighter. So far the top of the building, that is this part. Let's come back in the walls of older only select the concrete clean. And first, click over here and add the material to this also. But now I want to change the color to black, but I cannot really do that because this layer, both of them have the same concrete lean material. So if I change it to any color, both of them will change. So just duplicate this material first. Set the color to black. Now again, hit right-click, exclude all, and just select this one. Now both of them have a different material like this. Pretty simple. The tiling you can see is pretty messed up at the top. So maybe if you want, you can decrease it to 15. Dog won't be even visible like that. So I think that's fine. Let's see. Maybe we can make the concrete color olive darker. Yeah, select the concrete clean layer. Let's rename this to concretely in black. Copy this layer. So Control C to copy. Let's go into the doors windows section. Delete this older layer and I will just paste it over here. The reason I did that was to use this material on these blocks. Also click over here and deselect them so that they both have the same material. Alright, Next, let's come back to building one underscore main. Let's see what we can do. Let's go back to the metal layer and z, we can add maybe another layer. Like this is a white color. If you name these two edges. Increase the metallic value a little bit. For this one, we can use the edges, any of the edges smart mask. Let's try. This edge is just dy. As you can see. We've added a little bit of dust along our metal. I think that looks pretty good. Alright, next what I want to do is all these white colored pillars that you can see. I want to add the metal material only, but not of the same color. So first, I will select this and select all of them in this folder only. Now they all have the black color metal material. Now what we can do is just select this black metal material, copy it, and paste it again so that there are two of them. Rename this to white middle. And let's set the color back to white. Like this. Now just right-click, hit Exclude all, and just select these pieces. This way we can easily differentiate between the two. Alright, I think that looks pretty good. Make sure to hit Save. Let's see what we can do next. Let's copy this metal folded up. And Let's move back to the doors, windows, extra set and paste it over here. And let's see, we can use the metal material over here also on different things. Click over here and let's use it over here on the door and the door frame. And let's see how it looks. I think that looks pretty good. I will remove the white metal from over here. Select the black middle and just make it a little bit lighter is to create a little bit of variation between the two. All right, now just quickly click over here and just select a couple of items like these frames over here. And all these parts of their doors or something like that. I think the metal material looks fine over here. Next, we can also add the metal material to these. Or I think not. We can maybe add something else over here. We'll figure that out later on. But for now, let's apply the metal material. These two also. You can also add it to the handle over here. I think for not that much is it? Let's see. Next we can create another folder, rename this to glass. Let's add a fill layer to this. I will give the color really dark. Make the roughness value to zero so that it is reflective like this. Yeah, rename this to last. This. Click over here again, right-click and exclude all. Now select this thing, this thing, this one, this one, this one, this one, this one. All the pieces that we wanted to have the glass material on, something like that. I think that looks pretty good. Let's see. Next. We want to add this dust layer over here also. So go back to the main lecture set, copy this dust layer up, come back to the doors windows, and let's paste it on the top like this. And you can see as soon as you do that little bit of dust is added all over our model. You can see over here also it is failed. We can maybe, if you want, decrease the opacity to 50, that it is a little bit lighter and not that harsh, but that is totally up to you. Also, I want to add a little bit of more like dust around the areas of the glass. So let's go into glass folder only. Create a new fill layer. And let's just copy this last base. Copy this up, rename this to dust. We don't really want the color channels, so you can disable the color channel, increase the roughness to somewhere around here. And now let's see, we can maybe use the dust surface. I don't think it works that well. Let's try something else. Let's try this one. Yeah, it does add a little bit of dust. You can go to the mosque editor, increase the global balance to increase the amount of dust. I think that looks pretty nice. You can see over here. If you want, you get increased or texture size to forget to see everything properly, how it looks. You can see as soon as you do that. This looks pretty good over the glasses. Maybe we can decrease the global balance a bit. Let's set it to 0.45. Alright. Now it's pretty nice, I guess it controlled plus S to save our files. And let's see, for these windows over here, let's just go into the smart materials section and we get searched for maybe a plastic body. Let's see which one we can use. You can use any one you like. Let's use this plastic dusty. Obviously we don't want it all over the place. Just right-click exclude all. And select these two items. And over here also, select the base. And let's set the base color to black. And we don't really need this dust. So what we can do is just second, select the dirt edges and just decrease the opacity of them. Maybe we can give it a tad bit of opacity like that. Like this. Yeah, that looks pretty good. I think one thing that we can do is let's select the plastic dusty and remove it from this thing. Just the center one. And we can maybe add the metal material to this. Just to make it look a little bit interesting. Let's see how that looks. I think that looks better. Next, we can start with the texturing of electrical meters. First, we can texture these wires because it's pretty simple. I will be using this latex black smart material only to discretely drag and drop it onto the top. But make sure that dust ladies are the top. Place it below it. Select the latex black, right-click and exclude all, and just select the wires. You can also drag select like this. Like making a selection. Make sure like something else is not selective. Alright, so yeah, I think the wires look pretty good this way. You can open it up and maybe edit it a little bit, like baking the base color a little bit lighter. And also let's make it a little bit less reflect it. So 0.25 enoughness is finite thing. Let's save our files. And I think this much is enough for this video because it is a pretty long with, in the next video, we can finish with the texturing of far, like leading one. We can maybe take shut up those and all of the remaining things that are left. We will be doing that in the next video. Thanks for watching. I'll see you next time. 14. Adding more Details: Alright guys, so let's continue to extreme. I will just close up these folders. Alright, so far this electrical meters over here, I will be just going in the smart materials section and let's search for a plastic material. And let's see, maybe we can use this one. Plastic glossy scoffed. Just drag and drop it over here like this. And again, click on this Geometric Mask icon first, bring it down the dust layer. Click on the Geometric Mask icon, right-click and exclude all. Let's select this, this on all the four of them. Alright? But this piece over here, I will be, I think, again, using the metal material only, that would work much better, I think. Yeah. One more thing that I'm noticing is I forgot to add the class material over here. Just select this and click over here. Yeah. So next, we need to obviously change the color of this, open this folder up, go over to the base color, that is this layer. Select the color. And I've already decided on a color, so you can just copy me and put it over here, 0.155, I want to choose like a yellowish color. So 0.114 for the saturation and for the value 0.7. Something like that. Yeah, that looks pretty nice. Next for these pieces over here, what I want to basically do is for all these switches, I want to add the black color to them. And for the rest of it, I will be just keeping it a white only. So let's see how we can do that. If I go ahead and add them, you will see the fill layer is added to the complete layer at once. Now I just want to add the black color and material over these switches only. If I try to click over here on the geometry mask first, right-click and extruded and tried to select this, you can see it selects the complete object. And it is not really possible to like only select the switches. So we have to find another way to do it. So just right-click and hit include all. And now what we will be doing is we will be adding a black mask. So instead of using a geometric mask, we will be using a black mask. So add this, Let's rename this two switches. Basically a mask, if you are not familiar, it is the same one as we have in Photoshop. Mass is like a black and white image that decides where the texture should show up and where it should not. So if you select this and select these two lower here, this one polygon field. And this tool has four different modes. So you can see these folds that we can see over here. So if we select this third one, this is the mesh will. This mode is basically the same as the geometric mask. If you click over here, you will see the complete mesh is selected at once. One thing that you need to remember is that black means invisible and white means visible. So you can see the currently the black mask is completely filled with black color. That's why as soon as we added a black mask, you would have noticed that our whole layer disappeared. Let's say I remove the mask again to go over this once again. Let's turn off this main collection and you can see this fill layer is completely covering our complete like all the models over here. And as soon as I added like a black mask to this, everything completely disappeared because black basically means invisible. So now if I select the mask and select this tool, this tool is basically filling all these objects with white color. So as soon as I added a white color to this. So now what has happened is basically the mask is now filled with white color over this area and that's why this fill layer is visible over this part. You can also see this in action with using a brush tool. Say I selected a brush tool and you can see I have currently selected a white color. I'm painting like this. And you can see, because I'm painting with white color, that's why this fill layer is becoming visible. Because in terms of mask, white means visible. And if I press X to switch to black color, so this is a shortcut. You can press X to switch between two colors. So x is four black, that means invisible. So you can see now I'm erasing this video. And you can even select this layer and change the color at any point of time. So you can see pretty handy stuff. Let's set this to black again. Select the mask again, and let's remove all of this. Now I want to completely remove the fill layer from over this area. So go back to this tool because this tool makes it easier. While we are in the Nashville. Currently the color is set to white. So if you click over here, you will see we are filling the objects with white color. That's why this field lead is becoming visible. You can now even notice that the mask has white patches over here. This is basically the UV map that is being filled with white color over the areas that we have used this tool. So let's undo this and press X to switch to black color. As you can see, now if I select this, we will be removing the fill layer from over here. Alright? So all of that out of the way, I will be selecting this tool instead of the mesh tool, I will be using the polygon tool. And you can see, if I click over here. First, we need to press X to come back to the white color because we want the layer to be visible now. So if I click over here, you can see I'm filling it with black color. Make sure to only click over the switches. And you can see it was pretty easy to do. Let's do the same thing for all of them. Alright, so I think it is done now. We can bring back the mean. And yeah, I think that looks pretty good. Alright, next, one more thing that I want to mention is, as you can see over here on our building, one underscore main texture, say on this bottom part of our building over here, I want to add the black colored concrete material that is over here. Over here also on this part. But if you just open up this Walls folder, select this concrete black. Select this concrete clean black layer. That is basically this one. If you enable and disable it, you can see over here, I want to add it over here also on these faces towards the bottom. But if I click on the Geometric Mask and tried to select this, you will see the complete object is selected. So now obviously we cannot do it using this directory mask wage. So again, we have to use black masks for this. So what I will be doing is just right-click and hit included so that it includes all of them. And add a black mask to this. As soon as I do that everything will disappear. For this one over here, over this top piece, I don't need to select each and we faced one by one. I can just go in here, select Nashville and select it all at once. But for this bottom piece, what we need to do is we need to again select polygon field and just drag select like this. And over here also just drag select like this. And this back face also. And yeah, we're done. Make sure you just don't drag select like this and accidentally select all these spaces. So yeah, just like that. Pretty simple. This is another way of like separating different layers. All right, so the last thing that we need to do is basically add color to our doors. So let's create another folder, rename this two doors. Now let's add a fill layer to this. So add a fill layer, rename this to base. We only need to set the color for this again, I've selected on a color. If you remember, we can quickly open up your Ref right now. Right-click load and load our scene. We'll be creating doors or somewhere, this color only. But you can see over here there are four different colors, but we were just going for same color only for all of them. So you have some kind of orangeish color for the hue value, set it to 0.068. Saturation would be 0.6 and the value would be 0.667. And now, again, click over here on the geometric mask. We can easily use the geometric mass. Now, obviously you can also use the black mask if you want to. It's totally up to you, but using the geometric mask is like a little bit easier. So hit right-click exclude all, and select these four. I think a building looks pretty good. Now, if we want, we can add a little bit of effects to this door material because maybe it is kind of flat right now. Let's add some roughness variation. So add a new layer. This time I will be only using the roughness channel because if you see, if I disabled the scale, everything is pretty flat. We don't have any kind of roughness variation like this glass layer over here. So we will be adding some roughness variation. So two adjectives, we basically only need the roughness challenge and not all of these. So hold Alt and click over this roughness channel like this. And you can see all of them are automatically disabled. So now I can control the roughness of the complete layer. But we don't really want to control the complete roughness. We just want to add a little bit of variation. Set this to 0.1. For now, just add a black mask again. Rename this to roughness variation. And this time let's use a fill layer. Instead of using a smart mass directly. Go over here and add a fill layer. And let's see. Into texture section and searched for grunge. And we can use any one of these grunge maps that you like. I'm searching for a good one. Maybe this drag and drop it over here like this. And you can see as soon as you do that, we have a bit of roughness variation. Over here. You can increase or decrease the balance to control it. What you can do is you can also increase or decrease the tiling and control it even more. Let's say three. I think it looks fine, but maybe the roughness value is too much. So let's set it around 30.35 v. So that is not that harsh. Or maybe let's just go for some other layer or another failure. Let's see. Let's try this one drag-and-drop vertebral here. I think this one is much better. So this one feels nice. If you want. We can also add a bit of color variation to this. So let's add a new fill layer, or maybe let's just duplicate the base layer. So select this press control C control V. Rename this to color variation. Just make the color a little bit more darker or a little bit more lighter, or whatever you might like. Let's make it a little bit darker. Add a black mask again and add a failure. Again. Use about the layer. Let's use this one, grungy map 007, drag-and-drop it. And as soon as you do that, we have a bit of color variation, increase the balance, something like that, but obviously this is too much. So just go over here and decrease the opacity to 15. Maybe. This way it is like really subtle. Maybe increase it to 25 is a pretty subtle effect. But you can use it in your projects to add a bit more value to it. You can even make it lighter. Or I think earlier one was fine. Alright guys, so I think we are done with a building. Maybe let's just hit Save. Let's see what more we can do it. Oh yeah. We can also add a little bit of damage to our main volts over here. As you can see, there's do dark now, I think that would be the last step. Select the building one underscored main texture set. And if you select this concretely, and you can also change the lighting of your model. Just hold Shift and use your right-click. And like this, you can view your model in different lightings. Alright? You can see we also have a damage parameter over here. But if you increase it right now, you will not see desired results at all. You can see this looks very, very bad because we have titled the texture too many times. So what we can do basically is we can duplicate this layer to select the concretely layer. Duplicate this. Let's rename this blue damaged concrete. And first set the prediction back to UV projection. And let's set the tiling back to one for now, insert 25. Now increase the damage to very little amounts like 0.04. We have a little bit of damage, set the scratches to zero. Now this increase the tiling little by little to see what would look best. Alright, so something like that maybe. But again, this is not the desert, desert obviously. But I will be doing now is I will be using a mask, a smart mask to mask this damaged concrete layer. So add a black mask to this. Let's come over to the smart math section. And let's search for some kind of edges, smart mask or anything does smart mass, Let's try this one. I just scratches, drag and drop it over here. And as soon as you do that, I don't think I see any changes right away. You can turn it on and off and see for ourselves. So if you notice over here, along the edges, we have added some damage, but it is not that visible. First, let's set this to focus so that we can see it properly. I will minimize pure ref. And you can see we have added a little bit of damage along the edges, but to increase it effects even more. You can see over here also it is added, I think it is getting added in a pretty organic way and it looks nice over here also like this. So what we can do is basically select this Metal Edge we're generator. And let's increase the year level even more so that it is even more visible. Now that I've increased it to 0.9, you can notice the damage is pretty prominent. I think I do not want that. I will set it to 0.85 maybe. And also another thing that I want to do is I will just set the opacity to ten. Maybe. You will notice when I increase or decrease the opacity from over here, these damages are not really getting adapt much effected. The reason for this is currently we are in the base color channel. If I reduce the opacity of this to zero, the base color information has completely disappeared, but the height information of this damaged layer is still there. So let's say, I said this to back 200. So now all the color information is bad. But let's say you want to reduce the amount of this height information. So you need to go into the channel. And now if we decrease this opacity, you will see the height channel is being affected. I think you should know about these things. So I want to reduce the color channel information, go back to base color and set this to maybe ten. So now. So yeah, now you can see the base color information has reduced a lot and we have damages over here. You can see they look pretty organic and I think they look nice. Let's come back over here. And if you want, you can also increase the damage from over here. If you do that, you will see the damage is like really, really a lot and it does not look that real even. Let's just undo this. Maybe we can increase it to 0.05. And yeah, I think that looks pretty good and pretty organic. And I think this is it for the texturing of this building one. I'll just select the concrete clean and make its color a little bit darker. And that will be the last thing to do. We can even make it a little bit yellowish. Something like that, in my opinion, go back to texture set settings and set this back to two k because it has made my substance a little bit choppy. So yeah, I think guys, this is it for the extra mile of building one. Let's just hit Save. And I will see you in the next video. Thank you for watching. 15. Texturing the Variation: Hello and welcome everyone. So now we're done with the texturing of our building one. So let's just quickly open a blender again. We have these remaining buildings over here. So let's enable them back. So now we all know that these two buildings, the building one and building three, are basically the same models, but we plan to create different texture variations for them. So instead of texturing this building to, first, I will be texturing this building three, because 1.3 basically, as I said earlier, are the same model and we just need to change some colors to create texture variation out of it. So it won't take much time. Now because both of these models, building one and building three are basically the same, we do not really need to UV unwrap this one once again, this building three. And we do not need to do all those steps like exporting and banking the HashMaps. What we can do is we can open up Substance Painter this project only. And we can basically create a duplicate of this project and we will create a texture variation in that duplicate. So to do that is go over here to File, Save As. And over here, let's save it as drilling building too. Let's save it as building three because we already have a building to overhear. Save it as building three and hit Save. And you can see now the project is building three. And we can create a different texture over here. And we've not really need to use this model overheads. So right now, this model is basically of no use to us. So we can just disable this or if you want, you can even delete it because we won't be even using it. We will be just exporting this one only. And we will just create two different materials in Unreal Engine and we will have two different texture variations. So yeah, let's open up a substance again. And what we need to do is we do not really need to change much. We only need to change some colors up. If it will quickly open up pure ref. Search for pure ref, open it up. Right-click load and load this reference image. And as you remember, we have this thing over here. So this reference image over here is kind of similar to this picture. So now we will create something like this. Basically, what you need to do is select a building when mean. And you can see that all the stairs and everything out of a dark red color. So I will be giving that to all of these pieces like the top piece and even the stairs and railings. So select your concrete clean black, the color for it. And I've already decided on a red color, but you can experiment with it. For the hue value, I will set it to 0.023. So if you want, you can copy me or you can choose any color of your own. Saturation would be 0.44 and the value would be 0.35. Something like that. Next, open this metal folded up, select the black metal. Again, select the color and putting the same values. So 0.02, 30.4, 4.0, 0.35. You can see our metal material is kind of looking weird a little bit because of this Edges layer that we add it. So what you can do is basically just go over to the opacity and set the opacity to 50. So that the effect is a little bit toned down. So this way it does not look that bad. It looks alright. Next, select the building, doors, windows texture set. And also one more thing that I will do is you can rename the texture sets over here. So just double-click over here and set this to building three. And this one also set this to three. So that we do not have same names for the textures when we are exporting them to Unreal Engine. Select the doors windows texture set, open this Doors folder up. And again for the base color, set this to 0.02, 30.4, 4.0, 0.35. You can turn off color variation for this one. Yeah, I think I will just turn off color variation for this. And the last thing that we need to do is, or what you can do is enable color variation and set the same color for it first. So 0.02, 30.4, 4.0, 0.35. Now just make it a little bit more darker so that you have your design with lesion. So first just said the same color and then you can make it a little bit darker so that we have a little bit of variation. But if you want, you can even delete that. And the last thing that we will be doing is you can see that the concrete is kind of yellowish. Just go back to building three main and for the vaults, open up this concrete clean. And for the yellow color also, I have already decided on it, but you can experiment with it a little bit. So the hue value would be 0.155, saturation 0.078. And the value is 0.776. Alright, so rest everything is pretty much alright. I think. We can also change the color of these electrical meters over here because it is kind of looking the same as the concrete wall in the back. So select this texture side, open the plastic glossy folder. Select the plastic, the plastic layer, and for the color, this circuit to grayish color, I think that would work pretty well with this. This also looks pretty good. And now I think we're pretty much done with the extra variation of our building three. So now these two are the same models, but we will be using two different textures for both of them. It will add a little bit of variation in environment so that these two buildings is not really look same. Alright, so just hit Save. And I think this is it for this lecture. And in the next video, we will start UV unwrapping this building. And we'll start with the texturing of this one. And finally, we will show that building. And then we will export everything into Unreal Engine and see how it looks. So thank you guys for watching. I'll see you the next one. 16. Texturing the Second Building: Hello and welcome everyone. In this lecture, we will be starting with the texturing of our building too. So let's just turn all the collections off except the building to collection. The first step to do is we will be adding the materials to it. So like the earlier building, this building is a pretty small assets, so I will be just adding a single material to it. So let's just select any one of the objects. So select this one, this big one, create a new material. And let's rename this to building two. Now if we remember, if we need to copy this material to rest of the objects. So you select the object with the material currently, press a to select everything, and then press control plus L and then link the materials. Alright, so now you can see the ten written overhead. That means this material is being used by ten different objects, as I mentioned earlier. Alright, so now the UV unwrap it. Let's head over to the UV Editing tab. And the first step to do is if you remember, we first need to apply the scale of all the objects. Press a to select everything, control a and apply the scale. Alright, Now basically just hit Tab to go into the Edit mode, press a to select everything. Rescue, and then basically just heard smart UV project it. Okay. We can maybe increase the eyelid margin a little bit to maybe 0.030, 0.00, 40.003 is fine. They are not much empty spaces and we can definitely work with this. Let's come back to Layout. And if you remember, I mentioned before exporting, we need to check the face orientations. So go over here and nibbled face orientation. And you can see we have one red object. That means the normals of this object are flipped. So if you remember, what we need to do is press Tab, press a to select everything and press Shift plus n. And that will basically flip normals and we're good to go. So now all the normals are correct. Everything is colored in dark blue. That means all of the normals are fine. We can go over here and disabled vasodilatation. There's a to select everything and now it is time to export this model. So go over to File Export and select f vx, limit to selected objects and make sure to select mesh from over here. Let's come back. And in the exports folder, I will be saving this one as leading to and now hit Export. All right, so now we can open up Substance Painter. Alright, so substance painter has opened up before starting. One thing that I want to change this, I just now noticed that the earlier export, we did not really change the name if we just quickly open it up in the 3D view for this building, There's just rename this to building one. That everything stays a little bit more organized. Just making this change. Let's come back to this print and now go over to file. Let's create a new project. And the steps remain the same. Go over to File, select and select the weeks while we just exported. So building to double-click on it and rest, everything remains pretty much default. It okay. And just quickly look through your model for any kind of issues. So I don't think there are any. I will first enable them Berlin decreasing from the display settings. Next, head over to the texture sets settings. Select big mesh maps. Output size would be for k, and I will just do the same things that I did earlier. Enable these two options and set the anti-aliasing to four-by-four. Now they selected textures. Let's quickly wait for it to finish. I will resume the video when it is done. Alright guys, so the biggest finished now hit Okay, and quickly look through your model for any kind of big issues. So this BIG came out pretty clean and I don't think there are any. So let's start with detection process now. Before that, I will just quickly save my project. So hit Control S. And in Substance Painter files, Let's save this as building to save. Now we can start with the texturing process. Now, you will notice some of the materials we basically have to reuse that we earlier created for our building. One, like the glass material over here and a metal material and even the concrete material. So instead of like doing all those things over and over again, but I will be doing is, I will be creating smart materials out of those layers that we created earlier in the building one. And then I will be using it in this project. So before starting the texturing of building, to quickly open up the building, one project of yours. You can hit Save it for it to open up. Alright? So now select the building one underscore main. We have this Walls folder. So now we can basically create a smart material out of it. So to do that, just hit right-click. Go over to where does it go over here, create smart material. And as soon as you do that, you will see in your shelf it has popped up over here. Nitrogen is right-click on this and rename this from vaults two. Let's rename it to something like Kohl's underscore concrete so that we know that this material is related to our course. And it couldn't be easier for us to find it. You can just type in course. We have our course concrete over here. Alright. Similarly for the metal, this right-click and create smart material. And rename this to go to underscore