Creating high-quality 3D assets using Blender & Substance Painter

1. Introduction Trailer: My name is Kubez Fayun. I am a three D environment artist at Scans Matter and I will be your instructor for this course. In this in depth course, I will teach you everything you need to know how to create a herro game asset and assets in general, using Blender three D, C brush, and substance painter. This course will cover the complete process from start to finish on how to create hero assets for games. Some of the main topics we will cover are as follows. Proper project planning and creating a blockout of our asset, creating the low poly version, creating the base high poly version, sculpting any additional damages and data on our high poly, efficient UV unwrapping and baking our model, creating our textures in multiple stages, starting with height details, then base colors, then material definition, and some final polish. Rendering our asset in MarmostTol bag and creating final screenshots. We will also cover a lot more information in between these main topics. The general takeaway of this course is that at the end, you will have the knowledge on how to create exactly what you see in the images. And you can also apply this knowledge to almost any asset, not just herro assets, but simple production assets. Because we want to make sure that you can follow along with every single step, we made sure that the entire tutorial is recorded in real time and fully narrated. There will be a few time lapses which cover very repetitive and time consuming functions. However, they still contain narration to explain the process. With a total of 20 plus hours of video content, I feel confident that at the end of this course, you'll have the know how on how to create a wide variety of TD Game assets. This course will also come with auto generated subtitles in English, Chinese, and Spanish. I hope you will enjoy this course and it will have a positive impact on your life. 2. 01 Creating Our Blockout: Welcome, everyone, and thanks for watching Fast Track Tutorials. My name is KubsFyin and I'll be your instructor in this course. The key topics we'll go over in this course is how to gather and use good reference to model this telephone booth. How to grab it correct. Let's scalp blockout before starting on complex parts of the model. Then create a high and low poly version of the asset for baking in substance or then optimize the low poly model. We'll teach how to unwrap the UVs of the asset, how to import it into substance painter and bake high to low. Then how to texture the asset using various tools and substance painter. Then how to add interest using wear and tear to show how the asset has lived and to tell a story. Finally, we'll then export the asset into Marmoset to set up a scene to render it for portfolio, or then render a few production shots to showcase. The software we'll be using in this course will be blender and substance painter. All of the modeling and sculpting will be done in blender, and all of the texturing will be done in substance painter. The marmoset step is optional as that is just for showcase, but I'll be using that to create the showcase images for this tutorial. Okay, so to start the gray box of this asset, we will look at our reference and see that there's two parts to this asset. We have this exterior cage and we also have the interior parts. Because we're using four K textures, we want to rather split this into two textures rather than just keep it as 14k won't have the resolution. We'll need the resolution for this grid and for the buttons here. We'll just keep that in mind when we gray box. It won't be super necessary when we gray box, but it is always a good thing to keep in mind of how you want to split your asset. In terms of scale, we'll use a real world photo. It's not the same photo booth, but it gives us a kind of dimension of where the person needs to be. It's quite a cramped space with a little bit of a headroom. So to start that, we'll need a scale or reference model of a human. So I'll just import one of those, and we just want to move him away so we can have reference. We want to select the default cube and just move that to be flat on the ground. And we scale this cube to be the tightness we want around the human. We'll move that a little bit in and we'll move the headroom up a tiny bit. So that just gives this kind of the dimension. You can even make it a little bit thinner, still so then when it's that thin, so now for the depth. So I'll just use the human, make a duplicate of him. And we can see that it is a square in the reference. So we just want to make it uncomfortable on all sides for the person. So we'll just look at the top, see. So the square here could work. So we'll just anchor that here and we'll pull this in a little