metal. Alright, open up the doors and windows and let's see, I think we needed one more thing. The glass material, again selected, right-click and create smart material. Over here, right-click and rename this to course underscore glass. Basically, this is what we needed to do. We can again open back on building to sustain the project. Now, it will be really easy for us. Protection is building. Let's remove this filter from over here. I've searched for course. We have a couple of more materials overhead. That is this course underscore, rubber and course underscore. So these are the materials I created for some other costs. So don't get confused by them. We basically have to use these three over here. So first, drag-and-drop the course underscore concrete. Now we just need to edit this material a little bit. So delete this layer first, open up this folder. Now, first we can disable this concretely in black layer. We do not really need it. Everything is pretty much fine. The damage one is working nicely and this layer is also fine. We can maybe increase the tiling I'm in-degrees that Eileen to 20. That's better. Now, just select this thing over here. The geometric guy can right-click and hit Exclude all. And now just select this main piece. Alright, Next I will drag and drop the class. Again, hit right-click and exclude all over. So there's one issue over here because using the geometry mask is complete, object is being selected. So all these boundaries also getting selected. So we don't really want that. So just undo this quickly. Right-click and hit include all. Now, instead of using the geometric mask, we will be using the black mask to add a black mass to this. Again, select this tool polygon and make sure to select this mole. So that is the polygon fill mode, not the Nashville mode, because Nashville board is basically the same as divinatory mask as you can see. Just undo this and now select this one. Polygon fill and just select these faces. You can see how easy it was. One thing that I forgot to mention is these two different modes. We also have this one. So this is the triangle field. So this will divide all your faces, introduce half. So if it's click over here, you can see it will fill in two different halves, like two triangles. So yeah, I don't really use this mode ever. And the last one is the urethral mode. So basically what this will do is it will press F1. You can see all these small UE eyelids. So anytime you click on any model, it will feel according to the UV islands. So you can see over here, these all are separate UV islands that why they're filling up separately. But if they were together like all these pieces over here, let's say I selected. You can see this whole side is selected all at once because they are part of the same UV island. This does not always work properly. So I mainly use these two words only. Rarely ever use a triangle field or the UE junk food to select the polygon filled. Quickly select all these phases. Press F2 to come back to the 3D mode and dusted also working fine. I think we can also add the desktop version layer if you want. So now just add a fill layer on top of all this, rename this to dust. Let's set the color to a dark color. Add a black mask. Now come into smart mass section and search for desktop collusion strategy and drop it over here like this. And you can see that it's added all along these gardeners and crevices. But I think keeping it this way is fine. We do not really need to increase or decrease that much. Alright, so the last thing to do is drag and drop that iron material. Come back to the smart materials section. Drag and drop this iron. Let's move it below the desk layer. Right-click and hit extrude all. And just select these pieces. We can move it below the glass layer. So again, we kind of have a little bit issue. We cannot really use the geometric mask because you do not want the iron material to appear over here on a glass material. So we cannot really use geometric masks. We have to use black mass gain. So hit right-click and include all and add a black mask to this. Now again, select the polygon field. And now we have a little bit of issue with us. We cannot really go ahead and deselect each and every phase one by one like this. What we can do is basically go to this mode. That is, the mesh will select this all at once, like this. But then you will say the iron material is appearing over here also on our glass layer. So there is a very simple way to fix this. What we can do is we can quickly go back to the polygon fill mode, press X to set that to the black color. And just select this face to de-select it from over here. So you can see how easily we work this out. We didn't really have to select each and every face. And we can just deselect this one huge face. And that way we can easily add the iron material. Let's come back to the mesh, will select this piece also. Okay, first press X to come back to the white color and now select the, select this, this, this, select all of them quickly. Again, you will notice the iron material is appearing over a glass layer. Select this polygon filled press X or the black color, and now be selected from all the layers are pretty simple. All right, let's see what we can use for these things over here. So I will open up my pure ref just to see how they used to look. Also one more thing. I want to add the iron material over here also to click over here again. And on these pieces also I will add the iron material. Select the mesh, will select this thing, this thing. Press X first to switch back to white color. I always forget this. And yeah, that looks pretty nice. Alright, so hit right-click load alone recent. I think it kind of has the same material as the concrete only we don't really have to detail it that much because it won't even be visible. And we will have these lettering added later on stage. Don't worry, we'll add that. So what we can do is we can select the concrete layer only, look over here and select it. Next, what we can do is open up the concrete folder, select the concrete green layer and duplicate this. And we can have a little bit of bluish color for this layer. Like over here we have select this. Let's see. We can also use a dropper tool and directly selected from over here. So yeah, that looks pretty good. You can select a dropper from over here and select the color. Now, just again add a black mask to this and select the polygon fill. And just select these faces. And yeah, that worked out perfectly. Alright, So it was that simple, we easily textured art building to using the smart materials. So it is a pretty handy technique to reuse all the materials that you've already created. So we don't have to again and again create the same materials are left. So let's just say Save now. We're basically done with the texturing of a building to tenuous watching. I'll see you in the next one. 17. Texturing the Store Building: Alright, so we are back in then and now, and we are done with the texturing of a building too. So we can again disable this. And building three is also done. So let's do for the final building, that is the building for. So again, select this and come over here to the materials tab. Select any of the object and create a new material, and rename this to reading for pretty similar stuff. If you want, you can try doing it on your own. And now I want to apply the material to all of the remaining objects. So just press a to select everything and press Control L and make sure this object is only selected that we just applied the material to press Control L and link the materials. And yet all of them now have the same material as you can see over here. So let's head over to the UV Editing tab. Now. Let's start first and press a to select everything. And first press Control a and apply the scale. Then we can press Tab, press a to select everything and press U and hit smart you predict. And it Okay. For this one, the default is pretty good. I don't even think we need to add the island margin. Margin is finite, zero and rest. Everything is pretty much good to go. We need to just check what's the face orientation before proceeding. So enabled face orientation. Here we have a couple of issues here. So let's quickly fix them. Select this thing, press Tab, press a button, press Shift. And if if it does not correct itself, just HIT inside and it will, sometimes it won't connect the normals automatically after pressing shift and you just need to enable the inside checkbox. Again, select this press Tab English shifted for this one also, again, shift plus n, Then hit insight. Now I can just select all of them and now export them to Substance Painter, disabled face orientation, press a to select everything. Save first and go over to File Export and Vx in the exports folder. Let's rename this to building for enable selected objects and mesh and hit Export. Alright, so the export is done now so we can quickly open up Substance Painter. And now we will be creating another new project and basically using the same materials, but we will add a little bit more detail to this particular building. Alright, so go over to File New and just select the file that we just exported. So this building for it, okay. We can press F2 to come back to 3D view. And as you all know, the first step is to always bake the mesh maps and also enabled in DC. Come over to the dishes at Settings, go to bake mesh maps, make the same changes and just quickly hit bake. Let's wait for the bank to finish. Alright, so the biggest done now hit Okay, and just quickly go through your model. But initiating issues, I don't think we have any. So we can again quickly start with the texturing process, come back to the layers. And now in the smart materials section, search for our course materials. And I will drag and drop the concrete material first. Select this layer one, just delete this. Let's open up this folder. And we don't need the black concrete materials, so we can select this layer and delete this one. Select this right-click and hit Exclude all, and just select this main part. You should, I think definitely decreased the tiling a little bit. I think 15 is pretty good for this building. Next, let's see, we can add the class material. Instead of using the geometry mask. Or I think we can use the geometry bossed with this one because we added separate planes, I think. Sake this right-click and exclude all. And yeah. I was right. We aren't separate lanes for this. So that's where you can directly select them. So that's pretty handy for us. Or drag-and-drop the island. Right-click exclude all and just select this, this not these pieces, just these. This one over here. This one is two. I think for this also, I will use the iron material only. Next, we can just quickly texture this electric box over here. So search for plastic. And we use this plastic glossy scarf to drag and drop it over here. Exclude all and you select this. Again. Select the iron one and select these two pieces. Open up your plastic glossy scoffed and just change the color. Something grayish, I think. Maybe even yellowish would work fine. Yeah, something like that. I'm for the wires, we can use this latex black material. Right-click, exclude all, and select these two wires. We should definitely make the color a little bit lighter. Increase the roughness and little bit. That's pretty good. Let's add a little bit of dust as we read earlier. So add a fill layer. Rename this to dust. And let's go over to the smart math section and drag and drop this just occlusion smart mask over here. I think it is very dirty, so we definitely need to tone down it a little bit, so decrease the grunge amount. And yeah, that's better. I think that the grunge amount to zero. Maybe we can visit to 0.1. That's fine, I guess. Alright, so now we will be adding a little bit more detail to this particular building. We will be like, as you can see over here, we have this board, so we can add like posters stickers over here to make it feel like a convenience store. Maybe. If we will go over in your resources folder, open them up and you will find this Textures folder. So here I've prepared a lot of different textures and Alphas, but we will be using further intercourse to detail some of our props and even details some of our buildings like this, no smoking. I can, and like this sticker over here, we can use it for making it as our sign boards. We will be using them in Substance Painter. So let's select all of them. We can select them all. So just select all these poster images. So all these leaves the alpha ones out and some of these view labels, we will be using them later on. So just select all of these posters and stickers and drag and drop them onto Substance Painter like this. So this is how easy it is to export something into Substance Painter. And you can now drag select like this, all of them, because what we need to do is currently it is set to undefined. So we need to set it to texture. So you can either press control a, select them all and just select Texture. All of them would be selected as textures. Or one more thing, you can just drag select like this. Alright? So the next thing is import your resources to pre-select current session. So these resources are, these images would only be important to our current session. That means if you close your substance painter, you won't find them in your shelf over here. If you select project, then these images will be exported into this certain project only. And if you create some new project in your future, you won't find these particular images. If we weren't these images permanently in your shelf forever, then you need to select Import to library. That way it will stay there forever. But right now I will just select project and hit Import. As soon as you do that, you will find them over here. So the way you can find all these assets is, let's say we have normal shelf over here. And if you don't find this menu, you can open this up from over here. So what you basically need to do is open this thing up from over here for you to buy part and just go over to project. And as soon as you select project, you come over here in the texture section, you will find all your important assets. And these are all our mesh maps, so yeah, don't worry about them. These are important assets. Let's see now how we can use it first, what I will do is select this latex black. I can add a fill layer. And what I will do is select this tickle to drag and drop it into the base color. You can see it as somehow appeared over our model. But this is definitely not the way we want it. But don't worry, we will be fixing this. First. Let's rename this to let's rename this to post a sign board maybe. Now, as you know, we only want distinct to appear over here. So what I will be doing is I will add a black mass to this and select this tool. Select the polygon fill and just select this huge base like this, so that this layer only appears over this area. Now we just need to set it up. So to set it up properly, just press F1, bring this up and you can see you can move it very easily. When you are moving it, you will see it is changing over this face. So just place it over here like this. And now what you need to do is you scale it down while holding shift, I think. Yeah. While holding Shift. Scale it down. Like this. Sorry. You can hold Shift and control both at the same time to scale it like this, the scaling here like this. And you can see we also need to rotate it. So hold Shift to snap it and rotate it like this in 90 degrees. Again, hold Shift and scale it up like this. Then hold Control and you can scale it up this way. Our sign board is pretty much fit. I think this is upside down or no. Don't really know. If it should be this way. Yeah, I think it should be this way. Basically, this really is try to fit it properly in your face. I think this sign board looks pretty cool. If you want, you can use some other one also like this one over here that we have. I don't really know what the sign boards say. Just like pick them up from Google images are some of the backs. So yeah, you can use them. Just hit Control plus S first. Save this as building for. Alright, Next we have some of these posters that we can paint on the doors to advertise something. So press F1, F2 to come back to the 3D mode. And now I will be creating a new paint layer this time instead of adding a failure. Because if we add a fill layer, then I can just place one of them at a time. I cannot like paint all of them on the same layer, so I want to paint them all on the same layer. So instead of using the fill layer, I will use a paint layer. Now I will show you how we can paint these assets like this. First, we need to select this prediction tool. And as soon as you do that, you will see this thing up here over here, this white colored box. And now if you select your poster will drag and drop it into the base color. It will see it has appeared over your screen like this. And if you print it, you will see how it is appearing over your model. But you don't want to paint it this way obviously. First I will disable all of them except the color channel because I only want to be in the color channel and nothing else. Next, let's see what we can do first, I will rename this to boosters. Alright, so now to manipulate the size, rotation and all those things of it, press S. Remember, S is the shortcut key for this S. And you will see it has activated. And while holding S, you will see all the shortcuts related to it. So if you use your right-click, you can zoom in and zoom out. It's very simple. If you use your middle mouse button, you can pan it across the screen like this. If you use your left mouse button, you can rotate it this way. You can also hold Shift while rotating to snap it into 90 degree angles so that you don't accidentally place it in something like that in this kind of weird angles. So plus S, then left-click and press Shift to rotate it properly. Let say if you are a little bit lost in your transforms, you can just press S and hit this reset button. And it will reset itself. So yeah, pretty handy stuff. Now press S, use your right-click to scale it down. Let's place it somewhere around here. Let's place it somewhere over here. I think. I'm just placing them randomly and not giving it much thought. Also, you can come over here and change from perspective view to orthographic view. That way it will be easier for us to paint because there is like no distortion. So press S, scale it up. I think this image is pretty good and you can paint it very easily. Alright, Now this one is done. And now on the same layer only, I will just drag and drop different one over here. And now I can paint these different ones. So you can see how handy obtained layer is different from a failure. So if I just come back to my brush tool and you can see both of them are on the same layer only. It is a little bit easier for us. So again, select the prediction tool. Let's select something else. Maybe I can select this thing to paint it like this. You can do it however you may like. You can even find some different posters on Google and do it according to you, is totally up to you. We can also drag and drop this no smoking sticker. And instead of painting it on the front building, I can paint it over here on the right side. Also one shortcut that I forgot to mention is while holding Alt and Shift Y holding Alt, you can move your model like this. But if you hold Shift together, you can snap it in 90 degree angles, so it is pretty easy for us. So yeah, let's hold Alt and shift. Use your left-click to snap it like this. Zoom in and just press S. Then right-click, scale it down. And then this over here. Next, let's use this poster. We don't necessarily have to use all of them. Use a couple. And I think this image is pretty good. Alright guys, so I think this one is fine. Now, I'm feeling like these posters are a little bit too bright according to the rest of the building. So easier way to fix their colors is just select the posters, go over here and add a filter. Select this and search for HSL perceptive filter. Now you will notice you can easily manipulate the hue. You can see, you can change the colors however you may like. So we don't really want to play too much with the hue. We just want to increase or decrease the saturation and lightness. So what I will be doing is basically I will decrease the lightness to 0.45. And you can see instantly they went a little bit darker. As you can see. That fits much better with a building. I think 0.43. Yeah, that's much better. We can even decrease a little bit of saturation, not too much. Work for it fight. And yeah, I think that is pretty good. Let's hit Control S to save our buildings. And yeah, I think this is it for a building for you can even detail it further. Spend some more time with this and experiment a little bit more. Yeah, thank you guys for watching. I'll see you in the next one. 18. Setting up in Unreal Engine : Alright guys, so now we are done with the texturing of all four of our main buildings. So let's just disable them for now and we're left with the ground. So what I will be doing for the ground plane is basically I will be texturing this in Unreal Engine Ali, and I will not be exporting this to Substance Painter. So yeah, I will just set all of it. And first press Control a, apply the scale. Also, let's add a material to this and rename this to ground risk control L and link the materials. Alright, exquisitely head over to the UV Editing tab a to select everything. Okay, First, we need to apply the scale. Superseded select everything and just smart UV project this. That's fine, I guess. Alright, let's come back over here. And now basically, I will be exporting all our models into Unreal Engine first. First, let's create a new project in Unreal Engine. So click over here and open up Unreal Engine to create a new project. Just click over here on the games I can and select blank from over here. Over here, you can keep all the settings default. If you have a ray tracing guard, you can enable this from over here. But I won't be using ray tracing, even though I haven't read RTX enabled card, I won't be using this. You will be using the new features such as human and NAMI. Let's keep this disabled. And let's name this project as Japanese street. And just hit Create. Alright, so Unreal Engine has opened up. Can dismiss this. Okay, One thing that we forgot to do is quickly disable all of this and select all of the ground objects. So just press a. Let's quickly go over to File Export and we need to export this also. Just rename this to Brown. And basically we will be importing all these files into Unreal Engine. So yeah, just import your ground from a lender. So hit Export and come back to Unreal Engine. And now what we will be doing is right-click over here and let's create a new level. Keep this as new world. Only, double-click to open it up. It's Save. As soon as you open it, you will see everything dark because we don't have any lights. Let's quickly add some lights and set up our atmosphere in this video. Over here. Wait, we need to go over here in the window and enable display sectors so that we have this place after window over here. Now search for force directional light, drag and drop it over here. Next we need to bring on Sky atmosphere. Select your directional light and search for sun over here and make sure this atmospheric sunlight is enabled, then only this will work properly. So if it is not on by default, just make sure this is on. And siliceous guy atmosphere. Move this and everything over here is fine. Next, what we need to add is we need to add the exponential hide fall. This is basically a little bit of fog and mist. We can adjust it on our own. We can increase or decrease the density of the fault, but for now, I will just keep it at default. Next, let's see. We need to add the skylight. Just drag and drop the skylight and make sure real-time capture is enabled. Makes sure to enable this. And the last thing that I will be adding is a volumetric Cloud. So basically that will add clouds to our scene. So yeah, that looks pretty nice. Save our project and let's hit right-click and create a new folder. Because now we're going to import our models. So let's name this as models. We can easily solve models. Open it up. Let's create another new folder and rename this to building one. So let's import our building one in this double-click to open it up in, add it over here. Now, head over to your folder wherever you have created this exports folder and select the building one. All of these settings are, I think pretty much default, just hit Import All and wait for it to finish. In close this up and just check. You can see all of them have been imported. You can also see our materials are also important over here. So we can just add the texture to them. Let's come back over here next. Create a new folder. Let's rename this to building to building to first, cancel this, make sure to open up your building to folder. Now hit right-click and now import this. Select building two and hit import all. Let's close this up and I will create a folder for building three. But as you know, we're just importing the textures for the building. But we will be importing the building three again, but not now. So just keep this folder empty for now. And let's add the building for first. We will handle this building free later on. Now again, add, import and select building for. And the last one to bring in is the crown. This way everything stays organized because we will be adding later on props and things like that. So yeah, it is good to keep everything organized, it in bold all alright, so now we can start bringing them in RC. Select all of them except the material. Drag-and-drop them over here like this. And make sure to just set the location before like clicking anywhere else. Just make sure to set this to zero. Comma zero, comma zero. I think it is district. Shadows are kind of messed up right now. Don't worry, we will fix all of those things. Next, let's bring in our building one, select all of the materials I'm in, select all of the models, and just drag and drop it. Like this. Wait for it to load. Can take a little bit. Why? Alright, again, set this to zero, comma zero, comma zero. And make sure before you click anywhere else, just press Control plus G to group them together nicely. Whenever you select this, you can select it all at once, so it is easier for us. And I think I messed up a little bit while exporting the ground. Because if we come back to Blender, go over here and check the face orientation, we forgot to check this and these all models are wrong. So let's quickly select this press Tab. It'll select everything that shift plus n naught where it can be fixed pretty easily. So disabled face orientation and we need to export this again. Because if you will notice in your Unreal Engine, the ground overhead is looking very weird. That is because of incorrect normals. To select it all, go to File export, FBX, select the ground again and just hit Export. Go back to Unreal Engine. Select all four of them and just quickly delete them. Come over here in the ground. I will delete all of them to select them all and press Delete and force delete them. And we will just import them again. In bold all. Alright, select them and again dragged and dropped them like this. Now they're imported correctly and now the shadows are also working fine. Set this to zero comma zero, comma zero. Next, let's bring in the building to again, set this to zero comma, zero comma. We showed the best control G, join them. And next is operating for again set the zero comma zero comma zero is controlled with g. And for now we can just select our building one press Control C, Control V, and just duplicate this and place one over here like this, just so we can view it. You are seeing how everything is looking. Place it somewhere around here. Alright, so the next step, in my opinion is the camera. So go over here and search for camera. Drag and drop it like this. Alright, so make sure you fix your view like this properly, or however you may like it. Plays it however you like, and select your camera, right-click and select Snap object to view. And now you can right-click on your camera and hit pilot. And now we are viewing to our camera. So go over to lengths and set the length. Well women, and you can see it is exactly how we viewed in our scene and now you can move your camera. I forgot to mention how we can move in substance painter is basically holding your right-click and then move your WASD keys, like you will move in a video game where you right-click and move just like that. I will just pretty simple. Something like this. Alright, so for now I think this is fine. It is pretty experimental anyways, so we can change it whenever we want. It a little bit downwards like this. Control plus S to save our Unreal Engine projects and make sure to go over to file and hit Save, save everything properly. Alright, Next, what you can also do is you can change the placement of a lighting. So click on your scene, press Control L and keep holding it. So hold control and L and you can move your lighting using your mouse like this very easily. You can set different times of the day. You can set it at evening or at right morning. Night is basically not that useful. So that's something according to us. We can maybe set it like this for now. This looks quite nice. We can always change it later on, don't worry. Again, see we can create lots of different variations. So for now I think that is pretty much okay. They controlled plus S to save this. And now we need to export our textures from Substance Painter and bring them into Unreal Engine so that we can add our textures over here. And then we will be texturing our ground furthermore. So before that, just to end this lecture, I want to do one more thing. The select your each and every material. So like this building for material. And make sure you enable, go over here and nibbled two-sided from over here. So basically what this will do is if you have a 3D plane in your model anyway, it won't cost any shadows in Unreal Engine, but if you enable this two-sided, it will start to cast shadows. So that isn't a nice to have it enabled by default for all of your materials. So he'd saved now, wait for it to compile and disclose it. And let's quickly do this for each and every material that we have enabled two-sided hit Save and Close your material. Come over to Building three, okay, so we don't have anything in building three right now. Commode building to and enabled two-sided. Save. Just close this one and you scroll down a little bit and you will find your materials. So over here, it is done for all of the materials. Now, I don't really know if that made a difference or not, but it is nice to have it enabled by default. Right? So I think this is it for this lecture I will continue from here in the next one, we will be exporting our textures and things like that. So then you guys for watching, I'll see you the next one. 19. Exporting Textures: Hello and welcome everyone. So let's continue. If you open your Unreal Engine project, you will see something like this. So make sure to just double-click and open up your level so that you can come back over here. Now, in this lecture, we will be exporting textures from Substance Painter and importing them into Unreal Engine. But first I want to address a small issue. Like if you zoom in over here in the pavement of our ground, you will see the edges look kind of weird. Also, if you want to slow down the speed of a camera, you can decrease this camera speed from over here. Set this to, to hold you right-click and you can use WAS due to move slowly. Now, you will notice that the edges of your pavement looks pretty weird. So it is not that huge of an issue. Because if we just zoom out like this way, they won't be even visible that much. But sometimes you might face this shading issue of edges in some huge model of yours in some different projects. So I just want to show you how you can fix this. So if you go back in Blender and zoom in over here, you will see the weird edges are present over here also. If we just fix them in Blender, they will be fixed in Unreal also. Alright, so to fix them, it is pretty simple. Just select it, go over to modifiers and add a weighted normal modifier. As soon as you do that, you will see that the shading of the edges is not perfect. You can also enable keep sharp to make them look sharp like this. That's up to you, I guess I will just disabled keep sharp and keep it this way only. Alright, so now what you basically need to do is just select this, go over here and hit Apply. And one thing we must do is we just select it all. And we need to export this once again. So go over to File Export and Vx. Come back over here in the exports folder, select ground, and do all those things and just hit Export. I will just quickly go through this in Unreal also, I will select the ground and quickly delete it from over here. In the models also select all of it. Just delete this. And let's add. Once again, it is quite of a tedious process and it can take a while, like a little bit of back-and-forth. But yeah, this is just to make sure that everything is perfect. Alright, so now you can see the edges look perfect. This is how you can fix this issue. You set this to zero, comma zero, comma zero. Alright. Now we're good to go. Let's open up substance painter now and start with the exporting of our textures. Alright, so for now, we can just open up this blender and just close this for now. So hit Save and just close Blender. Substance painter has opened up. Go over to File and let's start with the building one. Open your project tab and it is pretty easy to export lectures. So what you basically need to do is either you can go over to fight and then hit Export textures, or we have the shortcut over here for hitting Control Shift and E. And you will see this dialog box pop up. You don't have to worry much about this dialogue box. We have everything over here only in these settings. You can see we have two different texture set. So as I said earlier, there will be two different sets of textures. You can also enable or disable them from over here. Like you only want to export one texture set. But these are the global settings, so we will just changing the global settings for all of it. So the first thing is the output directory. Output directory is basically where will your textures be going. So now what I will do is to save some time for us that we that we don't have to again and again import and export everything from substance painter to Unreal Engine again and again. But I will be doing it. I didn't go over to Unreal Engine. Come back over here, right-click and create a new folder and rename these two pictures. Again, create a new folder, rename this to building one. You can right-click and hit showing the show in Explorer. So as soon as you do that, you will see this has opened up now in your Explorer, the parts to this folder. Just double-click over here on the top of this and copy it. And now you can basically come back to substance painter and directly paste this part over here and hit Enter and then select folder. So this way, these textures will directly get exported into our Unreal Engine. You will understand how it will go through. So open up substance painter again. So next is the output Template. If you open this up, you will see different types of output templates like we can see for Blender also is there Corona engine? Engine cycles are all these things. If you scroll down and you will find Unreal Engine four bad. I know we had it using an Linden fight, but Unreal Engine four will work perfectly. So just select this one. Unreal Engine for PAD file type. We will be going with data and in bits plus T3. The size, I think foci would be the perfect for us. You can go a little bit lower, but to have the best quality, I think it would be a lot of overkill and it will make our project very huge and very laggy. So I would just be going with foci. I think that is the best spot. And you do not need to do anything else. After all of this is done, just hit Export and wait for the exporting process to finish. And as soon as this is done, you can just come back to Unreal Engine and don't recover anything. You will see this thing over here. So six changes to source content files have been detected. So would you like to import them? So yes, we will just hit Import now because we want to import all those textures. And as soon as it is done, open up building one and you will find a texture over here. So there are six textures, so three for each material. I will show you how we can plug this into our different materials. So first, go back to content models. Open up building one, and open up this material. Let's open up building one underscore main. Alright, so we have our material over here, make this full screen, and we can delete this thing to just select this, hit Delete. Now press Control plus space to bring up your content browser like this. Building one. And make sure to just bring in the textures for building one underscore main, these three reading one underscore main ones. So these three just select them all by holding Shift and drag and drop them over here like this. These are basically different channels, like if you noticed in Substance Painter, we had five different channels. So color, metallic, roughness, normal, and height. So these textures are basically these channels only. So we have first the base color. I will plug base color into base color. The second one is normal. To select Normal and plug it into normal. And now you must be wondering that we have three different channels left, like metal roughness and height, but we only have a single texture. What type of texture is a different type of texture. So this is a bad texture, if you remember, when we were exporting from Substance Painter. So press control shift and E again, we selected the output template as bad. So what this pad texture will do is basically it will pad three different textures into a single texture only like in three different channels. For in the R channel, in the channel and the channel. So what this will do is it will help us save memory. So in the archenteron is the ambient occlusion. In the green channel is the roughness, and in the blue channel is the metallic. Only a single texture can get us three different channels, bad into three different color channels. So this will help us save a lot of memory. So just make sure you always remember this. R is for ambient occlusion, green is for your roughness and Louis for metallic. Now just quickly hit Save. Wait for it to finish. Now close this and you can see the material has appeared over here. I know it looks very weird, but don't worry, we will be fixing it. But first, let's open up our building when doors and windows. Select this, delete this, and let's do the same steps. So select all three of them, drag-and-drop them over here. So the first one, base color goes into base color, normally goes into normal. I'll goes into ambient occlusion, g goes into roughness, and Lou goes into metallic. So make sure you do this correctly for the base color and the normal, we will be using the RGB channels. So all three of them. But for this bad texture, we won't be using the RGB channel, we will be just using RG and B. So now again, hit Save. And let's come back to see how our buildings look right now. You can see the textures have exploited. But if you zoom in over here, they look very shiny for no reason at all. Over here also, all of our areas look very shiny and look very reflective. So this door is not supposed to look that reflective, but it is still looking that reflective. So why is that happening? Because we did not do one single setting. I have not mentioned it yet. So again, open up building one underscore mean. And you can view the preview of your material over here and you can see all of it is looking very reflective and shiny as if it does not have any roughness. So the reason this is happening is because of this bad texture. So don't worry, we'll just quickly fix this. Now select this path texture. And over here, double-click on this picture icon. You will see this window pop up and overhead just disabled sRGB. So as soon as you do that, you will see an edit over here and you can read this error. So the editor is sampler type is color, should be linear color. So this is a very easy error to fix. You just need to Jane the sampler type from color to linear velo. As soon as you do that, the error goes away. And if you view the preview, you can see now it is not looking shiny anymore. And the material has a accurate toughness. And just hit Save. And let's view back in our 3D viewer. And now it is not looking that shiny. We can see we have some issues with the shadows right now. If I go too much in, the shadows are popping in and if I go back, they are fine. But again, we will be fixing that. Don't worry. Let's come back to content again. Models building one and select the second material. That is the doors and windows one, and do the same thing for this also. So again, this is looking pretty shiny all over it. Double-click disabled SRGB and select Linear color from over here. It's saved. Now it is not looking shiny and new. Disclose this. And now beginnings look accurate if you just go in over here. I know the shadow issue is very bordering. Let's just quickly fix that first. So to fix it, you need to select a directional lights. So scroll through and you search for your directional light over here. If we zoom in too much, you can see the shadows. So if you scroll down, you will find a setting, yeah, distinct, distinct field shadows. So just degrees this and just set this to zero. And now you will see your shadows are not doing that weird thing. Yeah, It is pretty much I create now. Alright, so now you can see our building is looking perfect. And we're not having those weird shadow issues also, and not having those reflection issues. So we can view it through a camera, select our camera and pilot. And yeah, everything looks fine. Also to view everything properly, you can go over here and increase the screen percentage. So this will make your unreal very laggy, but it will increase the screen percentage and that will make it everything make everything pretty sharp and high resolution. So yeah, let's change the lighting a little bit. I don't think I like this lighting that much. Right now. These two have the same material, but obviously we don't want that. So we will be changing that. Don't worry. Let's see what kind of lighting we want. Say I think that is better. Alright. Let's set the screen percentage back 200. And right-click on the camera and it stopped piloting. Also one more thing, I will select the camera, right-click and go over to transform and select Lock actor movement. So what this will do is if you go into your camera, like pilot your camera, you don't accidentally move it while holding your rightly so that we add camera position stays fixed. Alright, I click stop piloting. Let's see. Next, let's import the textures for building to building for. Go back to Substance Painter, file, recent files and building to save on this one. Let's come back to unveil. In the meantime, come back to content, over to textures and create a new folder. Reading do. Again, right-click over here and show in Explorer. Select this and Control C. Copy this path. Open up Substance Painter hit Control Shift N E to export. Double-click over here and Control V to paste this part, hit Enter and make sure to select folder. And let's quickly do the same settings. So Unreal Engine four, bad dog, image plus the string and foci. So quickly hit Export and wait for the export to finish. After it is done, we can come back into Unreal Engine and hit Import. Alright, next we have a building to come back to content models select building to open up the building to material. Let's delete this. Risk and roll plus space, and drag and drop all three of these textures. Plug this into the base color, this one into the normal. Resting overhead goes to the ambient occlusion, green goes into roughness, and last one into metallic. Again, hit Save. And right now we haven't fixed that linear color color issue. But let's just see how our model looks. So again, if you go in over here, everything looks really, really shiny, as I mentioned earlier. So let's just quickly fix this. Open up the material again. Select this double-click over here, disabled SRGB and set color to linear. So as soon as we do that, you will see things won't be shiny and reflective anymore and will have their accurate roughness. So hit Save. Alright, so now the building looks perfect. Also, I'm feeling like this metal material over here is very dark, so I will just reduce it darkness a little bit. But first let's just explore these textures. So go over to Substance Painter and open up by waiting for Save. Alright, again, first, we need to create a new folder in Unreal Engine. Go over to textures, and we can create the folder for building three. We will be voting lectures later on. First, let's even bone building for Now moving 30, just right-click and show in Explorer. Copy the pot. And close this up. Open UP Substance Painter and hit Control Shift and click over here and paste the path over here. And just make the same changes. You can do this on your own. Notice, very simple. It export. Again, the export is done. Come back to Unreal Engine and who can put back the models waiting for and open a building for this risk control blood space, and drag-and-drop. All three of these textures like this into base color, normal, occlusion, roughness, and metallic. Save. Let's just quickly fix that issue also select this. If you want to view your model first, you can do this. You can see how shiny it looks from all over the place, even our sign board. To properly view the shiny effect, you can just press Control L and move your lighting. And you will see it properly. As you can see over these areas and this area also. I think I accidentally brought enough that externally point like, let's just come back to our old lighting. And first let's fix this issue. Open up. Select this texture, double-click over here the symbol SRGB and set color to linear villa. Save. Now close this up. And yeah, now everything looks perfect. Let's just move it through a camera. Alright. Let's see. First, I will also import the textures for building three. Go back to Substance Painter and select our building three. Save the changes. Now in control shift and E. And we have already made a folder. So just go over here, right-click and show in Explorer. Copy this whole thing up. Now let's just paste the path over here. Make sure you always hit Enter after this, so that we are actually in that folder. And now select folder. Go back over here, hit until engine for. So yeah, this is a little bit long and tedious process to do. But don't worry, after you've done it a couple of times, you will memorize it and it will get pretty easy to do. So just hit Export and wait for the export to finish. After the export is done, quickly come back to Unreal Engine and wait for the pop-up over here for six changes. Now hit Import. Alright, so now we have a building three. Let's worry about it later on. But first, a couple of things that I might want to fix. So let's see. First thing that I'm seeing overhead is this is looking like really effective and really shiny this door material. So come back to Substance Painter. And you will see how we can make changes back and forth. So now it is pretty simple. You can open up your building for, Let's save. And let's say you want to make any kind of change. So first let's wait for the project to open up. And yeah, now I just want to make this glass material a little bit less reflective. So select your glass, select the glass vase and just make the roughness 0.2, I guess, something like that. And now just hit Control Shift and E. And now you do not need to make any kind of change. Just very easily hit Export. And after the export is done, you don't even need to import it back in Unreal Engine or anything like that. You come back in here and wait for it to pop up, hit Import, and you will see the changes automatically are done in your project. Is wait for it. And yeah, now the texture has been imported and you can see it is a little bit less reflective now. And yeah, I think that's better. Let's see next, I want to make this a little bit less black overhead this metal. Again. And also for this one, the color, I will make it a little bit. Maybe something like that. Let's just quickly hit Export and open up a new project. So this time I will be opening up building one. Go over here, open up building one. It's safe. In the meantime, in Unreal Engine just hit Import. And yet we just need to click a couple of buttons here and nothing else. Now you can see the color has changed a little bit. Let's view all this through a camera. Or I come back over here. First, let's see the texture said, Come over to Building one underscore main. Open up the folder, select the black metal. I think it is currently set to four K. I will switch it back to two k and select the color and make it a little bit lighter. That's better, I guess. Also for this concrete also in the vaults folder, open up concrete, green, black. And this one also I will make it a little bit lighter. Alright, now let's quickly hit Exports, hit Control Shift T and export. Wait for the export to finish. Come back to Unreal Engine. And just hit Import. You will see all the colors update. As soon as we do this. You can see the colors have been updated. I think this is pretty handy. We do not need to import and export again and again. We just need to hit a couple of buttons here and there, and everything would be done for us. So we have set it up in that way. Alright. So I think this is it for this video. In the next video we will be texturing the drown, and also we will be importing our building three, we will be deleting this building, and instead of this, we will be having a different building. This video also has gotten pretty long, so I will end it here. Thank us watching. I'll see you in the next one. 20. Texturing the Ground: Hello and welcome everyone. So I have opened up a new project over here. So in this video first, we will be putting in our building three, and next we will be testing our ground. So yeah, let's start. So these two buildings are pretty much the same. So I will deselect this back one and press Delete and just delete it completely hit Yes. And now what we basically can do is go over to models and in the buildings three folder. Press Add it important. And again, just import your building one only because we don't really have a building 35. So building 1.3 are same. So I will again in both building one into the different folder that is building three we just imported over here. They're getting bored. All wait for it to import. All right, so there's this close this. I will come down over here and first I will select this material, press F2, and rename this to building to building three. And do the same thing for the other material. Also, scroll up, select the other material they serve to rename it. And this has building three. Alright, now you can just select the model and hold, Shift and select everything. And just drag and drop it like this over here. Wait for it to load. And then you can hit Control G to group them together. And make sure to put in zero comma zero, comma zero. Alright? Now what we basically can do is this is a completely different model now, and we have different materials for this. Open up this building three main. Delete this and we have already done this a lot of times press Control plus face. Head over to the textures folder in building three, we have already imported these textures from substance painter in the last video, select all three of these main textures and just plug them into their respective channels. So the first one goes into base color, this one goes into normal. R is for ambient occlusion, green is for roughness. And Louis, What Metallica is double-click over here, disabled SRGB. And there's this fig, this. And I will just fix this together already. Said this to linear villa and now hit Save. Basically that's all the steps that we need to do. Close this up. And yeah, you can see, and now you can see the new material is appearing up overhead. So similarly select the second material, delete this press Control Backspace. Again, select these three drag-and-drop. And yeah, I think this should be pretty easy by now. Alright, I'll just quickly finish this up. Alright, so we're basically done now. Next, we can start with the texturing process of ground. And you can see if you knew through our camera, one more thing that I want to do is just select all these lights so the volumetric loud hold Control, select the skylights by atmosphere, then select the fog directional light, and the camera. So these six items, because these are different from the models, to just select them all and hit this folder icon so that they appear at the top. And rename this to camera and lights. So that way it makes us easier for us because they are all at the top. We can just select all of the rest of the icons. I mean, rest of the remaining things. Select them all and just create a new folder and put them in assets. But this way we can just easily close this up and everything stays a little bit organized. So select your camera, right-click in pilot. Now it looks a little bit different over here. We can maybe what we can do now is piloting, select this building up over here. Let's duplicate this and just placed one over here like this. Select this ball and maybe I will just delete it. Displays it over here like this, so that our scene is a little bit like it is not looking empty from over here. So as you can see, we will put in like a tree or something overhead at the back so that there is no empty space. For now it is fine, I guess. Next I will select this circle and move it towards the left side a little bit. Alright, so hit Save. And next we can move on to texturing are ground plane, the ground assets. So for that we will be basically using our pixel. One more quick fix that I want to do before starting is I just want to separate these three objects. So these are currently a single object. So I just wanted to separate them. So I will quickly open up Blender. I'm sorry for that, but I will just quickly separate them out because I'm not liking it this way. And it will be better for us if we just separate them out, because we might have to duplicate one of them. You just select the block, I'll select this piece for slash. And the way you can separate the objects is press Tab, press a to select everything, then breastfeed and select by loose parts. So p is for separating by loose parts. Now these three are separate objects. The slash again come out of it, disable everything except the ground. Select it all. And let's just quickly exported once again, select FBX and explored this in your exports folder as the ground. Alright, I will just quickly go back and import everything again. Just delete this for now. Open up the ground. Also do give this old ground unimportant. Now they are all separate selected all and drag and drop it. Place it at zero comma zero, comma zero. I will just delete this wall for now. We can obviously add it later on from over here if we wanted to. All done with that out of the way, Let's start texturing. So the way we will be going through texting or ground is we will be using the assets from Excel. So Excel is completely free and nowadays even easier to use it because it is integrated in Unreal only. You can go over here to goodly active reject. As you can see an image select Quick cell bridge. So as soon as you selected, this pop-up will come over and you just need to login into your epic account. So it is completely free to use with Unreal Engine. So now we will look for some assets for our road. I mean materials, so I will search for asphalt material. And let's see which one we can use. Obviously, there are lots of different ones. You can go through them and select anyone that you might want. So these are all like road material, so nice. Obviously it is completely up to you. Which one you want to use. The one that I will be using is this one, chip see payment. So the select this and you can select the quality from over here. So I will just select high-quality. And I have to sign in first. So I will just quickly sign in into my epic. So now I have signed into my account. I will set this back to medium quality only because high-quality is really a large file. So if you want to go for it, you can definitely go. But I will be setting it to medium quality only. And I've already downloaded this asset one time. So you can again hit download over here and wait for the download to finish. You can view your downloads over here. So you can see it is downloading. As soon as the download is done. You can just select this and hit Export. And you will see, I will just minimize this. The material has appeared over here. Just drag and drop it over here like this. And you can see now your road is off a material, but obviously, I think the size is too much right now. So just double-click over here on this material instance. And if you look over here, you will find this tiling and offset. You can enable this scaling and offset and set the tiling to maybe five. Let's see, for x and y, both of them. I think five is a good number, or maybe we can increase it to ten. That is really up to us. I think ten is pretty good. We don't see that much dialing. Yeah, we don't see that much repetition and I think the scale looks fine. Let's try it. I think it is fine. I'm not really experimenting this much with this. So there's this close this now. And for these pavements, again, open up pixel bridge and search for pavement over here. And you will find on another material. That is, let's just scroll down this one. I will be using this one. Again, already downloaded this, so I will just hit Export this time, but you can hit on Download and wait for the download to finish and just click Add over here. And if you go back, hey, in the content, you can find this in the mega Scans folder in the surfaces than concrete waivers and just drag and drop this material on this thing, this thing, this thing. And over here, again, the scientists do much. Double-click over here, enable dialing and offset. Let's set this to 55 again. I think we need to set it mode I 15, 15 maybe. Yeah, I think setting it to 20 is perfect. So now if we look through our camera, we have seen already looks much better with all these materials. One thing that I do want to change is I want to change the location of my camera. Select the camera, and I've already decided on a location. You can just right-click and go to transform and disabled log at the moment. And you can just move around your camera and see what fits you best. But I will be just setting the location on the x21 7755 would be 5.5. And they can be two-ninths. So now what I will be basically doing is. It's moving it towards the right side, little bit like this. It stopped piloting for now. And select this thing and this thing over here and just move them back. Just to create some space. Again, Let's view to our camera and see how everything looks. Now our scene looks much more wider and better. I think. Let's select this and move it. I will just rename this from assets to, I think, rightly, so that we can just press F2 to rename this. And I will rename these two models so that it shows up below the folder, camera and lights. Select all four of these and drag and drop it into the models. Alright, open up your camera and lights Right-click, stop piloting. And let's see. So the reason I separated these three outwards so that I can just select this press Control C and V, and duplicate it over here. Like this. Again, select both of these press control CV. Duplicate it towards the back like this. Let's select this, move it towards the light a little bit. This thing over here, I think is fine. Again, Let's see through a camera ones. Alright, so I think now it looks much, much better. You can decrease the speed of a camera to adjust it even better. Select this piece, press Control C and V. And again, move it towards the right. Because we can see a little bit of empty space over here in the corner. Alright, I think this camera location is much, much better. You can increase your screen percentage. Now our scene looks much, much better with the addition of all these road materials. So let's detail our road a little bit even more. Let's turn this down, Right-click, stop piloting. And also make sure to set screen percentage back to break. Open up books and bridge. Again. This time I will be just searching for load. And we have different categories over here. We have like 3D assets. We can also use various different 3D assets, but I think that is a thing for later on. Right now we want to go into the gaps. And you will find a lot of details over here related to street. You can just go ahead and select the street. I can. Yeah. Let's scroll through. And the ones that I will be using is this painted parking lines. So just hit Export. After downloading them. It is really easy to use them. Increase the camera speed. For what you basically need to do is again, just drag and drop this detail over here like this. This E R to scale it down and scale it. I think this much. Yeah, I think this image is fine. You can press G to do to view the icons, the game icons like this, because if you want to select the icons and the game icons have turned out, you can already selected press G, and then you will see this selected. Now just press control C V and duplicate it all along. This will add a nice bit of detail to our roads. Let's select them all and move them. Over here also, on the left side. There already are road looks much, much better with the addition of these things. You can look through a cook salt bridge and find different types of painted lines and you can create various variations with this. I'm just doing it so that it is a little bit quicker so that we don't have to spend too much time on it. Because this thing is like really very fundamental and very easy to do. You can just drag and drop different types of decals and see what works best for you. We have these different manhole covers also. Like we have this thing also you can just import this also. Wait for the download to finish. In the meantime, let's export this thing, the intake parking lines. We can export this. Okay, not this one. Let's come back over here. So this one, being a pedestrian lights drag and drop it over here. Even this looks really good. Now what we can do is we can select all these decals. Risk control C, then V. And this E to rotate them by 90 degrees and also placed them on this side of the road. Let's push them in a little bit inwards. You can select this. First. Let's just press control C V and list them here also on this side. Then over here. This is a predictive task. But just by adding these things, we can add a lot of detail to our environment. And yeah, Let's just as G select these two and move them a little bit backwards. Select this and move it over here. Alright. So I think this way eyeballs look much better. Next, let's come back over here. You can also use this thing over here. Let's see if we add this selected. Let's try using it. Over here on the side of a street. And I don't think it looks good. You can just remove this one for now. We will look towards this later on. Let's bring something else. Let's see, I also saw this one Japanese stop sign. You can definitely use this to add some Morefield do our environment. So this rotated by 90 degrees. I will definitely press R and scale it down like this. Let's look through our camera once. And yeah, this way definitely looks much, much better. Let's press Control C V and use one over here also. I will decrease the scale for this one. All right? As I said earlier, you can look through all these different decals and place whichever one you might like. You can also use maybe this manhole cover. Let's just download a couple of them. Let's just see another sign that we can use, maybe this one, I use this one in my project. Let's import this and use this one over here. So I don't think these roles science make that much sense. I'm just placing them randomly, is to add a little bit of detail. We also have these different stop taxi only by science. You can use these ones also if you want to. Let's try that manhole cover that we downloaded. We can look through from overhead also. Just hit export and stride placing it. Where can we place such man moviegoer? I just place it over here right at the same time and see if it looks good. I don't know if it fits really well within our scene. So for now I think I will just delete this. We also have a couple of damage options, like these ones. You can import this. Let's just see how we can use them like this asphalt grass, you can add a little bit of damage to your road. Or maybe we can use this. I think it looks fine. Scale it down and you can place it may be anywhere. Duplicate this rotated. I don't know. It looks really odd. Yeah. I'm just giving you options that you can go through all these different types of decals and use them. I wouldn't suggest adding too much of it, but yeah, we can definitely add some of it to add a bit more value to our environment. But right now I think even with this only, our environment looks pretty good. Next, we will start by creating small different prompts along our scene. And first we can set up a little bit of lighting and post-process volume in our scene to make it look visually better. And then we will start with the process of adding different prompts. So yeah, I think this is it for this lecture. Thanks for watching. I'll see you in the next one. 21. Setting up Post-Processing: Hello, Welcome guys. So in this lecture we will be adding up post-process volume. Make our scene look a little bit better. Alright, so let's start First. I will just select all of these decals. Select them all, and just add a new folder and fill in the details folder. Alright, so over here in the place adverse window, if you don't find it, you can look over here and enable place actors. Just search for post-process volume and drag and drop it over here. Like this. You can press G and you will see this cube like thing over here. If you scale it up a little bit. So I've scaled it up. The shortcut for scaling anything is odd and ease for rotation and W is for movement. Alright, so let's say I selected blue. Bloom is a setting that you will just see what it does. Basically, I move into this box over here. You can enable intensity and just increase the intensity. And you will see this is basically blue. Wherever your light is hitting, it will make it glow. If we increase it a lot, even see the glow is a lot. By default, it is around 0.675. You can increase or decrease it. But let's say I move out of this box, you can see that blue setting is not working anymore. If I move into the box again, you can see the bloom is back in action. So this is similar with any of the properties that we use. Like let's say I use chromatic aberration. So let's say I just set this to full, completely at five. So nothing is happening. But as soon as they move inside the box, you can see this is the basically the chromatic aberration effect. It will divide up your colors like this on the objects you can undo using this icon. What I basically want to show you through this is that whenever you stay inside this post-process volume or this box, then only these effects will show. So to make it affect our whole environment, we need to either completely increase its size, but I think a better way would be to just enable an option over here. So we don't have to increase scale again and again. You can just go over here and search for in finite extent and enable this. And now you can see the square is like the cube is very small. But if I remove this back to my blue and now increase the blue, you can see the whole environment is getting effected. Even though I'm not inside the box because I've enabled in finite extension. So you have basically wanted to explain you that. Alright, so let's start. I will first move into my camera, right-click and file it. Also, I will right-click and lock the movement of my camera. You can visit G to just disable all the game icons so that you can view everything properly. Select post-process volume, I will just increase the screen percentage to 200. Alright, so the first thing is obviously bloom over here. So we can maybe increase bloom to 1.5. You can see it adds a little bit of glue and I think that looks pretty nice. Next is exposure. Exposure basically controls the brightness and darkness in our scene. So you see this minimum ripeness and maximum brightness. I will just enable both of them and set them both to one so that they don't change again and again according to i, adaptation. Now you can see this scene is a little bit brighter. If I just undo this and set this back to one, you can see the seam got a little bit brighter. What you can do now is you can enable exposure compensation and just adjust your exposure using this slider. So whatever you set over here, it will completely stay at that lighting only. So let's set it back to one and we want to decrease obviously a little bit. So let's set it around negative 0.2. You can disable your post-process volume and see how you're seeing used to look earlier. Yeah, not much difference right now. Alright, let's move further. We can increase the Blumer little bit more to 1.8. And let's set the exposure to negative of 0.3. Justice they can set it back to zero. So increasing it makes it brighter. Alright, so I will take 0.1, let's see. Yeah, I think that's better. I will say the bloom back to 1.5 only. Alright, let's scroll down and we have chromatic aberration. I don't really like using this setting that much. You can increase it and see how it affects your environment. And yeah, we'll just keep it disabled. Next is dirt mass. We won't be using that, but if you just enable this and set a texture over here. So let's say I selected this texture. You will see now if I increase the intensity, this texture starts to appear over my screen. You can see it kind of looks like a lens on your camera. You can add a dirt mass for your camera. And it can include like a real-world camera that has got a dirty or scratchy lens is pretty useful for that. You can change and see how it looks with different kinds of textures, but it definitely won't be using that disabled. Both of them. Camera's settings. We won't be changing from here. We can change them from overhead only from a camera. Next we have is image effect. Under image effects we have vignette. So now just enable this and notice around your corners, if you decrease this to zero, you will see your code gardeners are much more brighter. But if you increase this, the gardeners or a lot darker. So you can set this to 0.6, will make the corners a little bit darker so that the focus gets shifted to the center. You can see how it affects your environment. Next, let's see we have embrasure. So temperature is basically if you increase it, it will make your environment look like as if it is a little bit hot over there and it will give it yellowish stones, making it look as if it is hot. And if we decrease it, it will, it will give a bluish tones, making it look kind of cool. So default is 6,500. I will maybe set to 6,000. You just give those bluish color tones. I think that works much better for our environment. You can even degrees it to 5,500, maybe. Even that looks alright. 5,800 I think would be best. Right now. I think that's fine. Indefinitely adjust this. Alright, Next we have tint. Tint basically if you increase this, you will see your scene. We'll get a reddish pinkish color tint, and if we decrease it, it will get a greenish white. So I will just set this to zero. I don't really want to change this. Next, we have the global color settings, so saturation, we can enable this and maybe increase it to 1.1. You will see if you increase it to a huge number like 1.5, even your colors are now a lot more saturated and everything pops out a little bit more. You can just disable the post-process volume and see it for yourself. But I don't think that much Is that good? I will set it to 1.15 maybe. Yeah, That's fine. Contrast also, we can set it to 1.1. And I think the rest of the settings are fine, disabled only at one. We also have the different colors settings for all the shadows, mid tones and highlights. But it is like really advanced. I don't want to spend time thinking through them because you can always change these things through Photoshop also, zero, Let's just do the basic things over here. If you want to do something advanced, we can always take a screenshot of our environment and make the changes in Photoshop. Alright, I think these were the changes that I wanted to make. You can also check all these films settings like the slope. You can see how it affects your environment. All of the settings are like pretty much self-explanatory. You can enable and disable them and see how they work on their environment. And obviously you can experiment with this a little bit and see what fits best for you. We also have global elimination method, that is the new feature in Unreal Engine. Lumen. As you can see, if we select this and turn this to none, you will see your lighting has gone completely bad and now the environment does not even look that good. Make sure to keep it at lumen only. You can also use screen space. And it does solve a little bit of problems, but it still looks pretty bad. Then we have standalone retrace. We disabled retracing when you are creating a project. So it won't really show much difference. And I will just set this back to human and everything looks much, much better. We also have reflections over here. So reflection is also controlled by humans. You can set this to none and you can see how it affects all your windows. Things over here, you can see the metal does not look that good, but setting it to you and you can get all those nice reflections. These were the post-processed setting. You can just disable your post-process volume and see it adds a little bit of visual Bob to our environment. And I think it looks a little bit better now. Yeah, you can definitely experiment with all these settings and do whatever you want to. What fits best with your style. Alright? You can also select a directional light. Press Control L, and try moving it a little bit. I think this kind of lighting is a little bit better. If we want to see the exact setting of my lady. You can see over here I've selected a directional light. You can see the rotation. So x is 39 degrees and you can put the y rotation at around -30 and then rotation at around minus 148 degrees to get the same lighting as we. Next we can set up the camera, right-click, oh, we are already piloting it. You can also change couple of your camera's settings from over here. Let's just select a camera first and duplicate this so that we don't accidentally make changes to this one. Now right-click on your screen a camera up to two and now pilot this one. Right now, basically both of them are the same. I will go over to transform and disabled lock at the moment. Now contain all these settings over here like film that you can set this to digital. You can change and you can see immediately effects are alike. Environment. You can zoom in a little bit. And now our environment looks completely different just by changing this camera settings over here, we have this very small focal lens camera that will help you should close up shots. Not really good for wide-angle shots. For close up, you can definitely use this. You can see there are definitely a lot of options over here. Right now if I just right-click and pilot this camera, you can see how much of a difference just using a different camera creates. This looks really good. We can maybe just keep this thing. And I will right-click and duplicate this so that we don't accidentally use this setting. Violet, this one. And let's see, we can even change the lens. We can increase the focal lens and just zoom out a little bit to get a different kind of look for an environment. Yeah, we will definitely experiment with this. A little note when we are taking high-risk screenshots for our environment. Alright, for now, let's just delete this. Jam Rack 23. And we have got two different angles for a camera. One of them is this one and the other one is this one. I think this one also looks pretty good. So one more thing that I want to discuss is this focus settings. If you open this up, right now, Gamma is not really focusing at anything. I think to enable this, draw the book focus plane and now decrease the focus distance. You will see this pink colored plane appearing over the scene. So let's say right now, disabled this and send the focal length to zero. You can see how everything is out-of-focus and very blurry. Now keep on increasing it. And you can focus on certain objects. So the plane is to help us with that. If you neighbor draw the book focus bleed, you can place your focus at anything you want to select. Say I want to place my focus over these buildings. This one, you can see now it is pretty sharp and in focus and the ones at the back at kind of blurry. But if I want to change my focus to this, I can also do that. The setting also definitely helps focus over here only. So that's enabled this back. And let's focus somewhere around here for now. Alright. You can also select the other camera. Try adjusting the focus. You will also notice how if we keep increasing the focus, everything gets a little bit sharper. Let's place the focus. I look back for this one. I'm just experimenting with the cameras again. You can do this for however long you want. You can lubricate the camera so that you don't lose your previous settings. You can lock the actor moment so you just don't accidentally hit right-click and move it in. Select Camera three, pilot this. And in. Move it around. And just try something else, like dry or different tangled. Like something from over here. Like this. We will fill something out over here so that it does not look weird. And you're going to increase maybe the focal length and maybe create some different kinds of short. I don't really know unjust. Right now. I'm just swinging my camera and finding if I can find a good angle, maybe something like that. I don't know. Yeah. Even something like that looks pretty good. We can adjust the focus. You can see now these buildings are the focus. So yeah, you can definitely play with this degrees the focus a little bit. And I think that one, this one is much better. Or something like that. You can even take a screenshot of this. We can have multiple different screenshots of my environment from various different angles and focal lens, like capture it from all different angles. Definitely experiment with all the post-process settings, the camera setting, the directional light, have a very different result from mine. I would put it that way. You can select the directional light, increase or decrease the light colors intensity. You can play with a lot of different things over here also. You can also make your directional light use temperature. So if you enable this increase this, it is getting bluish tones and decrease it, you will get yellowish white. Disabled this you can see in the directional light does not cost any shadow. So that makes the environmental very weird, unrealistic, enabled this back. We also have light color over here. If you want to go crazy and do something different, I will definitely suggest, as I'm saying, to experiment with all the different settings. Also, one more thing that I want to enable for directional light is disliked shaft occlusion. And like Chef blue, it is not really visible over here, but if it is possible, I will show you what this setting does in the coming videos. Alright, so I think this is it for this video guys. Make sure to just experiment with all the different settings that we went through in this video, the post-process volume, the camera and the light and come up with something nice thing goes for watching. I'll see you in the next one. 22. Modelling the Beer Crates: Hello and welcome everyone. So now in this lecture we will be starting by creating some small drops to populate around our scene. So that's why we are back in Blender, but I won't be using this file again. Let's just create a new fight, a completely separate for props to go over it in you and who can generate, save on this one. Alright, so now we are in a completely new file. I have turned on my screen casts keys, so first press a to select everything, and let's just hit delete. Delete all these existing objects. Also, I will go over here and search for pure ref. Right-click and open up our reference images. Alright, so we'll go back in the folder in which all the reference images are present in your course files. So select the reference images folder. I've added a couple more of them over here. So just select them all, the last four of them and drag and drop them into the scene. So these are the first set of prompts that we will be creating a bunch of beer grades, and then we will be creating a beer bottle that we can use to populate around our scene, around the residential homes. First, we will start by making these grades, which is, I think pretty simple to do. Alright, so come back in Blender and let's see how we can do that. Simply first press Shift plus eight. Let's add a cube, go over to mesh and select the cube. So now we want to kind of give it a cuboid, kinda not like a cube like shape to press S, then x and scale it up on the x-axis a little bit around 2.7 m. And then select on the y, scale it around 3.5 m. Like this. Alright, so we have this sort of grade. Then we can press Control plus a to apply the scale. Alright, now what I will do is I will be using a middle modifiers to make our work a lot easier. I need to divide this tube into four different halves. So to do that, just press Tab to go into the Edit mode, press Control plus r. You add edge loop. Click over here on the edge, and then hit right-click to place it exactly at the center like this. Just press Control plus odd selected, move it around and then just hit right-click and it will be placed directly at the center. Now press seven for top view. Make sure you are in the vertices select. So from here, you can also click one. You go into the vertices select mode enabled exited from over here. And just carefully select all these vertices. And then hold shift and select all these vertices. Just press X and delete the vertices. So now you can see we have just a one-fourth of acute. So let me do this once again. Just select these vertices, press X and delete them. Then select the right ones, press X and delete them. This way. We have something of this sort. So make sure you have something like this. And your origin point is still exactly at the center like this. Now, just go over to Add Modifier, add a mirror modifier. And now you can see it has automatically duplicate it over to the right side on the x-axis. And now if we select the y-axis, you will see we have easily duplicate it four times. And if you press tab, select this and try to move it, you can see all four edges are being moved at the same time. Alright, so enough of it. Now press Control plus v to bevel this. And let's give it a smoother edge like this at three segments in between. So 12.3 and add this much of a bevel stabbed, right-click and Shade Smooth. Also go over here. And in the normal section enabled or disabled. We can also come over here and quickly enable shadow and cavity. Alright, again, press Tab, then press Control plus r and add two edge loops. So scroll your mouse wheel to add to a E-loops and just place them over here, somewhere around here like this. Next, what we can do is add another edge loop and just place it somewhere around here. I think. I will say this edge, G and Z and move it over here at the top, like this. Then what you can do is basically just press three for Face, Select, select this face, this face, and then press X and delete the faces. Okay, wait, first, what we need to do is select this top face, press X and delete the face, and select the bottom face plus x and delete it. Then select this face and this face, press X and delete it. Alright, so now we have a desired result. Also one more thing. Come back over here in your modifier and make sure to enable clipping. Clipping we'll do is, let's just keep it off for now. This tab. If I select this word Z, you can see I can move it around. But if I enable flipping, it will stay stuck around this like this. So it will be a little bit easier for us. Makes sure to enable clipping. Now we have kind of a shape. Now what do you basically need to do is first, we need to add a little bit of thickness to upgrade. So to do that, we can simply add a solidify modifier. Makes sure to apply the scale and increase the thickness. Let's try 0.05. I think this is pretty good. Next what we will do is you can see all these edges coming out. So it can be a little tricky to create this in our model. And it will take a lot of effort for this small probe which won't be even visible from far away. So what we will do is, I will show you a quick little shortcut how we can create these edges very easily. So just press Tab, go into the Edit mode, rest two for X select, and just make sure to select the edges that I am selecting. Select this one, this one, and this one. Select this one, this one, this one. Like this. Basically wherever you want these edges to come out like this, select all those edges. I will select these four. Let's see. This one, this one and this one. I think this is pretty much it. Redshift plus D. And you can see you can duplicate it, then hit right-click and separate the selection. So that way both of them are a separate object. Now if you press tab, you can see we have these lines and then we have this menu over here. Select these lines and remove the solid if I modify it, because we really don't need it for this. Next, go over to Add Modifier and this time add a skin modifier. Who see something very weird happened, but don't worry, press Tab, press a to select everything, then press Control plus a. And this is a shortcut to adjust the thickness of the skin modifier. So you can see when you press Control plus a, you can easily adjust the thickness like this. So very handy stuff. If you zoom out a little bit, it exactly looks like these edges only. This disabled the overlays and you can see a great looks pretty good and pretty realistic. Also in terms of modeling, I will just select these edges again, press Tab, press a to select everything, then risk control it and make them a little bit more thicker. Make sure you don't go too much because it can get a little weird around the edges. Also enables smooth shading for this. And we can also add a bevel modifier. Reduce the bevel amount, enabled harder normals, and enable auto smooth. You can see that looks pretty nice. What we can do is we can select this again, great. Press tab and select these three edges. Then press Shift plus D to duplicate them. Again, hit right-click recipe and separate the selection. Select this, remove the solidify modifier. And I want to add this thing over here. Only. Select this first, the single line, then select this complete thing, risk and roll plus J to join them. And you will notice nothing really happened because the skin modifier only works when all the vertices are connected. And these two different vertices are not really connected, like this one and this one. So what do you basically need to do is just select this, this thing over here and select Mock root. As soon as you do that, you will see the thickness has a beard, but this has a lot of thickness. And these two techniques are very different. So again, just press Tab, enable X-ray and select all four of these vertices. Then press Control a and just scale it down. Make sure to just select these vertices only and not the rest of them. And yeah, I think that's pretty much perfect. Next what we can do is we can again press tab, select all these vertices at the bottom. So hold Alt and select All in, all of them over here. Then press Shift D to duplicate this. Again, right-click the tree and separate the selection. Select the selection, and remove the solid if I modifier. And this time I will just press Tab and risky than press F. And something really weird happened. And the reason for this is because the mirror modifier is still active, we cannot really fill in the space. So first what we need to do is go ahead and apply the mirror modifier. So to apply a modifier, we first need to come out of edit mode. So press Tab and now apply the mirror modifier. Establishing a to select everything, then rest F. And you can see if you come out of the isolation mode. We have created a bottom face. You can see over here, we have a lot of detail in the bottom face, but I won't be going that far because honestly, when seen from this far away, it won't be even visible. If you want to create a detailed Rob and showcase it as a singular project, then definitely you need to go for these kind of detail. But if you are working in an environment, then we need to work quickly. So that's why I will be just. Making it something like this, I will be adding a little bit more detail though. This tab. Let's select these bottom edges recipe to extrude them with g then z, and move it a little bit downwards like this. Then you can press S to scale it outwards. Create something like that. And let's do the same thing on the top. So hold Alt, select these vertices, press E, G, and Z, and bring them out. And just scale them outwards very easily. Alright, so I think that looks pretty good now. Now what I will basically do is you select it for top view, right Shift D to duplicate this, press X. And let's create four different copies of it. Shift plus D, and move it towards the right side on the x-axis. Again selected all press Shift plus d, then press Y. And we have basically duplicate it four times so that we can have like four different colors for a little bit of variation. And what I will be doing is again, select this redshift plus d and x listed over here. And now select all of them like this. Make sure to have active object. And then select all of them. Hold Shift, then press tab. You can press one for the front view, enable X-ray. And just select all of these vertices and make it a little bit taller, like this. Somewhere around 3 m on the z axis. So just decrease it down. Yeah. Somewhere around here. Just so we have a different kind of grade. So we have two different kinds of grades. One to one is a little bit you even and one on one of them is a little bit smaller. So I would select again all of it for the large one and duplicate this. And we will just have two copies of this. Now we have basically created all our grades. And let's hit Save first and rename this two drops. Save the blend. If I press a to select everything with M and create a new collection, and let's rename this to create. Let's collapse this. Alright, now we wanted to create this beer bottle. So instead of working with this from like pure ref only, I will be bringing this reference image into Blender only. So to do that, it is pretty simple. First, let's disable that rates. Rest one for the front view. Press Shift plus a Google image, and select the reference image. Come over to your Japanese Environment folder and then go to reference images and just select this one. Now that we have is invalid. Now I will disable your refund. Now minimize it. And we have this in Blender and it is now really easy to create this because we just need to basically add a cylinder, scale it down. First enable X-ray. And now we can just press Tab all these vertices, press E and shape it accordingly through the bottle very, very easily. So what I'm basically doing is I'm for selecting all the vertices. Pressing E, extrude it. Let's extrude it till here because it is basically straight. Then press E wherever there is curvature. So just press S to scale it down. Something like that. Risky again, the G Then Zach, move it upwards. Again, scale it down. This is what I was basically doing. I haven't been doing it a little bit fast. Plus E, scale it down. E. This E again. Yeah, it is pretty simple and pretty the appetitive also. Over here, what you can do is press E, then instead of scaling it inverts, just scale it outwards like this. And then again, scale it inwards. You don't really have to be completely perfect with the reference image. We can just eyeball it a little bit. And you can see we have got ourselves with something like something looking like a bottle. We can just hold Alt, select this complete Edge, move it a little bit upwards, press Control B, add a little bit of Babel. And yeah, we can just make it a little bit smoother. Right-click and hit Shade Smooth. Also enable auto smooth. For the lid of the bottle, I will be again adding a cylinder, a cylinder to scale it down. Linseed overhead the top. And I will be adding something basic like this only. We don't need to go too overboard with the details because it won't be even visible. Alright, so we are already done with a bottle selected and the shift. Just so we can have two different variations of the bottles also, I'll select the reference image and just delete it. Select both of the bottles, press M, and add a new collection. And let's rename this two bottles. It okay. It's enabled that the crates move it over here. So we will be texturing them together in substance painter, in the same texture set only first-price one. And let's scale the bottle according to the grid size. This place it over here on the great recession for top view and just scale it down. I really feel like it fits perfectly. Integrate, say, I think this size is perfect. So let's bring it out over here. This big bottle. Press delete, and select the small bottle and just duplicate it once again. Alright, so now one thing that I want to do is I want to place them properly so that I can texture them efficiently in Substance Painter. So if you notice, like if I want to add something over here, like a logo or something, I can easily add it on this crate by pressing one. From viewing the front view, I can easily add some kind of logo over here in the front, but it would be really difficult to add a logo in this grid. Let's see. So what I will basically doing is I will just press seven for top view. Select this green like this, and place them diagonally. Just place all of the grades diagonally. And this is my small little hat to show all the assets easily, displaced them diagonally like this. So this way when you press one, you will see all of the front phases at once only. Then if you press three, you can see all of the right side faces at once. It would be really easy for us to texture these things in substance painter, Let's select the bottles and displace them over here in the front like this. Just make sure your grades are placed like this diagonally. Because maybe we will be adding different kinds of logos on different grades. It makes it a little bit easier. And even if you don't, it is not really a hard thing to place them diagonally because when we export them in unwilling, we will be placing them individually only not like together. Now what we can do is first hit Save. Now we need to apply all the modifiers. So I don't think we really need to create a copy of these grades because they're really, really small assets. So I will just select them all and apply the modifiers. First go over here, enabled statistics and you can see the vertices count and I just count is really high for these small grades. And the reason for this is because of the skin modifier. So skin modified is like a really high-quality. It creates really high-quality stuff. So what we can do is we can go over here, add another modifier and select the decimate modifier. And you will see as soon as I decrease this ratio, the amount of vertices also degrees over here. As you can see, it is decreasing. Also the shape over these edges will also change a little bit as soon as I decrease the ratio, you can notice it. If I set this to zero, they are completely destroyed. We just want to keep a healthy balance between the number of vertices and also the shape of the actual shape of our edges. We can maybe put it at 0.1. You can see because of the decimate modify, we have got ourselves a little bit of weird shading over here. So I think going over to modify tab and adding a weighted normal modifier. We'll fix this kind of enabling gift shop and you will see it has mostly fixed all of the shading issues. And the word count has gone from 53,000.46 thousand. I will do the same thing for all of them. But you don't really have to go like select each and every edge and then add two of these modifiers. But you basically can do is you select them all first. Select this again. Make sure to select this at last, risk and roll plus c. And you will see this menu up here. But if you don't see this appear, go over to Edit Preferences. And in the add-on sections search for copy, copy attributes menu. So just enabled copy attributes menu if it is not enabled by default. Now press Control plus C and select Copy Selected modifiers. And just select decimate and weighted normal and hit Okay. As soon as you do that it will see the vertices has gone 46000-8800. That means all of the edges now have this Modifier applied. So yeah, that works really good for us. Now the word count is pretty low. So press a to select everything and now it is time to apply all the modifiers. I just think we should create a duplicate of this. So what I will be doing is just press Shift plus D to duplicate them all and hit right-click to place them exactly over their own lives. So we have two different copies of these things. Press M and create a new collection. Let's rename this to grades and bottles. In the bracket we can write not applied so that we know we have not applied modifiers one, so that if you want to use them sometimes we can. So let's just disable this collection now. And now we have only these things left. Select them all again, and just press F3 and now hit Convert to mesh. Now all the modifiers, some applied and we cannot really make any changes to our rates and bottles. So that's why I created a separate little collection. So let's say I want to make a change to the plate when you disable them both and enable this back again. And this one has all the modifiers syntax, so we can use these if something goes wrong. Yeah, I think it is a good practice to do this, just to disable this again and enable them back. Press a to select everything. Make sure to have active object like this, like an orange color in a yellow color outline. Then press a to select everything. Go to File. August 1st. Before exporting, I forgot we need to add a material and UV unwrap them. So go over to material. Let's add a new material and rename these two rates. Bottles. This one has the material, press a to select everything. While this is selected. Then press Control L and link the materials. You can see 22 has appeared. So that means all of them now have the same material. So basically now press a to select everything, control a, apply the scale of them all. We'll do a UV Editing tab, select everything with TAB, then press a again. We can enable stretching from over here. And this thing also, then press U and smart UV project and hit Okay. We have this kind of UV unwrap. It is not that great, but I think we can work with this. So yeah, just press Tab, come out of the edit mode and we'll go back to Layout. And before exporting, Let's quickly check for face orientation. This thing, as you can see, it is flipped. So just select them all on my one. Stab press a to select everything. Press Shift N and just sit inside. And you will see now the blue color is over here at the top. But in the bottom we can see the red color. But it does not matter because it creates won't be visible from the bottom like this. But if you are wondering why we have this type of thing like one phase is blue and one face is red. The reason for this is because this is a 3D plane. So if you disable face orientation, select this and press Slash. We just created this as a 3D plane and not like a cube or any other object. So that's why our 3D plane always has one side visible and not visible in terms of normals. So you have one side will always be blue and the other one would be read. You need to make sure of this. So if you want to have both sides of this as blue and that basically means like, uh, you want displayed to have a thickness, so it is not really a plane anymore, it is a cube. So if you enable that face orientation and let's say you want to have blue color on both the sides. So one easy way would be to just go over to modify it and add a solid if I modifier. And you can see now, because it has a thickness, it is blue color from all the sides. And another way would be to just press tab select everything risky to extrude this, like this, that it has thickness. Now press a to select everything, press Shift plus n. And you can see it has thickness from all sides and it is also blue-colored. So because it has thickness. So as long as it is like 3D plane, we will have a red colored side and the other side would be blue. But in our case, it does not really matter because the grades won't be visible from the below and they will be placed on the ground this way. This works out perfect for us. Now. Select them all. Make sure to have active object go to File Export and it FBX. And now in the exports folder, enabled selected objects don't enable active collection. Then select object types as mesh and just rename this to creates bottles. And this will be our first set of drops. So hit Export. Now, we're done with the modeling of a first set of robes. In the next video, we will be texturing them. And after that, we will be placing them in our scene and us watching. I'll see you in the next one. 23. Texturing the Beer Crates: Hello, Welcome guys to. In this lecture we will start texturing our beer grades. So I've opened up Substance Painter. So let's create a new project now. Now over here we can just select the file that we just exported. So this one double-click and just hit Okay. Alright, so we have all our assets over here. So obviously first I will just enable temporal anti-aliasing. I don't think there are any issues with our export or our models, so we can just go ahead and make our mesh maps to go over to Texas at settings celebrate mesh maps, disabled the ID map, set this to four K and do the usual settings and just quickly hit big selected textures and just wait for it to finish a resume when it is done. Okay guys, so the bakers done now, so just hit Okay. And now we can start with a texturing process. Maybe we forgot to flip one of the normals of this one. So that is why Or maybe I think we deleted this. Let's just quickly open up Blender and see what's the issue. This particular plane. So select props. And everything looks fine over here. I don't know what really happened, and I think we may have forgot to select this plane. So what we can do is just press a to select everything. And let's quickly export this. Once again. Know how ready this happened. Go back, exports, export came out fine. Then you don't have to like re-export this. I think I did some kind of mistake. This quickly. Go to File, select and again export this important this into Substance Painter. And yet this time all the planes are fine. So this time all the planes are fine. The reason we cannot see them from bottom is because as you know, it was red color from the bottom. And we only added 3D planes that are without any kind of thickness. But that's why we cannot see them from the bottom, but we can see them from the top, and that's all that we need. So now let's quickly make the mesh maps. So the bank has done again. This time, everything came out nice. Now let's start with the texturing process. Come back to layers, and let's just delete this layer, create a new folder. And I will name this plastic underscore yellow because we will be having different kinds of soft colors for all these grids. So let's start by adding a fill layer. And I will set the name as base. So all the settings remain pretty much default. And I will just select the color and I will be going for a yellowish color. And I've already decided on it, but you can experiment with it. For the U, I will be going with 0.1 to saturation would be 0.836 and the value is 0.73. Alright, so the sort of color, I will just click over here, right-click and exclude all. And just select this one. I'm into pieces. And only these two pieces I'm in, these three pieces will have this yellow color and material. And we can have different colors for all these different grades. So now let's start detailing the material a little bit. This way it looks pretty plain, but next weekend, another layer, Let's rename this to dust. Make it a little bit more rough, like 0.6. And go with the smart masks. And first let's use the desktop version mask. You see now the crate is pretty dirty. So let's just select this and reduce the grungy amount first. Let's set this to 0.3 degrees or Dirt Devil also 2.3. I think that's much better. We can create another layer. And I will create VB unjustly and give this orangeish color like this. And in your smart mask, if you will search for rust, you will find a lot of different rest masks. So let's try a couple of them. Not this one. Let's try this addressed. I think this one looks pretty good, but what we can do is you can just go over here and select this opacity and set this to around 20. Maybe that we had this kind of effect. This way it is rarely subtle and not that much. We can adjust the mask editor if you want to increase or decrease the effect. Yeah, I think this word is pretty good. We can also add a bit of roughness variation. So add another layer. And this time just select the roughness channel. So make sure only the roughness channel is enabled. The roughness to point to three, add a black mask. And this time I will be using a texture. So go over to textures and search for brunch. Let's see. Let's try this one, grungy map 003. First, select the mask and add a fill layer. Then we can just drag and drop it like this. And it is not really visible. Right now. We can go over here and select mask. So we can view our mask. So our mask kind of looks like this. We can now adjust it. First. Let's increase the tiling contrast. Now if you press M to view your material and just look at this way, you can see a bit of roughness variation going on. If you select your main layer and increase the roughness amount, you will see it is now very prominent. But the reason we gave it a low number like 0.20, 0.2, so that it is a little bit more visible. Now I think our grades look nice in maybe select a dust layer and set the opacity to around 70, that it is not that dark. All right, now I think it looks pretty good. Next, let's just select this complete folder, press Control C and Control V. Duplicate this. Let's rename this to plastic. Underscore read. First, let's change the color, select the base layer, select the color. And for the red color, set the hue value to 0.98, the saturation to 0.7, and the value to 0.65. All right, so now we don't want this color to appear over this great obviously. So just click over here, right-click and exclude all. And now we can just drag select these three. And now this is a second grade similar way. Just duplicate this. Let's rename this to maybe blew. Open this up. Select the Base Color. In select the color. The hue value goes to 0.660, 0.51, 0.5 to five. Right-click exclude all, and just select these three. So as you can see, the rust layer is not working really well with this. So just select the rust layer and let's change the color to maybe some kind of dark blue. You see. This way you can add different colors with the orange one. I think it works fine. Next, maybe we can create a white colored material only. So let's just duplicate this. Right-click, exclude all. And now select this. Great. Come over to the base. You said the color, this kind of color, like not really white, light grayish color. I think this looks pretty nice. Then for these large grades, I think one of them can have the yellow color only. So let's select this and select it like this. For the other one, let's create another color. We can have a green color. Duplicate the complete folder. Open it up, select the base layer, and for the green color, just set the hue to 0.3, saturation to 0.447, and the value to 0.485. Now, just right-click over here on your Geometric Mask, exclude everything, and select these three. Now you see upgrades are looking pretty nice with all these different colors. So first, let's hit Control S to save up reject. And over here we can save it as your grades. And just hit Save. Wait for the project to save. Now, let's add a couple of logos, as I mentioned earlier, to add a little bit of more detail to these. Creates, if you open up your breath and right-click and open up a file. With all the reference images you will see these gates have like different kinds of logos for these companies. As you can see over here. So if you go over in your texture folders, in your course files, you will find this Textures folder. And you will see I've created a couple of these same logos that we can use. So if you wanted to create them, it is not that difficult. You can read them with a little bit of Photoshop knowledge is makes sure to create them in black and white tones like this only, so that we can use them as Alpha images. Just select this one, this one, this one, and this one. And now just drag and drop them like this into Substance Painter. Drag, select all of them and make sure to select as alphas, because we will be using them as alpha's. Don't export them as textures, import them as alphas. Select, import your resources to the project only, and then hit Import. Alright, so now all of them are imported. Let's start. First. What we need to do, basically, we need to create a layer. So we will be using white and red color for all of these logos. So first, just create a layer. We will be just having the color channel. So just disable everything and just keep the color channel. And now we will add a black mask. First rename this to look like, as I mentioned earlier, we add black mass to control the texture or control the layer where it will appear and where it will not. If you select the black mask and let's say we select this tool. We can select like single phase is where we want this white color texture to appear. But this time we won't be doing that. Instead we will be using a brush. And with the use of brush, we can use our white color to add this layer wherever we want. And if you press X, now it is black color and we can remove it. You might get confused because the layer also has white color and we're using white color to paint it. But let's say I click over here on the fill layer and change the color to red. And now let's come back to the mask so you can see the color is still white over here. And we are painting and it is appearing red because the color of this layer is red colored. And we are painting with white on the mask, not on the model, but we're painting on the mask currently. And as I said earlier, white means visible in terms of masks, and black means invisible. If we paint with white color, this red colored layer is appearing wherever we paint with white. And if we select black, we can erase this CM, make sure it is clear to you. So first let's just select the red color only. What we can do is we can add the same red color that we used for this. For that. So select the base color and put in as the new value is 0.98. Saturation would be 0.7 and the value would be 0.65. Let's see how that works. Select the mask again. And now just double-click over here on this logo, like this. Now, right now it is black colored, so press X to switch back to white. And if you add it, you can see the red colored logo is added with this layer only. You can select it and change the color of it however you may like. This is a pretty handy trick. I will just make it a little bit darker. And yeah, that's better I think. But what I want to do is first I will select the Eraser tool and erase this. Because I don't really want this logo to appear over here. One more thing. You can hold Alt and Shift and lock your view like this. But it is not really perfect. As you can see. The distance between all these rates is being affected because we are in the perspective view. But if we set this to orthographic, you will see all of them appear to be exactly flat in the same line only. And distension, not really an issue. So you can hold Alt and Shift and you can snap them like this very easily in different angles. Perfect 90 degrees. But if we set this to perspective, it can be a little bit difficult to do. You can see it is not really perfect because of the distance between all the grades. So yeah, make sure whenever you are stamping of stickers like this or logos, just make sure to set this to orthographic so that distance is not really an issue between all the objects. Hold Alt and shift and snap them like this. First I will select this dragon like Google. And on this side, I will be using this to just snap it. Just hold Alt and shift and snap your view. Then you can adjust the size of your brush by holding Control and using a right-click and moving your mouse left and right, like this, you can also just do it from over here. Let's scale it up. Control and right-click and click once and you can see the logo has appeared. Hold Alt and Shift again. And just move over to the backside like this. And just use the logo over here also at the backside. Alright, Next I will use this logo. Now hold Alt and Shift and just snap over here like this. And on the right side and the left side, I will be using this loop. Make sure it is at the centre. 0 Lord, and shift again and move over to the left, the right, like this. And you can see we have easily added logos to all four sides. We have pretty basic. Next what we can do is we can add another fill layer. And this time I will be going with the white color. Add a black mask. So again, rename this to Bluebook. Add a black mask. This time let's select some different, but this time let's select some different logo. So let's select this one. And we can easily stamp it up over here like this. Begins down, put up overhead also. That is pretty the protective stuff now and you can do it however you may like. I'm just using the same logo a couple of times in different areas. Now just select this one and paste it over here like this. All Alt and shift and move back. There's user over here. And here also. The last grade, what we can do is we can just come back to the red color. And while selecting the same logo, stamp it like this. And we can leave these sides empty for this great to have a bit of variation and for the large grades, I won't be using any logos. Just have them clean, empty, like this one. We can use this logo over here. It does not really matter. We can mix and match them. Alright, so I think I look pretty good now. Hit Control S to save everything. Alright, last I will add another layer, and this will be for a beer bottle. So let's rename this to bottling. Right-click exclude all, and just select these two. So let's see how we can create a material. First, I will set the color like dark brownish, something like this. Now the way you can create a beer bottle material is just set the metallic to one and set the roughness to zero. And you can see it kind of looks like about it. Then adjust the color a little bit more to get that exact look. I think this is perfect. And it looks pretty workable. Last, we will be just quickly using iron material. Or maybe we can just create one on our own. Add a fill layer, set the metallic to one, and decrease the roughness a little bit. We don't really have to do much. Right-click, exclude all and just select these two. Yeah, we're basically done. Rename this to iron. Now if he will come over here in the folder, you will find a couple of beer labels. So just select this one and I will use just this small one and drag-and-drop them. This time. Export them both as textures and not as alphas because they both are textures. So go over here and say project hit Import. And now we have already done this in the previous lectures. How we can stamp up textures is create a paint layer. This time, I'll select this tool, the prediction tool, and now drag and drop this first level. Scroll down onto over here in the color channel. If you remember, you can press S to scale it down like this. Place it over your bottle. Exactly. So press S then use your right-click to adjust the size. Alright, so now just place this accordingly and use your brush tool to paint it this way. We have a couple of issues now. One thing is that we cannot really see the texture properly, but that is because we are currently set in to K. If we increase this to focus on, the texture would be a little bit better. So yeah, as you can see, next is we have these things appear over here. We can just select the eraser tool. And we can quickly it is the easier way would be to just click over here, then hold shift and control to erase in a straight line like this. You can see it is perfect. Place it over here like this. And it is it again. Control and Shift and paint in a straight line. Remove this area also. And yeah, basically, this way we can add a label to a bottle. Come back to the layers, select the prediction tool again and drag and drop this label. This time. We can waive it, disabled the roughness channel. And I think it would appear a little bit less in painted. This time, as you can see, that King did not appear. So if we want to erase that, you can just disable the roughness channel. Select the brush tool or the eraser tool and just erase this. And yeah, we're basically done with the bottles. I think they look pretty good to be looked at from far away. And they look pretty convincing. We can press Control plus S to save our files. And I think we are done with the texturing of all our assets in this one. First, let's rename this to label. And yeah, that's pretty much about it. For all these textures. In the next video, we will be exporting them into Unreal Engine and we will also explore these textures into them and then start placing all these assets around our scene. Let's just hit Save and tangos watching. I'll see you in the next one. 24. Modelling the Sign Boards: Hello and welcome guys. In the last lecture, we finished with the texturing of all these props. And I mentioned that we will be exporting them into Unreal Engine and start placing them. But before that, I'm thinking that we should create some more prompts and then we will import them all together only and then we'll start placing them. So in this lecture, Let's create some more new props. I will just disable these two collections. And first weekly, let's open up pure ref. Right-click and load your reference image scene. And if you zoom in over this particular reference image over here, you can, if you don't find it, is look for it and double-click. And you can zoom in on it very easily. So you can see a couple of different sign boards over here, like this one, the speed limit one, or the stop sign, and various little small signs that can add a lot of detail into our environment. So in this lecture we will be modeling these. So yeah, it is a pretty easy thing to model and you can definitely try doing it on your own. But alright, let's start. So select your blender scene. And let's press Shift plus a and just add a simple cylinder. Right-click Shade Smooth this and enable auto smooth. S. Then Shift plus z. We just scale it down on the x and y plane like this. Just scale it down a lot. Submitted on this. Then we can press S and Z, scale it up on the z-axis. So something like that. Then what we basically need to do is we can just duplicate this. Press Shift plus dy plus x and duplicate it like this. We can create like three or four different sign boards and yeah, that would be it. Next, let's add another object. So press Shift plus a, then add a cube. Again, scale this down 74 top view and let's just make it around the size of the cylinder, only something like that. Then scale it up on the z axis and match it with the old. Something like that. The size does not have to be exactly equal. But that's fine. We can press S then x less than y and scale it down on the y-axis like this. Then let's just duplicate this one also, x, and place it over here now to create the actual sign boards. So we want the textures to properly fit the sign board that we create. So what we can do is if you open up your course files and look over in the textures folder, I've added a couple of textures that we will be creating. For the sign boards only. We will import them into Blender so that we exactly modelled limb or with proper. I mentioned that when we added Substance Painter and texturing these, we do not face any kind of issues that the texture is not properly fitting into a particular sign board. That way it would be perfectly accurate. So distressed one for the front view Sinatra Shift plus a go over to image and add a reference image. Go into a Japanese Environment folder in the textures folder. And over here you can see all these different sign boards. So let's first select this top one. So double-click. And your overhead it is, Let's scale it down and just make it relative to the size of the bowl. So I think this is pretty large. Select this, scale it down. And yeah, I think a size like this is perfect. So now what we can do is just select this redshift plus S, then go to select it. Redshift plus a add a plane. Let's are then x and rotate it by 90 degrees on the x-axis, enable X-ray. For scaling down. Let's see how we can create this shape. Press Tab less than x and scale it up. One for the vertices, select and select these bottom vertices, press M and merge them at center like this. Now just try to match these two lines with our actual Blaine. Press S and scale it up. Now I think it is perfectly in line with the reference image. So now what we basically need to do is first press Tab, press Control a, apply the scale. Then press Tab again. Select all three of these vertices. If you press Control a and B, you will see nothing really happens because this is a simple plane. And now we need to bevel the vertices. So to bevel the vertices, instead of pressing Control plus b, you need to press Control Shift plus B. Now bevel it and you can see we are easily beveling. Our vertices. Add a couple of segments like this, and just try making it smooth. And you can see it almost no perfectly fits the reference image. It is a little bit out of place, but I think we can definitely manage that. This matches pretty good. Let's select all these top vertices, S and X. Scale them up a little bit outwards. So yeah, I think this is perfect. Press Tab. Disable X-ray to select the reference image. Let's move it back over here. And what I will do is select this reference image, press M, and move it to a new collection. Rename this to record images that we can easily disabled this whenever we want. Alright, now select your sign board. Will do modifiers and let's add a solid. If I modify first, apply the scale right-click, Shade Smooth, and also enabled auto smooth. Give it a little bit of thickness, is pretty good, I think. Then let's add a bevel modifier. Enable harder normals. And yeah, I think that's pretty good. I first sign board is pretty much done. It looks a little bit large to you. We can scale it down a little bit. Alright, the shift, let's say, let's add a couple more cylinder, scale it down. They stem over here. Like this. Over towards the backside. We have something towards the pole to hold this down. Shift plus B and duplicate it like this. And yeah, I think the sign boards looks pretty good. Let's move further and create some more. The hip plus a again. First I will select this Ball, Redshift plus S that goes into selected redshift plus a. And again go over to image reference. And this time, let's select something else. Let's try this one. Again. Scale this down. I think this image is pretty good, but this one is very basic shape and very easy to do. Redshift plus S goals are to select it. Simply a cubed scale this down. S and Y, scale it down on the y axis like this. I'll just simply add the bevel modifier to this to make the corners a little bit smoother. Live Scale enabled harder normals and auto smooth. And yeah, that's basically it. One for the front view and enable x-ray and see if it fits, perfectly fits. You can see we have these a little bit of rounded edges. So if you want to create that, we can do that. Select the Cube press Tab to select, select this edge, hold Control and Alt. And again select it. Select all four of them. One for the front view enable X-ray and just press control V. And try to match it with this. And yeah, that's perfect, I think. Alright. If you can see the edges over here, just select it again and hit Shade Smooth, and yeah, they're gone. Now. Select these two cylinders, redshift plus D. And then we can just select this pole, then press Control plus C. If you remember, if you press control Z and don't see this menu, you need to go over to Edit Preferences and enable your copy attributes menu from the add-ons section. First part copy. And you will find this copy attributes menu. I've already mentioned this one, but just in case press Control plus C and press Copy location. And you will see now both of them are placed over here. So just select one of them. They sit over here, select another one listed over here. Alright, so to sign boards are done. Let's see. We have this one sign would overhead that has like two different ones in a single one only. So select this red shift plus b. Again, select this first, select them and press Control C, Copy location listed over here at the top. Bring it out. Then press Shift plus k. Let's add another reference image for a select distinct. This poll. Redshift plus S because it's selected redshift plus a and go to image reference. And this time I will add this one. So scale it down. You can move it up over here and just see the size that they are, roughly the same size. So yeah, I think this image is pretty good. Alright, redshift plus S because we selected press Shift a plane located on the X by 90. Enable X-ray. Let's scale it down and just try to match it with this line over here at the bottom. Then press S and X and match it with these two lines. Like this. Then press Tab to enable the edit mode, press Control R and add edge loop over here. Then basically just select these two vertices, press one for the vertices, select, move them a little bit at the top, then press M and merge and center. And now we just need to match it with these two lines. So select this, move it a little bit upwards till here. Everything is exactly like we want. It's perfect. Press Tab, press Control, apply the scale. Again, this tab, select this vertices. So just select the single one only, not the rest of the ones. Press Shift plus B, also in Control Shift and B. And just bevel it like this. That's pretty good. Then select these two ones because the two of them have different amounts of bandwidth. So it is better for us to bevel them separately. Then just these two. You can decrease the number of segments because the Bible is not that much. That's pretty good. Yeah, I think this looks pretty good. Now, you can just dab, center these left side vertices and push them in a little bit. That's finding is we can select these two vertices at last, then press Control Shift and me. I don't think we really need to balance these two. So hit right-click to cancel your bevel. And I think these are fine, just like that Only. Disabled X-ray. Let's select the two reference images. Press M and move them into the reference image collection. Now select this first, select this first, then select this and press Control C and copy selected modifiers. Select, solidify and Bevel and it Okay. And you can see all the settings are now copied. Right-click, Shade, Smooth, enable, auto smooth, apply the scale. I just move it inwards like this. These two press Control plus one to view it from the backside. And for this, I think we don't need to add the cylindrical ones who like new ones. So select this, press Shift a and add a cube, scale it down, and we can just use something like that. It's not that hard to create. Something like that is fine. Let's Plays one over here. Ship plus D, This one over here. Select them both press Shift plus D and place both of them like this. Alright, so hit Save. Now, once again, what I will do is let's create one other sign board. Select this and select this. Select these two also, redshift plus d x and log it on the x-axis. Let's place it over here. Select this, this, and this, and move it up over here like this. Just to have a little bit of movie deviation. Alright, so for the last one, just select this S goes into selected one for the front view, redshift plus a and add a reference image. And this time I will be using this one. Let's just use this one only. Shift plus D. Select this first, then select this, it's Control C and copy Location. Enable X-ray. First risk dab their scale it down like this, and scale it up like this. Instead of scaling it down, Let's just select this, G then z. So instead of scaling it, we're just moving in because scaling can sometimes mess up the bevel. So just select them all and just move them one at a time. So now select this orangey than x and place it like this. A little bit off. But I think we can manage that. Stab, disable your X-ray. And yeah, I think that's pretty good. Let's bring it out. Select the reference image, press M, and move it to different images collection. Select these two shift plus D listed over here. Alright, so we're basically done with the sign boards. It was pretty easy to do. It's saved and press a to select everything. Press M and move them to a new collection. Let's rename this to sign boards in bracket not applied because we will be eating a duplicate of them. Now just select this complete collection. So right-click and duplicate collection. And we can disable the first collection, renamed the second collection to apply because we are now going to apply all the modifiers. Alright, so first select this. And let's add a material to this. Rename this to sign boards. A to select everything and press Control L and link materials. F3 and convert to mesh. It's controlling, apply the scale for all of them, then go over to UV Editing. While everything is selected press Tab to go into the Edit mode, we can minimize your risk for now. Press a to select everything, then press U and hit smart UV project. Yeah, I think the default UV unwrap is fine. We have a little bit of empty space over here, but I think we can definitely work with that. Let's press tab, go to layout, and let's hit Export. Now let's export them out of Blender so that we can start with the texturing and Substance Painter. First, let's check for face orientation. And all of them are good to go. Now just select everything. Would file export, FBX. And in your exports folder, Let's export this as sign boards, selected objects and select mesh, then hit Export. All right, so the export is done now save a blender file. And in the next video, we'll start with the texturing of all these. So tangos watching. I'll see you in the next one. 25. Texturing the Sign Boards: Hello and welcome guys. So in this lecture, as I mentioned earlier, we will be texturing our sign boards. So let's start by creating a new project in Substance Painter. Alright, so click over select and just select your FBX file of sign boards. Within remains the same. It okay. You check for any kind of issues. You can rotate the light by holding Shift and using a right-click. Alright, so everything seems pretty good. None of them are exported in correctly. So I will go over to texture set settings, hit big mesh maps, and quickly do the usual settings. And then I will click on bake. Just wait for it to finish. Alright guys, so the biggest finished now it okay. And quickly check. I think everything came out pretty good. I will quickly go over here and in a very temporal anti-aliasing. Alright, so let's start. First. We need to add the textures to add on these sign boards. To go over in your course files. Open up these textures and you can find all the sign board texture images. So four of them are like normal textures and one of them is an alpha. So I will show you how we can use them both differently. Select them all and drag and drop them onto your substance painter asset library. So make sure to select the first four. Select sine one, sine 23.4 while holding Shift, click over here and make sure to import them as textures. And just import the last one as an Alpha. Makes sure to double-check sine five is an alpha because it is a black and white image. So that's why we will be importing it as an Alpha. Now, look over here, select project and hit Import. All right, so now there are multiple ways through which you can add these textures over here onto your model. So let's start. I will go over to layers, select this, and just delete the pre-existing layer. Before starting. Let's just say what's often Spain the project, it controls less S and save it as sign boards. Save. Alright, so let's start. I will start by adding a fill layer. This time add a fill layer. And I will just quickly show you a method. So let's select this sign to drag and drop this onto the base color like this. You will see now it has appeared over all the models. We can adjust the things like tiling and the rotation and the offset, all those things like that from over here. But what we will do is first press F1 to bring up your UV map so you can easily place it over here. And then I will add a black mass to this so that I can isolate this texture only over this phase, only. Select this tool, and just select this face. And let's select all these edges also. Do that. I have selected all the required phrases that I want to add this texture on. Again, select bank the field. You will see when you move it. The texture is only appearing over these areas. So you can hold Shift and Control, scale it down. You can see the phases not placed correctly, so we need to rotate the texture. So hover over the corner, hold shift so that you can snap the rotation in 45-degree angles and rotate it like this. Also the back face is also selected. You can again select the Mask and press X to switch back to the black color so that we can de-select this face like this. Alright, again, select this and hold Shift and Control, scale it down. And you can see how easily we can place our texture to place it correctly. You can just scale it differently like this. From all the sides. You can see how easy it was to add the texture over here like that. But there is another pretty easy way to do, like to add a texture onto your model that we have already done. So instead of deleting this one, I will just keep this. Let's rename this to stop sign. And now I will add a paint layer. This time using a paint layer we have already done this. We will use the prediction tool to add the stop sign over here very easily with F1 or F2. To bring back your complete 3D view, let's rename the layer to stop sign. And select this tool, the prediction. And now scroll down and drag and drop this onto the base color like this. So this method, it is a little bit difficult because you have to place your texture correctly. We can set the camera to orthographic so that everything is flat. In easy place our texture, I think this is almost perfect. So you can just paint your texture very easily this way. There is like one little disadvantage of doing, of using this method. So one of them is, you can see it is appearing over here at the back also. So we need to select the Eraser tool and erase it. There is EDS method to remove this, but we will go over that later on. But the disadvantage is that it is appearing over here at the back. The second disadvantage is, let's say you want to change things like the roughness or the metallic values of this particular layer. We cannot really do that, but we can do that thing for the fill layer. So let's select the fill layer. And if I tried to increase or decrease of metallic, you can see it is being affected. Or if I increase or decrease the roughness. It is not that visible, but you can see it is being affected on this layer. Also the metallic values that is happening because this is a film live. If you tried to do the same thing on the paint layer, nothing would really happen. Let's come back to the brush. You can increase or decrease the metallic and nothing will really happen. What is basically happening is if you set the metallic to one. So now if you make a paint stroke, you can see this page stroke is completely metallic. If you set this back to zero, you can see it is again non-metallic, but it won't make the changes to your already existing strokes. You need to manage it beforehand. In the case of a paint layer, because you cannot really make changes later on at the end. That is the basic disadvantage of a paint layer. So now onto how we can remove these areas. So it is pretty simple. This time again, I will add a black mask. We can also add a black mass to a paint layer. And now I will only select these faces where I want this texture to appear. I will leave the rest of them out. That way it is pretty easy to manage where we want the texture to appear. X to switch back to black color and just de-select these faces. Now you can see we are good to go. It is only appearing over here only. Now I have shown you both the methods through which we can add these textures onto our models. So I think using the paint layer method is a little bit easier because it is a little bit easier to do. So I think I will be using that only. So in the case of paint layers, you do not need to create multiple different layers. You can work on the same one or leaf and add all the textures on the same layer. But for now, to do that, we have to remove this mask because it will interfere with us a lot. So just right-click and remove the mask. And you will see all these things up. We're back again, but don't worry, we will fix that later on. So for now, let's just quickly select your prediction tool. And now the sign over here also. Make sure it is accurate from all angles and just paint. Next. Let's let this sign. Alright, so I think this is perfect. Painted next to this one. So drag and drop it over here. So you can see we have added all the different signs over here. You can see the paint is appearing over here at the back also. So now we will quickly fix that. What we will do now is basically we will add again a black mass to this. And it has disappeared from all the phases. Just quickly select all the faces where you want the texture to appear. And yeah, it was that simple, but we just need to select all these edges also. Just quickly do that. And we will be good to go. Make sure you don't select any extra faces. Switch back to black color and just de-select these faces that have appeared by mistake. So similarly do this. Same thing for this one also. You can also make a selection this way. It will be a little bit bigger. You can see it will select these extra faces, will describe to do it with caution. So just move towards the backside now press X and remove it from this face and this one. X again to switch back to white color and you select all these edges. Yeah, it is a little bit tedious task to do, but it definitely can be done. Alright, so again, press X switch back to black color. And let's see if there are any faces that are selected at the back. So normally I would do. Again, let's press X. All right, so for the last one, sitting back your brush. For the last one, we won't be really using this texture. Again. We will be using this one. This is alpha image, and we will be using it differently. So let's look at it at a later point. For now, what I want to do is select this top sign. And let's say I want to make this a red color, a little bit less brighter. So to do that, I will go over here and add a filter, select the HSL perceptive filter. If you change the hue, you see, you can adjust the hue saturation and all those things. So first let's set the lightness to 0.48 and decreases saturation to 0.45. That's better, I think. All right, Now let's add the material for all these parts. This pole over here. So basically it will be using a white material only. So let's find a simple material. You can close this out, this filter, select the smart materials, and search for plastic. And let's drag and drop this plastic dusty. Don't have this one in your smart materials. You can probably use any one of these. You can even use this one, plastic dirty scratch. Let's drag and drop any I even this one looks pretty good. Let's see this one. This one also is fine. It's totally up to you. Which one you want to use. I will be going with this one only. Drag-and-drop it at the bottom. And you can see all this dust appearing over here at the back. So I think this is too much. Select this and first set Select. And now I want to just decrease the opacity of this. So set the dust opacity to 50. Or maybe even a little bit more or less 25. And the dust also I will set this to 50. And yeah, I think it is more subtle. Here you can see the paint is still appearing. So again, select your mask, press X to switch to white color, so I can switch to black color and now select this face and remove it. Make sure you are placing this plastic, this D or any of the plastic materials that you are using at the bottom. Because if you use it towards the top, it can mess up with are like all these textures as you can see if you place it at all, these textures that we like added won't even appear. So make sure it is at the bottom like this. Alright, so for the last one, what we are basically going to do is first, if you want to look at all your imported resources, you can click over here. As soon as you click over here, this window will appear. So you can just select project from here and now come over to textures. You can see all these textures. If you select the Alpha, you can see the Alpha. So first, there are multiple ways to use it. Again, you can add a fill layer, let's say. And let's make this red color or any kind of color that you want. Let say these two blue color. Add a black mask. And now you can select the Paint tool. And you can see we can easily paint with white color and this blue color will start appearing over here. And now if you press X and switch back to black color, we can erase it. But if you double-click over here and select this alpha, increases size, press X to switch to white color. You can add something like that also. This is the way we can use alpha images. But I think this looks pretty weird. So what we can do is post, Let's delete this layer. And I will just select this plastic dusty material. Duplicate this. So press control C control V. Change the color to blue. To change the color to blue. Something like that. You can use the Eyedropper tool and select this color only. Something like that. Now select the geometry mask, right-click over here and exclude all. And now just select this. And now we can basically add a new fill layer. Keep the color it white and double-click over here to select this Alpha and just stamp it like this with white color. We can see we have a basic sine. And I think it looks pretty good. This is another way that you can use this Alpha images. This is basically, these are different ways that you can use these textures are the alpha images to create various different prompts. So let's just hit Save first and let's see if there's something else that we can do. We can add a fill layer and we can add a bit of color variation. So just to give it a little bit of like damage, like feeling. So add a black mask first. Come over to all libraries. And in the texture section, search for grunge again. And let's just use a basic texture. Let's use this grunge band 001. So first add a fill layer. Now add this grunge maps 001. And you can see how this white color is appearing over our textures. First, let's increase the tiling. So that is something like that. You can also increase or decrease the balance from over here. Now, let's rename this group dust. And I'll set the opacity to ten. This way you can see we have a little bit of discoloration. Let's just select the orange map again, decrease the tiling. Also degrees of balance a little bit. And yeah, I think it looks pretty good. Select the fill layer and remove all the things except color, so that you don't leave the color channel too much. We can also set it to five. So that is not that visible, but still there. Yeah, I think that's pretty good. It adds a little bit of small details to our textures. Alright, so yeah, I think our sign boards look pretty good now we can hit Save. And yeah, I think this is it for this video. Thank you. As watching. I'll see you in the next one. 26. Modelling the Cardboard Boxes: Hello, Welcome guys. So in this lecture we will be creating some more crops. For now. This will be the final prop said that we will be creating. After this, we will be exporting all our process that we just created, like these bottles and creates and the sign boards. And now we will be creating some cardboard boxes. Just fill out our scene so that we can place them around the homes and outside them. So yeah, this will be our last prop set for now. So to create a cardboard boxes, it is pretty simple. You can just add some cubes. So press Shift plus a, add a queue. And let's get it on the x-axis like this. Alright, so one cardboard box we can have like completely basic like a loose from all sides, then G, Then virus, move it over here on the right. I will also turn on my screen cast keys. Let's just duplicate this one. Press Shift plus d y and place it over here. Changed the dimensions a little bit. Let's just scale it up a little bit. And now I will press Tab, press three for Face, Select, select this face and this x, and delete the phases. Now I will create an open cardboard box to create some variations. So doing that is also pretty simple. We can first select these two, raise e to extrude them like this. To lock on the z-axis. Place them till here, then press S, then y, sorry, S then x, given them down. Let's place them somewhere around here like this. I'm just scaling them inwards and moving them here and there. Now select these two edges over here. This e again. Then press G and Z, move them upwards. Then Y, scale them inwards like this. As you can see now a little bit overlapping is going on over here. So just select these two edges and move them down a little bit better. Let's controller apply the scale. And now let's add a solidify modifier. Because if you don't add a solidify modifier, and let's turn on the face orientation. You can see inside will be hollow and the inside of the cardboard box would look empty. And you can see from over here also, we can see the red color. So to solve this, we just need to add a solidify modifier so that we have a little bit of thickness in our box. We don't need to add a solidify modifier to this one because it is closed from all sides. So select this, press Control a, apply the scale and now let's give it a thickness of 0.03 m, which is pretty good in my opinion. Let's add a bevel modifier. Enabled harder normals and also enabled auto smooth. Alright, so this looks pretty good in my opinion. Again, let's select this. We get this plus y, raise it over here. And now we can create something like this. Just select these two edges, press S, then x, then y, and scale them outwards. This time. Make the box completely open. Now select these two rest S The next, again, scaled them outwards like this. Let's just scale it up a little bit so that we have some kind of variation in our boxes. And the sizes. I think this one is two views, so I will just scale it down a little bit. All right, Next, again, duplicate this one. Stops and this face stab to go into the Edit mode, select this edge. Let's move it upwards like this. One for vertices select, select these vertices, move this down. Incident this age, this down. Stab again, let's let this word sea enable X-ray and select this vertex. And we have something like that, like a folded proper cardboard box. Next week GAN Just select this box, redshift plus D and just create some smaller ones. 74 top view. Let's scale it up or something like that. Stem over here. Let's duplicate this one. We can have a couple of small boxes. Let's select them all and create a new collection. Rename this as cardboard boxes. Out of line. I think. Let's just select this one. Press Shift plus d y. We can rotate this one by 90 degrees. We can a little bit smaller in scale it on the y-axis. Stab, you go into the Edit mode, select the edges, and just move them down a little bit there just to randomize the moment. Alright, so I think these many cardboard boxes, there's enough. We can definitely populate our scene a lot with these. So now what I will do is just select this collection, right-click and duplicate this duplicate collection. You can turn off the first one. Select the second one and rename the collection to apply it. Because we're going to apply all the modifiers, a to select them all, press F3 and convert to mesh. Now all the modifiers that are applied, as you can see, the select this cardboard box, create a new material and rename this material to cardboard box. Now while this box is selected, press a to select everything, then press Control L and link all the materials. And yet now we can go over to UV Editing risk. First step. And while all of them are selected, press Control a, apply the scale. Now press Tab, press a, then press U and smart UV project. Yeah. I think this union rep is pretty good. We can definitely move forward with this. Now, let's come back to Layout. Enable face orientation once and everything is fine, I guess. So, yeah, let's just export them and to the texture them. Select them all. Will be fine. Export FBX. The exports folder, name it as cardboard boxes, selected objects and mesh export. Alright, so the export is done now, we can open up Substance Painter to start with the texturing process. So texturing them would be fairly straightforward. I will provide you with the smart materials that we can download for free and we will be using that material. That is a basically a cardboard material that we can use to picture these boxes. So now create a new project. You don't select and deselect. Let's come back over here and exports folder. Select your cardboard boxes and hit Okay. Alright, so first let's start by making our mesh maps. So go over to display settings. And I will first enable temporal anti-aliasing. Gold texture search settings. You'd make mesh maps and quickly do the same settings that I do. Alright, so now we'll just wait for the big to finish. Alright, so the vagus finished now, so okay. I think everything is pretty good. Alright, so now we are going to use a cardboard material to texture these cardboard boxes. For that material. Just quickly go over into your course files. Open up this download links Notepad file, and you will find this link over here. We just select this link, copy it, and you can paste it in your Google Group. This is basically a set of different cardboard materials, which is completely free to download. And these are really good materials. We can create pretty nice-looking cardboard with this, so we will be using this. So if you have never used to come through it, basically what you need to do is just type in amount over here, what you want to pay for this, you can also type zero and just sit, I want this. And then you can put in your email address and he'd get and you will get the files for this. So as I've already downloaded this, I won't be downloading it again. Go over to File and you will find this cardboard materials back. Now to get the files, I will just basically hit right-click and extract two cardboard materials back over here. Alright, so open it up. And overhead, you will find different types of materials and also smart materials. We will be using a one single Smart more detail only and this duct tape material, what we can do is we can select them all and drag and drop them into our Substance Painter. It's like that. So you can select them all. Now, click over here and make sure to select as base material. After selecting it as waste materials select project and he can put them over here. So let's do the same thing for the smart materials. Also. Select them both drag-and-drop. And already it is selected as smart materials so we don't need to do anything. Let's select project and hit Import. These are overhead now in a shelf. So to use them, I will be using this one cardboard standard for this. Drag and drop this onto your models like that. And it will load. And you can see right away, it works pretty well and gives us a fairly nice looking cardboard material. But it is kind of like very plain, so we can definitely give it a little bit of details. Let's go over to layer, select this and delete this, open it up. And you can see we have a lot of different settings that we can choose from. First, let's enabled rounded. To give it a little bit of dirty look. Next, I will, just on top of this, I will add a desktop illusion layer. Give it a darker color, add a black mask. Now just remove this important resources for it. And in the smart math section, just drag-and-drop best occlusion. Obviously we don't want it this much. So make sure to turn it down a bit. Select your generator and set the grunge amount to 0.25. Instead the dirt level to 0.3. I think even lower 0.25. After that, we can just decrease the opacity from overhead to 50. That it is very subtle. Not that much. Rename this to dust. Alright, so now to add details into our cardboard boxes, we will be using a bunch of Alphas. So if you come over here again, back in your course files, in the textures folder, you will find these packaging Alphas. So you can see we will be using these, we have these kinds of icons on different boxes, so we can definitely use them to increase the details even more. So just select them all and drag and drop them into Substance Painter. Make sure to select them all and select Alpha. Select your project, click Import. All right, so before starting, let's save our projects. So hit Control S to save. And we need to provide both boxes. Alright, so it is saved. Now, using this is pretty simple. We do not need to create another layer. If you open up this folder and in the surface section, you will find this ink layer. So just select this black colored mask, this one. And if you print it, you can see you can paint this dark colored ink. So what you basically need to do now is you can select any of these Alphas and very easily stamp them over here. So you can see instantly it adds a bit of detail to our boxes and makes them look a little bit more realistic. We have a little bit of issue over here. Like, let's say I want to add alpha over here. I can definitely add it like this, but it is a little bit difficult to work this way. Because if I hold Control and Alt and snap my view like this. First let's change too. Orthographic. You can see everything is overlapping. We can see them properly in the front like this and in the back. But if you try to see them from the sides, we will get these overlapping boxes. So I mentioned this issue earlier and I fix this issue beforehand only when you are texturing the beer crates because we place them diagonally so that we can see them from all four sides. I kind of forgot to do this for the cardboard boxes. Don't worry. Our progress won't be like nullified. What we can do is quickly go back to Blender for top view, and let's just quickly place these boxes diagonally. So if I just quickly come back to Substance Painter. And you will notice that if you use these single alpha's just like that, the brush will stick to the surface like this. You can see if I come over here, it is sticking to this surface, but if I come over here, it is sticking to this. So it will be easy to like a stamp the stickers on the sides. If there are single stickers and we're just using the brush, it can be pretty simple and we can do it very easily. We don't really have to place all the boxes diagonally. The reason for this is the alignment is set to tangent wrap. If we change this to camera, you will see the brush won't snap to the surface. But if I change this to the tangent wrap, it will snap to the surface like this. You might ask why we are placing them died Lenny, and exporting them again. The reason for this, it is fine when we are using a brush like this. But let's say we are using this tool, that is the prediction tool. If you press X, we will paint with that color. If you press X, then we will be painting this ink with the white color. And we can just drag and drop our alpha over here like this. Then it can be very difficult to stamped all these Alphas because for this tool to work properly, we need to have proper orthographic view. So yeah, that's why I'm doing that. But if you want to just use the brushes, you can definitely do it by placing them over here like this also fairly easy. So let's just undo everything. And yeah, what I was saying is now I will show you how we can export these boxes again without spoiling a project or anything like that. So press a to select them all. It saved on your blender file over to export FBX. Select the cardboard boxes again and hit Export. Come back to Substance Painter. And now, instead of creating a new project, Let's go over to Edit Project configuration. Select the file again, and select the cardboard boxes and hit okay. You don't need to do anything. You will see it will load a little bit. Now everything is back. What you might need to do once. You might need to bake them HashMaps again, because you can see we have these things over here, that is because of the old models. So if you just quickly go over to texture set settings, hit big mesh maps, and just baked goods again, and everything would be resolved. One thing that might be lost is that the packaging textures that we use on the first few, they might have disappeared but a rest, everything is the same. So yeah, that's pretty good for us. Alright, so the baking is done now hit Okay. Let's quickly check. Everything is pretty good in my opinion. Alright, so go back to layer and I will select the ink, right-click and just clear mask. This black color one just hit right-click and clear mask so that everything is fresh. And now make sure your view set to orthographic. And now let's start stamping of some stickers. So a stamp one over here. Move this over here like that, x times one over here. You can basically place them anywhere over here in the corners. This one over here, one over here. This is pretty easy to do. You can definitely select any of your stickers, convert them into alphas, and do this on your own. Let's select this one. Scale it up a bit. Over here, like that. You can place it over here at the back also, the back is pretty empty. Alright, now let's select this one. So for this one to work properly because it is like a collection of different stickers. We cannot just basically Stanford this way. It looks pretty weird. So, yeah, for this particular sticker only, we will be using the prediction to select the projection. And it is already dropped in, into this grayscale. Just if it is not, just makes sure to drag and drop it like that. Removed the Alpha from over here. And now press S, scale it down. First. We can maybe use this arrow is a little bit out of place it over here. If you put in like anything extra like that, just use your eraser tool. I'm currently it is. Again, come back to the prediction tool. Let's come over here. You can press S then hold right-click to scale it up. There's just two of these boxes, just two. Over here. We can add these two. You can see how easy it is. Let's start three. Barcode overhead in the corner. Select your eraser tool and just erase all the extra stuff. To erase in a straight line. Just hold Shift. Click over here like this, then hold shift and control. And you can see the kidney days in a straight line. Let's move over to the other side. So hold Alt and Shift, snap it like this. Let's make sure this one also first. Select your position. Incident rays into the series and you can also set it to four K. Come over here and texture sets settings set this to four k so that you can do everything very crisp and clean. You can see all edges are sharp. Now, let's put some overhead also. It is looking kind of empty. Yeah, that's pretty good. Again, maybe put all of these over here. Over here, Let's again add this atom down. It is definitely a little bit of replicated stuff. But you can definitely do that. Just to fill out your view. Just to fill out your cardboard boxes. In, select the prediction. Elite up. Again, Let's select the Razor Tool. Is all of this. Let's come back to the Brush. Select this one. Alright, so let's see if this much is enough. This side is pretty empty, but yeah, we definitely don't need to add it on all four sides. But if you want to, you can definitely go for it. But even having a completely filled on three sides is fine because they won't be even visible that much. All the signs that are that we are like putting so much effort it alright, so I think in my opinion, this much is enough. I don't know how this alpha was selected in the razor, you can remove the alpha from over here. Let's see. Let's fill it out a little bit over here and then I think we'll be done. I did not put this in the corner. So being summit, please get rid of it isn't a straight line, makes it a little easier. Again, click over here and then hold Control and Shift, and just click. Alright, so I think this image is pretty good. Let's move on and give it a different kind of detail. So next we will be using the duct tape material that we export it to add a little bit more detail to cardboard boxes. Let's go over to the important resources only. If you are not over here. If you are in your normal shelf, you can just open this up, this menu road project. And yet over here you will find a duck tape material. Come back to layers, drag and drop the ductile material over here on top of your cardboard and you will see something like this. So yeah, don't worry about it. Just add a black mass to this. Set this back to two k so that it is a little bit easier to move around in Substance Painter. Now select your brush and let's remove the alpha for now. And if you paint, you can see you appending in basically a tape. If you press X to switch to black color, you are removing it. But right now we haven't selected any alpha. That's why it is like very jittery. So what we can do is go back to all libraries in the layer section. Currently painting in the duct tape black mask. Select any brush. Let's go for some kind of nice brush. So let's try different ones. Definitely not this. We can even use something like this. Looks pretty nice. But let's just find something better. I'm just trying to find something that resembles a tape. This one is pretty nice. All of them look pretty same to read. They're just go with this one only. You can select any one you've got, you might like. So to make the brush mode hard, you can hold Control and then hold your right-click also. So hold control and right-click and move your mouse upwards like this. You can also increase or decreases slider from over here. Let's scale down the brush a little bit. Click over here once, then hold Control and Shift and just paint in a straight line like this. And yeah, you can see we have added a pretty good-looking tape. We can definitely we cannot add over here, or maybe we can try. This kind of looks weird. Usually it works only overhead, but what we can do it, you can add like like little tapes around here and there. Just to add some detail. Click over here, then hold Control and Shift. And add some tape around the corners like this, you can decrease the size of the brush. So I'm just holding Control and Shift. Right-click wherever you want to start from, then hold Control and Shift. And yeah, it's like that. They can see it looks pretty organic and it looks nice to add. So you can definitely use this to add some more detail to your cardboard boxes. I think that's too much. Adding one or two border-box is fine, I think. Now I think a cardboard boxes look pretty good and ready, believable. We can definitely work with this. And if you want, you can spend some more time like, let's go back to reject and the alphas section. We're going to again select some alphas and personally to come back over here in the ink black mask, you can just select a couple more of them and it is rotated. So far as to rotate it, you can just hold control and left-click and you can see you can rotate it like this. This tampered with. So the reason this is not working is because we have selected a different kind of brush. So to fix this first, go back to all libraries in the brush section. We need to select the basic hard brush. So basic hard-won. And now come back to project alphas. Now if we selected, now it is working correctly. So as I was saying earlier, you can spend some more time with this, select different kinds of alphas and stamp it and make your like cardboard boxes even more detail. But now I think they're pretty good. Alright, so a couple of more things then we will finish with this lecture. If you open up your cardboard standard again and come over here in the surface. Let's expand the global. So you can change a couple of more settings over here for this material that you can see if you increase the number of why, you can increase the number of divisions in your cardboard box. You can definitely increase that. You're going to adjust the color of the cardboard, lightness, maturation, and all those things. We also have the cardboard age over here so you can adjust the age of your cardboard. But I think that's also pretty handy. You can increase or decrease in number of spots. As you can see these small spots. These are all things I wanted to mention about these material. And you can also adjust the brightness of these lines so that you can see it is pretty handy. I would suggest you guys to look through this complete material, all these layers. And you can also come back over here in the folder. And if you look over here in the cardboard material folder, there is also an isolated tutorial that you can go through, understand these materials a little bit more. It is a nice set of cardboard materials that you can use to make your projects even better. And one thing that I completely forgot, I forgot to do anything to these little boxes. Let's just quickly do that and finish this lecture. Right-click and exclude all from cardboard standard. And I will just select these five. Then I will duplicate this cardboard standard. It right-click, exclude all, and select these two. And let's change the color for them. I will set them to white. So open up your main folder, go over to surface. And in the global section, Let's just increase the lightness. And they will be automatically set to Y. And yeah, I think that's better. These boxes. Yeah, so now how to save? Last thing, I will select this duck tape. Remove the alpha, and I will just remove this top table here, press X and remove it. So adding this much is fine. You can definitely add little bit of more things if you want to, with all these alphas and their tape to create more detail. And yeah, I think this lecture is pretty long now, so I will end it here. Thank you for watching. I'll see you in the next one. 27. Importing the Props into UE5: Hello guys. So we are back in and we'll now, and in this video we will be basically exporting and importing all our textures and models in Unreal Engine so that we can set them up over here and start with placing them all around our scene. Alright, so let's start First, I will go in the models folder, right-click and create a new folder. And the first one is grades and bottles. It end overdue I inborn and select the green bottles if Vx, vy it open and just select Import All. Alright, so all the files over here now, x coming back, create another folder. And the next problem set that we created was fine, Good. Open it up over, add in bold and important, the sign boards, it in bold. All pretty basic stuff. Right-click new folder. And this time cardboard boxes in board and cardboard boxes. Next, let's start exporting our textures from Substance Painter into Unreal Engine. Come back to content, textures and right-click, create a new folder. This will be our grades waters. Right-click and show in Explorer. Again, same thing. Copy this part up. We can close this now, come back to Substance Painter. And let's open up our project. So go over to Open and just open it from here. And the substance painter files open up the grades. Now we don't need to do much. Just hit Control Shift and click over here, the bot, and make sure to hit enter first. And then you can select folder and make sure the part over here is correct because sometimes it gets wrong. Output template would be Unreal Engine 458 bits plus D3 and for k, So it export and wait for the export to finish. As soon as it is done, come back to Unreal Engine. And you will see this thing up your overhead. It import. And yet not all our texture. So here, first, let's import all our pictures at once to create another folder. This will be sine boards. So I think this is pretty repetitive stuff now, so I will be just good luck finishing it off. Again. Recent files and sign boards. It Control Shift and E. I'm back to Unreal Engine. Right-click and show in Explorer. Copy this, but let's paste it over here. Now I'm just making the same settings so I wouldn't be talking that much. Alright, so again, I'll exercise over here. Let's move on to the next one. New folder in cardboard boxes. But a mattress Substance Painter and open up the cardboard box is fine. Going back to Unreal Engine and it import. And now I think we are done with all the importing and exporting. So after this is done, I will just quickly close Substance Painter, save, and come back to Unreal Engine. Now basically, we will be setting up our materials. Come back to content models. And first let's select the cardboard boxes. Open up the material. First, let's select this and delete this one. Press Control plus space. Open up the cardboard boxes texture folder, and select them all. Drag and drop it over here. If you remember, the base color goes into base color, normal goes into normal, r goes into ambient occlusion, g goes into roughness, and blue goes into metallic. We also need to make a fix to this leg shiny thing. So just click over here. While you're bad, texture is selected and disabled SRGB and set color to linear. Now we're good to go hit Save. Let's basically do this for all of the materials that we imported this up. And you will see now the material will start to appear over the boxes. You can drag and drop and check if everything is working correctly. Yeah, it is over here. And it is a little bit large according to the size, but we can just reduce the size. And also the pivot point is like kind of messed up, but we can also fix that. So I will be showing that in the next video. For now, let's just delete this and move on to the next material. Next is our crates in bottles. Open it up and let's do the same things. Okay, if you don't know, you can press Control plus space to bring up this Unreal Engine Content Browser menu. And you can also dock it like that so that it stays on your screen. But you open up the create bottle folder and drag and drop them. Now, log base color into base color, normal goes into normal. Inr goes into AL, green goes into roughness. And then last one goes into metallic. Double-click disabled SRGB and set this to linear. So all the same stuff, it's saved. Let's close this and do for the last material. That is our sign votes. Again, open the material, delete this thing, press Control Backspace, and drag and drop the sign bold textures. Log everything accordingly. And yeah, basically we are done now. Alright guys, so now all the textures have appeared over here. And I think this is it for this video, we are embodied and exploded everything related to our props. In the next video, we will be placing them around the scene so that everything looks a little bit more populated. After that, we can look forward like what are prompts that we need to make more. But here in the next video, first we will start by placing them on. I will see you in the next video. Thanks for watching. 28. Placing the Props: Hello and welcome everyone. In this lecture, we will finally start placing our props in our scene. So let's start open up the models folder. And let's start by placing our beer great bottles. So if you select all three of these models that are of the same red, great, so let's select all three of them. And now you drag-and-drop them. You can see there are like three different objects over here. So it can be really difficult for us when we want to duplicate them and place them somewhere else. So what we can do instead is as soon as you drag and drop them into the scene, just press Control plus g. We join them together. Now, if it will, press G just one time, just press G to view all the game icon like this. And click over here you can see this green colored icon. That means this is a group of different objects. So now all of these objects are joined together. Alright, so let's place this one over here. Obviously we need to scale this down. So let's just scale it down by 0.25. So you can see on the scale, just lock this and set it to 0.25. And I think that's a pretty good size for a grade. This one like this. Here. You can also, you can see it is little bit flying off the ground. So what you can do is just disabled this thing that is snapping. If you disable it, you can move it freely. Okay, not this thing. We have to disable this one. This one is for scaling, this one is for rotation, and this one is for movement. So just disable this. And now we can move this fluidic freely. Let's place it on the ground like this. Alright, let's bring in another grade listed over here, press Control plus g and scale it to 0.25. Hey, like this, you can press E and rotate it a little bit. Maybe we can increase the size a little bit. So just select this. Let's put in 0.3. And I think that's better. Again, select this place 0.3 over here. Let's view it through our camera and see how it looks. Yeah, I think this size looks better. Let's try setting it to 0.35. I'm just checking what looks best. Again, let's view through a camera. And yeah, I think this seems perfect to me. So I will put in the size 0.35 for all the grades. Next, let's drag and drop the blue one. First, change the scale to 0.35. Now press Control plus g to join them together so that the pivot is overhead at directly at the center. Select this and place it on the second floor. Just like that. You can rotate it a little bit. Also going to disable snapping for rotation so that you can rotate freely like this. There's just select the red grade, copy it up here. Bringing the white great. Place it. Where is it over here? First set the size to 0.35. Then risk control and plus g to join them. And let's place this one over here. At this corner. We can also bring in the bottle. Just hold control and select this one and this one. Make sure they are for the right bottles so you can see that the lid of the bottle is wrong. So just hit Undo and select this one, then select this one while holding control. Then bringing it. Then just drag-and-drop them both into the sea. And over here. This one is correct. Set this to 0.35, then press Control plus g to join them. And we can place one bottle lying around over here like this, rotated. Again. Let's view to a camera once and see how everything is looking. I think the bottles seems a little too large for the size. Also dislike flying off the ground. Let's set this to zero point V. I think that's better. All right, let's move further. I would bring in this large grid, select all three of them, grabbed and drop it. So the size, again, 2.35, press Control G. And let's place it over here. And definitely all these settings are like very preference based. If you want the size to be a little bit smaller, you can definitely go for it. Yeah, I think the size looks fine for me. This duplicate this. Let's place one over here also. And make sure the rotation is different so that they don't look same. I will select this yellow create and bring it out over here in the front. Like this. Like the green gate. Again, duplicate it. Next I will select the bottle, place it in over here, set the size to 0.3. This control blood due to join it will come out of my camera. I will place this bottle inside of the great like this that we have some kind of like wastewater negated up a couple of times. Select all four of them. Again, duplicate. Yeah, that looks pretty good in my opinion. We can also select this bottle. Again, duplicate this and place one over here lying around line tag. We can rotate it. Yeah, something like that. Now let's start tracing stuff over here. Drag-and-drop it. Set the size to 0.35. Join it. We need to come out of the camera. See where it is. Yep. Here. Select the blue colored. Great. I'm pleased. One over here, together with this yellow grid. Basically I'm copying of different grades and placing them around my scene to make it look just a bit more populated. So you can definitely do this according to yourself. However you may like it. All right, So I think in my opinion, this matches pretty good. We can also place a couple of them over here, although they won't be visible, managed to get this and place one just like this. Yeah, so I think that looks pretty nice. One thing that I'm noticing is that the color of these grades is like a very saturated and a little bit too bright for my liking. So I will just go over the content in the textures folder. We don't need to go back to substance painter who are like turn down the saturation a bit. I would just go into create bottles, texture folder, open up the main base color. Over here. If you see we have saturation. So just set this to point date. I think as soon as you do that you will see the texture will update over here. A little bit higher than 0.80, 0.85. Yeah, I think 0.85 looks pretty good. Here. Just save. And yeah, I think that's better. All right, next, let's move on to next piece of models. I will select the sign boards. And this is kind of difficult because a lot of them have the same type of object, so we cannot really join them. So what I will do is just select them all at once. Drag-and-drop them like this. Come out of the camera and just select them one by one. And join them. Select this, this, this, and this. Then press Control G. Join this. I can see whenever I select this object, all of its speed is selected at once. Let's do the same thing for all of them. This makes sure you don't select anything else by mistake. Alright. So again, I'm feeling like the color is a little bit too saturated. So let's move over to take shares and the sign boards. Select this and just reduce the saturation to again 0.80, 0.85. Again. I think this is fine. Save. And yeah, let's start placing them in our scene. So I will select this speed one place or just over here. Rotate this. Again. For this one, we can enable back the rotation snapping and set this to 90-degree. Thanks TO will select this one. Let's place this one just about here. You're feeling like the buildings are too close to the sign boards. You can move them a little bit of a space discipline just over here. And the rest you can place however you like. Let's just place this one over here like this. We can figure it out later on. Let's viewed through a camera and see how everything looks. I think the sign boards look pretty nice. You don't have to go too overboard with this. Let's just move on to the cardboard boxes. And again, I will place them just around over here to have a little bit of more variation and fill out the empty spaces around here. Later on, we can look through some of the pixel mega scan drops and place them in, in our scene so that it is a little bit more filled out. Alright, so let's start. I will place this one cardboard box. And again, you can see this one feels a little bit too saturated. So first let's go back to content. Thanks, shares cardboard boxes and reduce saturation of this. Again, let's set this to 0.85. I'm trying adjusting a couple of other things. They're set the brightness to 0.6. I think this is better. So you can set the brightness to 0.6 and saturation to 0.85. It'll save and close this. I think this looks much better. Now as you can see, we cannot really move up pivot point because this is just a single object and we cannot really join it with anything. So what we can do is there is a very easy method. Select it, splits it like this. Go over to perspective of, I mean, click on this perspective icon and set top box. And this is currently are pivot point. Let's w and then hold Alt. And then use your scroll wheel to move this. So make sure you're holding Alt and then moving using your scroll wheel and just place it right about at the center. It does not have to be perfect. Again, come back to perspective and just see if it is fine. Now, just hit right-click. Go to pivot and select Set as pivot offset. Soon as you do that, you will see now it is exactly at the center. Not exactly, but we can definitely work with that. So just set this to 0.35, please, one over here. Push this back. We can definitely change the scale of different boxes to fit according to our C. Like I might want to increase the size of this one. Let's set this to 0.45. That seems pretty good. Now let's do the same thing for all the boxes. Open up cardboard boxes, and I'll select this one. Again. Go over to hold Alt and use the scroll wheel. Took place it just about at the center. Right-click and set the pivot off sick set as pivot offset, please, this one over here at the second flow. Let's set the size to 0.4 for this one. That's pretty good. Let's bring in another box. Again, more to the adult perspective. And use this scrolling me. Right-click vivid set as pivot offset. Come back to perspective. And let's place this one over here. They're set the size to 0.5. And I will just copy this one and this one over here, the corner. We can definitely reduce the size 2.35. And yeah, now let's viewed through a camera. And yet the boxes fit in very nicely spaced. This one next. And one more thing you can definitely work with this skewed pivot offset also, you can just place it like this, but it is a little bit tedious to do. But yeah, you can definitely work with that. If you don't want to change the pivot offset, you can place it like this. Also. Scale it down 2.35 maybe. Now let's just place it like this. That is also fine. But I think it is better to change the pivot offset because it will be easier for us to duplicate the box and place it in other directions. You can see even the rotation is so weird. All right, Let's bring in the next one and start placing some over here. Job for this one, like this. Right-click the word set as vivid offset. Let's come back to Perspective. Set the size to 0.4. And we can place this one right about here. Move it up. Like this. We can place a couple of small boxes with this. Hold Alt and move the pivot. I'm just roughly moving it. I don't need to change my view. Right-click and set as pivot offset. Scale it down. Mindful. I think this is really small for this box, so let's set this to 0.55. Bigger, this is W. And one over here at the top. And scale this one down 2.3. Next I will just select this box, duplicate this, this down 2.3, and place it right at front. Like that. That looks pretty good in my opinion. Let's bring in the last box. The pivot for this right leg, vivid set as pivot offset. So now we have brought in all the boxes so we don't need to do those steps again and again. And we can now just duplicate them very easily. Set the size to 0.5 versus duplicate these two. Press Control C and V is stem over here and just rotate them so that they look like different boxes. We can also place a grade over here. Alright, so yeah, I think we're pretty good to go. We can copy these two boxes or maybe a different one. Let's just and copy them over here. Again. Make sure to rotate or scale them up just a little bit so that we have a different kind of radiation. Alright, lets you to a camera once. And yeah, I think the props are now placed pretty well and RC looks pretty filled in now, it does not look that empty. I will just hit Save. And I would suggest you guys to experiment through with this and this, these props, however you may like. I will end this video over here and in the next lecture we will create one another problem. And that will be a street poll with a couple of cables hanging around that will add a nice bit of touch into our environment. Also, we will be adding the text over this building. Yeah, I think that would be the couple of last thing to do in this environment. And at last we will look over in Excel omega scans and add in a couple of last prompts just to give this a finishing touch. And yet then we will finish with the course with taking some screenshots. So thanks for watching. I'll see you in the next one. 29. Modelling the Electric Pole: Hello and welcome guys. So as I mentioned in the last lecture in this video, we will be creating a new prop that is the electric board for our scene. So for this particular problem, I won't be creating in this fight. I will just go over here and open up my Blackout again. So let's to this and open up your block out so that you can easily measure the size of your poll. So press Shift plus a, and let's add a cylinder seven for the top view. And I will be placing it somewhere around here like this. Let's scale it down and press S and Z. Scale it up. I'm scaling it around 10 m in height. Yeah, that's pretty good size. I think it Shade Smooth and also enable auto smooth. Just scale on the x and y plane like this. You can see now the height is not changing. It is just increasing and decreasing on the x, y plane, as you can see over here. So to do that, you can just press S and then press Shift plus dead, so that it leaves out the z axis and only scales on the X and Y. That is a pretty handy shortcut. Set this to 0.16 m. And yeah, I think that's pretty nice. Open up pure ref now. Right-click load and load recent. When this particular C, We have like a electric bowl-like thing over here. So this is something that I wanted to create. I think it is pretty easy to replicate. We will be going for a pretty simple electrical poles, not that much. So let's go here, something like this over here. So now I will just select the poll press Slash to go into the isolation mode. There's three for the right side view. And let's first select this press Shift plus S goes into select it. Press Shift a and add a plane. Let's place the plane over here. Rotate the plane by 90 degrees on the y-axis like this. And let's just scale it down. Scale it down a little bit. Yeah, something like that. Press Tab to go into the Edit mode enabled X-ray. Let's select these two vertices as G and X. Given Y. Let's move it to here. Risky move downwards. This again brings even why we have created something like this. Let's make it a little bit short like this. I think it looks pretty similar. Next weekend, just first apply the scale. And now I add a solid if I modify it to this thickness, 0.02. Okay, let's increase the thickness now. Around 0.2 m. That's too much. I think. It's decrease it. This much is pretty good. So 0.04 m next weekend, again plus three for the right side view, but Shift a and add a plane. Or we can just duplicate this plate. So press Shift plus de-select this, duplicate this, rotated like this. Let's scale it down. And yeah, I think this works nicely. If you want, we can express that and delete these two vertices, m, edges like this and this f to fill out the face. Create a straight line. And let's move it inwards. Make sure to apply the scale and then reduce the thickness to 0.02. Yeah, that's pretty good. I think. Let's see, next weekend. Again, select this press Shift plus S goes into Selected Shift a to add a queue of scale this down, please. This insane. Scale it up on the x-axis like this. Increase the scale on the x-axis to around 1.5 liters. Something around this. Also, I will increase the scale a little bit on the other to access. This looks pretty good, I think. Next weekend again, redshift, they add a cylinder. Scale it down over here. To create these shapes. We don't have to give them too much detail. Just a little bit. So press Tab, press three for Face Select, select this face. Would help us control our add an edge loop. Three, hold Alt and select this loop, press Alt plus e and extrude faces along normal. The bottom face is i. And insert this like this. Yeah, I think it's pretty good. Next we can add a modifier to this. Let's see from the front view, I think it looks pretty good. Let's add another cube. Scale this down. Instead back over here. And create something like this. Alright, I think this looks pretty good. Next, what we can do is we can just select all of these things that we just created. Seven for the top view press Shift plus D to duplicate them are to rotate and prototyping 90 or -90. And then place it like this over here. Let's move it down a little bit. And also move it inwards like this. Now let's just select all of it. Hold Control and deselect the poll. Then again, press Shift plus D and move it down. Like that. Again, select all of it, de-select the poll. Move it a little bit downwards. Select the ball, press Tab, press Control R. Add an edge loop at the top. Make sure to apply the scale, establishing there's three, hold Alt and select the loop is extruded outwards like this. Next weekend, just select this one, this one and this one. These three, duplicate this place this over here like this. To create the cylinder. The shapes. Now add a cylinder down and place it over here like this. It's more of this and also enable auto smooth. There's two daily it a little bit, so press Tab plus three. Instead, this extruded outwards something like this. Let's move it a little bit downwards by Shift plus S and closer to select it, add a cylinder. Again, scale this down and just create a small metal ring. Select that. Again, I will duplicate all of this. There's just leave out the cylinder. Again. This rotated by -90 degrees, by 180 degree. So there's our basic tradable here. Move it a little bit upwards. I'm just tired just thinking of different things around the pool. Yeah, I think that looks better. Select this press Shift plus s goes to the selected. Let's add another cylinder. Scale this down, scale it up. This one goes on the top like this. Move it over here. Also, we have this thing over here, so I will select this, duplicate it, rotate it by 90 degrees, and place it over here. All right, that's pretty good. Next, let's select this slider scale. Stab, two edge loops, and scale this down a little bit. Add another edge loop, and this time I will extrude this. Next press three for facie leg hold Alt, select all the face loop, press I to insert them and press I once again, we insert them like this. Then press Alt plus E, extrude them. We have got a similar shape now. You can add a bevel modifier to make it look even better. You can see it looks pretty good, but didn't want to even visible. So I don't think we have to waste our geometry on this. I think it is pretty good. This family. Again, let's insert this and extraordinary downwards. Alright, so we have got ourselves with a pretty good looking forward. We can now select this press Shift plus S goes into selected shift, they add a cylinder, Scale the cylinder down. The z-axis. Enable auto smooth. And you can see there are bunch of cylinders added along the surface of the bowl. So let's do the same. There are something like this. Next we have to create the cables, but we will create them later on because you don't really need to export them into Substance Painter for texturing, we will be just exporting this bowl only electrical pool. For now. Press a to select everything. Then press M. If you press M, You can see it is a different kind of thing written removed from local view because we are currently in local municipal slash. First to come out of the local view, then press M and create a new collection. And let's move it to the new collection bowl. Before applying all the modifiers and doing all that, we will be also creating the Japanese texts that we need to add over here. So let's do that now. Alright guys, so my computer just restarted itself while I was recording this video and I was unable to save my file. So I had to D model the entire poll again. So it might look a little bit different to yours here and there. But yeah, rest everything is same. As I mentioned. Now we will be starting with adding the text over here, the Japanese texts that I mentioned earlier. Alright, so let's start. I'll just disable everything except this building. Then we need to add like a normal tastes like normal English text. It is pretty easy. You can just press Shift plus j, then go over to bash and you can just press Shift plus j and then add a text like this. And you will see this text has appeared over here. If you press tab, you can edit this. You can like, I can type my name and we can do all sorts of things like giving it a thickness. If you go over here in the object data properties, you can increase or decrease the extrude and give it a thickness. You can also increase or decrease the bevel amount to give the edges of bevel. As you can see, adding a English bond is pretty easy. You can also change the font over here. If you open up this font, then you can just click over here. And you can select from any of the fonts that you might like, as you can see, as soon as you selected, the font changes. So it is pretty simple to add English text and customize it. But to add a Japanese texts, it gets a little bit tricky. So I will be showing you the steps on how to do it. But if you are unable to do it, you can just copy the object from my fight. It, it's pretty easy. Let's start now. The first thing that you need to do is go over here in your search bar and now search for language settings. So you can select language settings over here. Let's bring this window up and as you can see, we have English added. You can click on this, Add a language, and you can see we have all different kinds of languages over here. So type in Japanese, it over here, and just select Next. And the default settings are fine. You don't need to do anything. Just hit Install. Now wait for it to install. It might take a little while, so I will just resume when the video is done. Alright guys, so now the download is done. If you see something like this, like all the icons are appearing, then that means the download is done. If you just eat one Eigen appearing over here, that means that download is still going on. If you click over the options button, you can see properly if anything is still downloading over here. But if you see all the icons like this showing up overhead that needs to download is done and we can proceed further. So the next step is to open up a simple text editor. So I will just search for word because the word pad is already pre-installed in all of the windows. So even just select this, open it up. And now we need to select a font that supports Japanese writing. So if you scroll down, you will find this. You gotta think that is also already pre-installed in your window so you don't have to worry about this down and select you will take. And now if we type, nothing really happens. But wait, but we need to do is you will see this thing over here, English and Japanese. You can click on this icon after you have downloaded your languages, you will see this thing up during click over here and select Japanese now, still have to type. Nothing really happens. But now one more icon has appeared, that is this AI. So besides this japanese thing, you will find this a thing. Click on it, or you can just right-click on it or just click on it once. And you will see now this Japanese I can appearing. Now if you start typing, you'll see you can finally type in Japanese now. So yeah, that's pretty handy. But if you right-click on it, you can also select between the different types of Japanese writings like there is a dogma that is currently selected, then there is also full-width katakana. I don't really know if I'm pronouncing them correctly, but yeah, if you select them, you will see how different all of them or look when written. So first let me select this and I will just type my name. Let's press Enter two times to get in the next line, right-click and select this one. And you can see now I'm just typing my name, but it's a very different in both the writings. Let's try the third one. This is basically English-only. And yeah, this one also seems a little bit different. So you can select from anyone that you might like. I don't really know the difference, but I will just go with the first one because I think it looks the best. So just right-click and select Hiragana. And I will be just typing my name because I don't really know Japanese, so I don't know what we can put up on the store. So you can type in anything that you might want. I will just type my first name and my last name. And you can do the same basically all just type any word that you might like. Alright, so the next thing to do is select this one. It's Control C, and then come back to Blender. And now what we need to do is first, if you go over here in the corner of the window like this, you can divide the window in two parts. So just divide it. Click over this icon and now select text editor. Over here. Select Text Editor. Now, create a new text and now paste it over here that you just copied. The next thing to do is you can just select everything. So press Control a to select everything, go into Edit and select text to 3D object. And now select one object. And as soon as you do that, you can see a text object was added. But nothing really happened because the form that is currently selected does not really support Japanese writing. So what we need to do is select the text. You can see the text object has appeared, but it has nothing really right now. So select the text object, go into the object data properties, open up the font. Click on this icon in front of the regular, scroll down again. And again I will select, you gotta take only just a simple one. You got irregular. And as soon as you do that you can see the text has appeared now. And finally, we have Japanese text in. But what I will do is instead of you got the gray color, Let's just go with something bold. So click over here again and I will select you Gothic bold, I think. Yeah, let's select this one. And this one looks a little bit better. Now, rotated on the x by 90 degrees. And then on the data by 90 degrees. One for the front view or three for the front view of this building. And we can place it over here very easily. Now what I will do is this tab. And we can just sort of flip REST-based. Stem in the center. We just need four of them. So I will delete the rest of them. Now what I will do is let's move it backwards. Don't worry, we will place them properly later on. Right now I'm just placing them roughly. Then I will go to geometry and increase the extrude like this so that they have a bit of thickness. And you can see the render. We can decrease the render a little bit just to save on the vertices. You will see if I decrease the resolution preview, the vertices are going down. So we definitely want to keep this at a low number. Like three maybe. Looks pretty good. Yeah, I think that's fine. Now to place them properly like real objects, like in 3D objects, we need to go over to S3 and typing convert to mesh. And now we basically don't have any of the texts properties of them. If you press tab, you can see now we are in the edit mode. So just make sure you're satisfied with all the settings before converting it to match because you will lose all the texts properties of it. You can still undo it. It just the things like extrude or the debt. That is basically the bevel, I won't be giving it because it adds a lot of vertices. I will just keep the depth at zero. Also, you can create a duplicate of this and place it in another collection so that you have it saved somewhere if you want to keep the text properties of it. But I will just now select it, press F3 and hit Convert to mesh. Now what I will do is I will just press Tab three for the front view. Enable X-ray. You can enable extra from here, select all of them, and just place them in the center, like this. This one also. And at last this one. Make sure to enable X-ray so that you're selecting all the vertices at once. If you want, it might mess up the text. Now let's select this and move it inwards. We have basically your Japanese taste in London, and I think it looks pretty good. Next weekend, select this bottom text. Control C, this, and delete this old text and paste it over here. Again. Go to Edit Text to 3D object and one object. Again, nothing was really added. So change the font from before and regular two. You've got the bold. Now we can see the text. Rotate this on the x by 90 and on the z by 90. And we're going to place it over here like this. Again, let's give the text a little bit of thickness. Make sure it is placed in the center of the building. Also selected and reduce the resolution to three maybe. Yeah, Basically, this is how you can add Japanese text. I'll maybe take stuff any language that you want. This method would work for any kind of language. I think you can go over here and just make it a single window once again like this. And yeah, let's just hit Save. Enable Backup pool. Select these two. And I will place them under a single election only. So there's place this over or we can place this in the ETC. Let's place it in a new collection and Navy text disabled the middling. And we will be texturing all of them together only. I think that works better. So go to Materials and let's add a new material to the poll. Let's leave this bowl and text. Press a to select everything. One more thing. Select this thing. And you forgot to convert it to a mesh. So press F3 and it converted to match. It is actually like a 3D model and not just a text object. Now select your main pull and press a to select everything and press Control L and link all the materials. Now all of them have the same material. Press Control a, apply the scale. Now head over to UV Editing. And while everything is selected, just press Tab, press a to select everything, then press U and smart UV project. So now as you can see, the unwrap is fine, but this thing, whatever it is causing issues for us because the unwrap it not covering the whole texture area, but it is being covered in a small place only. This is because of this thing. So this particular island. So let's see how we can solve this. But first we need to figure out which model this island belongs to. So to do that, just first enable this and overhead. Press one for the vertices selected. Now when you select this, you will see now all the vertices are selected that are causing this issue. So it is basically this complete thing, this pole over here. So now what I will do is I will manually UV, unwrap this and rest of the things. I will just keep them same. So slash to go into the isolation mode and to manually, we ended up something. Just press two for the edge. Select, select this edge, right-click and select Maxime. You can select any of these edges. Don't just select the particular one that I've selected. You can select any one of these vertical edges and then select Maxime. Now press a danger to you. And instead of smart TV project, just hit and wrap. And you can see nothing really hadn't happened. We don't have a desired desserts. So this time is to again hold Alt, select this complete loop, again, right-click and Maxime as E, and you unwrap. This time we have something but it is still very weird looking to do further elaborate on this. But I will do is I will select this bottom face risk to select the complete edge loop and select Maxime. So basically three seems now, the ones or the bottom, one at the top, and one running along the pool with a new and again unwrapped. And you can see now we have got a very nice and wrap. Basically now we have three different islands. One, this huge island is fought all these horizontal lines and two of them for the caps of the cylinder. So now it will be really easy to manage this press Tab to come out of the isolation mode. Again, press a to select everything. Press tab again. This time. Don't just press a and just hit U and then hit smart UV project because that will mess up everything. Let's just show. If I hit smart even project again and hit Okay, you will see I basically have the same UV unwrap again. So now what I need to do is I need to make use of both of them and adjust them into the texture space. So how we can do that? While everything is selected, just press Tab for the edit mode, press a to select everything. Now go ahead, UV and four select average island skin. This will average all of the island scales. And you can see the scale is now different for all of them. And go over to UV and then select pack islands. You can see basically now everything is fitting perfectly and we have solved the issue. This is how you can solve UV island issues. When you have a particular island that is causing issues, you can select that item or that particular model individually and UV unwrap it separately. And then you can just adjust it with all the smart UV project by going over to UV first averaging the island scale and then selecting pack islands. So this might be a little bit confusing at first, but you can just rewatch this and I'm sure you will get it. Now you can see we have got a perfect UV unwrapped. And now we will be exporting these two Substance Painter super safe for us to save this blender file while everything is selected, go to File export, FBX. There's rename this to all selected objects. Mesh, come back in the export folder and now hit Export. Alright, so basically the export is done now and in the next video, we will be exploring this. I will see you then thank you for watching. 30. Texturing the Electric Pole: Hello and welcome guys. So now we are in Substance Painter and we will start with the texturing process of our electric pole. So let's start by creating a new project and selecting the file we exported it. Okay? And now we will be making the mesh maps. Go over to the texture such settings he'd baked mashed maps and just quickly hit back. Alright guys, so the vagus, they're not it. Okay. And quickly look through your model for any kind of shading issues. I don't think there are any, so I will first save my project. So hit Control S. And let's save it. Save. And now let's start with the texturing process. Come over to layer and let's remove this layer one first. And before starting, I will just quickly open up your first. And let's right-click and loading our reference images. Alright, so far the poll, we can just directly use a smart material to go over to the smart materials tab. And I found this copper red material to work pretty nice. So just select this corporate bleach and drag and drop it onto a pole. And now obviously we need to change the color of this. To open the folder, select the base metal, and click over here and set the color. Something like this. Let's set it to 0.7. Next we can increase the roughness a little bit 2.5, Something like that. Now to give it a little bit of more color variation. First, there's duplicate this folder, select this press control C control V. Open it up, and let's make the color a little bit darker around here. And now select this right-click exclude all. And I will just select a couple of things to have this darker color that we have a little bit of variation in our bowl. We can select all of these rings also. Say, I think that's pretty good in my opinion. Let's come back. This way. I think opposed seems fine because either way it will be a little bit in the background and won't be that much visible. So we are good to go on the board next for this text. First, we need to remove this material from over here. So select this instead of right-clicking and excluding everything. Just click over here and now just de-select it from this text, like this on it. So let's look over this image. The text is kind of pinkish, bluish. Come back to the base material or search for simple on grid. We have this concrete clean that we used for our walls. So I will drag and drop this onto them. Right-click, exclude all, and just select these two in select private in prediction and increase the tiling. Look over this Eyedropper Tool. And just set the color to this. Click over here again on the geometric mask and remove it from this thing like this text. Let's duplicate this again. Go here and select this text because we need to change the colors of them both. Now click over here and select this color. Is zoom in a little bit. Alright, so I think this is pretty good. And make it a little bit lighter. And yeah, that was pretty simple. Now let's quickly open up Unreal Engine and let's export them both into Unreal Engine now. Alright, so Unreal Engine has opened up. Now, come back to content and open up your level. Now we need to import our models and textures into Unreal Engine. I will just quickly close pure ref for now. Alright, open up the models, right-click, create a new folder. This to do back in bold. And important, this pole FBX file, it import. All. Next, go into the textures folder. Right-click again, create a new folder, read the industry oil. Again, right-click and show in Explorer so that we can copy this part. And now let's head over back to Substance Painter, press Control Shift and E, extrude. Click over the path, paste it over here, hit Enter, and then hit Select Folder. Let's quickly do the same settings that we have done for all of the other projects. Alright, now we can just hit Export and wait for it to finish. Alright, so the export is done back in and religion and hit Import. Now you can come back to the models and open up the material and just add the textures to this material. So let's delete this. Risk control plus space. Drag-and-drop all three of these. And again, plug base color into base color. I'm willing to normal. Red channel goes into AL, green channel goes into roughness and the blue and goes into metallic. Makes sure to select your texture. Double-click over here, I'm disabled sRGB. Answered sampler type two linear color. It's safe. So the texture is added to the material and you can see disappearing over our models. But right now I won't drag and drop in like the electric pole into RC because we need to create the cables first. So first I will just select the text, drag-and-drop the text. Set the location to zero comma zero, comma zero. And automatically you can see it appears directly where we want it to appear. So we don't need to waste our time basing it around, press Control G to join them together and place it a little bit outward so the shadow is visible like this. Let's see through a camera once Zhe to turn off the game view. And yeah, I think it looks pretty good. Next we will be now are creating the cables for both. So I think for this video, this much is enough. In the next video, we will be creating the cables, the bowl, and then we will export those cables into Unreal Engine. And that would be the last thing to do in our environment. After that, we can add a little bit of both drops from Goodwill mega scans. And then we will take some screenshots and end with the course. Thank you guys for watching. I'll see you next time. 31. Adding the Cables: Hello and welcome back. In this lecture we will be making some cables that will be running along a bowl. So there's disabled this text collection. And creating a cable is fairly easy. First, let's press Shift plus S. Select this, press Shift plus esco them selected and the shift day to go and add a pot. If you don't see this path object over here, you first need to enable the add-on to go to Edit Preferences. And I don't section search for extra and just enable both of them extra objects. And then if every shift per se you will find this part over here. So press shift it either go then add apart. You can see something like this has been added. Press rotate this and just rotate it on the z axis by 90 degrees. Press three for the right side view. Let's just place it first this way. And now go over to the object data properties. And now just like the text, you can change things like the thickness and the bevel of this. So let's give it a little bit of depth this time like this. I will set that to 0.01 m. I think that is thick enough. Now press three press Tab to go into the Edit mode. And you will see these points and you can see you can edit them however you may like. And just move them randomly along your scene like this so that we have a little bit of variation among the wires. Make them deeper little bit. Then you can just basically select this press Shift plus dy plus x and placed one over here. And select this press tab and make it just a little bit different to the last one so that everything does not look like it is the same via make this one a little bit more. We can even duplicate two wires from over here like this. Something like this. Let's select all three of them, redshift plus D to duplicate and place them overhead also at the bottom. You can also use a very nice feature of blender. Press Tab, press a to select everything, and then press F3 and searched for randomized. You will find this randomized curve transform. So select this one. And you'll see as you increase the amount, the points are moving in random directions. That helps us a lot. You can set it to whichever amount you might like. But you have to pay attention because if you increase the random too much, then you will see that it is deviated from this point. So you can just select this, place it back over here. Adding a little bit of randomized into the transforms of all the buyer, adds a little bit more value and look a little bit different. Let's just add the same two Ds also, select all three of them. Press F3, first Risk tab, then a to select everything, then press F3 and randomized Transform. Make sure to place this point back in its original place. Let's keep duplicating everything redshift plus d x plus one over here. Like this. Select all of them, press tab and just select the last word, disease. So all these ones and move them a little bit like this that they don't end abruptly. Yeah, something like that. Now I will just select all of them, receive seven for the top view press Shift plus D to duplicate and rotate them by 90 degrees. Rotate them by -90 degrees. List them over here. While all of them are selected. Press Tab, press a to select everything is F3. And again, add randomize. And then just place these points back over here. Like this. Alright, so now I think I pulled it looks pretty good. And the cables also look pretty believable. So what we can do now is select all of them. First, press M and move them to a new collection and rename this two cables. The one thing that we should recheck before starting to explore these cables is let's just enable all the buildings which are the blackouts, the buildings underground. And yeah, My doubt was correct. As you can see, the cables don't even fit the entire street, so we need to make them a little bit more longer. Ones over here are pretty good. But over here we need to extend them. Suggest quickly, let's disable everything. Select these press tab, select the end vertices and move them a little bit more further. And now what we need to do is as you can see, the distance overhead is like too much. Just right-click and hit sub-divide. So yeah, they're like a bunch of more vertices between them. Next, but I want to do is, I think I will be adding a bit more randomized variation in these wires. So let's just select these ones. Press Tab. And now a better way to do this would be to press K to select everything. And now a hold Control. While holding control, just de-select all these points so that they actually stay over here, but all of the rest of them get randomized. Now press F3 and search for random and hit Randomized transform. Now we can just increase the amount that much around 0.4 m, I think press tab and let's see how it looks. You can also add a little bit of sub-divided over here. Let's select these vertices and again, add a liquid of randomized. Alright, so I think this is much better. Next, let's do the same thing for these. Also. Select them all. Select everything and just de-select the starting points, press F3 and randomize. Yeah, I think now we're good to go. That's enabled back the buildings and see if everything is fitting correctly. We can maybe increase the length a little bit more. I think this is pretty good in my opinion. Let's look at it once from over here. Let's select these ones also and move them a little bit more towards the left. Alright, now let's just see our poll and Cable wants from over here like this. And I think it looks pretty nice. We can save first. Now we can disable the poll. And first thing that we need to do is if you go over here, we need to decrease the resolution. As you can see, the vertices are currently set to 16,000. Now, while all of them are selected, if you just decrease the resolution to one or any number, you will see only one cable is being changed. That is the one that is selected with the yellow selection over here. But if you want to change like the vertices or the resolution of all of them selected at once. You need to hold Alt. And now when you use, you need to hold Alt. And now when you increase or decreases solution, you will see all of them are being affected. So just decrease the number to a point where the shape is not being affected. I think around four is pretty good. Four or five. I will keep it around five. Now, press a to select everything. Press F3 and hit Convert to mesh. Now all of the curve properties are gone and now these are basically meshes. As you can see. Press tab again, go over to materials and let's add a new material, rename these two cables. Bile all of them are selected, it control plus L and link the materials together. Now we can basically export them to Unreal Engine. Alright, so while we export them from Blender, Let's quickly open up our Unreal Engine project. Now select them all. Go over to File Export. It has the x, and let's export them as cables. Selected objects and mesh it export. Unreal engine has opened up, open up your project and wait for it to load. Alright, so now open up your level. First thing that we need to do is open up the models folder. We need to import our cables model in Unreal Engine. So I will not create a new folder for it. I will just export it in the poll folder only. The reason, the reason for this is because if I imported in some other folder, it can get a little difficult for me to group them together. So yeah, I will export them over here only go to Add, Import and select cables. Now, press Control a to select them all. But makes sure to de-select the cables material, the Pauline texts material, and also bought the text objects. So just scroll down over here these two things. So just de-select them. And now you can drag and drop your ball into your scene. Wait for it to load. Now just hit Control G to group them together. Just place it somewhere around here. Or we can just set the location to zero comma zero, comma zero. Enter displays exactly where it was in a blender. Let's select it and move it a little bit towards the left like this. Let's view it through a camera once and see how it looks. I think it looks pretty nice. We can first select the cables material. And you can see we have a pedometer or hear that changes the base color. You can just select the default value and set it to a dark color and hit Okay. And you can see the cables are no black color and that's pretty good. I think we don't need to do much. It save. And then what we can do is we can select this, just duplicate this, press Control C Control V. And just place one overhead at the backside of a camera like this. Like this, and place this one over here. I'm basically adding this one so that we get a little bit of shadow in our scene of the camp, of the hole at the back. If you do through your camera, once you will understand like this, we can even move it a little bit more further to come out of the camera. Selected overdose hair at the back. And yeah, that's perfect. I don't really want it to be in my scene. I just want the shadow to come over here. It adds a little bit of detail towards him. And yeah, I think with this we are pretty much done. I will select this building moving towards the right a little bit. Okay, All to select the text, amount of the camera. Select both the text and the building. Then again, press Control G to group them together. Move it over here like this. Yeah, that's pretty good. We can also press Control. L change the lighting a little bit. Like I think something like this looks much better. And one more thing that I'm not feeling that is quite right. It's like the texture of this pole is looking like two metallic. If you want, we can decrease that red squiggly handover be Substance Painter. And we will change this. And I think with this we are done with our environment. Let's hit Save first, open UP Substance Painter and open up the Trig polar substance painter file. Let's open up this first one. Select base metal. And let's take the metallic value 2.6, maybe. Let's see how that works. Maybe increase that a little bit to 0.75. This one also I will just set the base metal to 0.75. Again, export this and let's see how this looks. After the export is done. Handover to Unreal Engine. And we will see a pop-up over here. It import. And yeah, I think honestly this looks better. So yeah, we're pretty much done with our environment. Let's hit Save first. And in the next video, we will add a couple more breaths from Cookson mega scans to add that last bit of finishing touch. But yeah, we are mainly done with our environment. After that, we can take some screenshots and yet we will be finished with the course then. So thank you for watching. I'll see you next time. 32. Finishing Touches: Hello and welcome guys. So finally we are on the last lecture of our course. So in this lecture we will be using a couple of mega scan assets to add that finishing touches to our environment. And then at the end we will take a couple of screenshots so that we can post our environment as a portfolio piece. Alright, so let's start. I will just press G quickly to enable game view. Go over here and select bridge. Over here. Let's search for street. Some street assets. In here. You can go in decals. And as I mentioned earlier, they are like a lot of different details that you can go through. You can see this manhole cover. We also have these graffiti is that we can put in over r, maybe our shadow over here. I won't do, but I'm just telling you the different uses that you can use that also there are a lot of damage details like this concrete batch over here, so that you can showcase a little bit of damage in your environment. Maybe we can try something like this. Over here we have this newly designed, I have already downloaded this, so you can export this in after downloading. Add this. Over here, you will see it has a beard. I really made me drag and drop it and put it over here. Press G, and we need to rotate it by 90 degrees so that it is visible on the wall. Now to increase or decrease the size of the decals instead of like a scaling it down. This way, it can cause some issues. You can see that the cat has gone black and said you can just adjust the size from over here. Just reduce it like this. We can place this one over here like this. Let's look for something else. We also have this Japanese sign over here. If you want to, jab is no poster sign. I will add this one also, fair now it is added in your content browser. Let's base this one over here. Rotate it by 90 degrees. And let's scale it down again next week and maybe bring in some assets. Let's come back over here and this time let's go into 3D assets. And in the street over here you can see all these like concrete pavement assets that you can use. Like we have these curves that you can add maybe along the sides of your roads. If you want to add a bit more detail, we can maybe add something like this. You can download this and added in your scene. Just place it somewhere around here like this. We also have this traffic cones that we can add. So let's maybe download these two. Just click on Download, YOU look for other assets. We can also add distinct ******* road sign. We can maybe place it somewhere around here. Let's look through our camera lens. One thing I think is pretty small, so I will skip the sides bringing those traffic. And we also have this trash bags that you can add these also. You can place them somewhere around here. I just copy these two and put one over here also. Scroll up, and let's come in this traffic cone, and let's import these to see if he can place them. Next, place them around. I don't know if it really fits in. I think I will just remove it. You can see we have also these type of drugs. If you want to add them somewhere. I got to leave meters. We all have these like the barriers that you can add along the edges of your road. I think it would look good, but I won't be adding it. So yeah, I think this much is enough. I won't add much, like through Quicksilver mega scans into our scene. I think this one is pretty good. The environment looks really nice. You can increase the screen percentage to view it properly. We'll select the poll. Just move it downwards a little bit. Now let's just hit Save. And now I will show you how we can take screenshots of our environment. So to do that, you can simply go here, click on these three lines and select high resolution screenshot. And as soon as you do that you can see we have the screenshot size multiplier. So make sure you don't increase this too much. Usually I never go over the value of two. I think that is pretty good. First, we can just set it to one and hit capture. As soon as you do that, you will see this over here. Click on this, and you can see the screenshot has appeared over here. It is like really low in size and can be a little bit blurry because the screenshot multipliers size or one. So we can maybe increase it to. Now the resolution is doubled. It capture it might take a little bit while to load and click on it again. You can see the size difference between these two. You can increase in size even more. But I don't recommend going over the value of two because it can cause it to graphic drivers to crash. So here you can see we have easily captured the screenshot. You can change the view of your camera, like you to camera two. So we have this different kind of view. You can select. Then you can go over here, senate resolution screenshot. It's put in again to overhear. What we can do is we can increase the size of our screen so that we have more area to capture from. Then he'd capture. Wait for it to load. And you can see took a much longer time because now the size was even larger. You can see this way we can capture a different screenshots. So you have this way you can take different screenshots from different angles through different cameras, often environment, we showcase it properly. What I would suggest you is to add more cameras and experiment with it. As I mentioned earlier, I just duplicate your camera three, pilot through it. You can adjust things like your lens and everything like that and place it accordingly. And then just place your camera and take a couple of screenshots. I would just suggest you to experiment with it and create various angles and take different screenshots. You can also take them into Photoshop and edit your photos a little bit to get that final bit of finishing touch. But yeah, I think from my side, this is it for this course and this environment tangos for watching and I hope you guys learned a lot. Thank you.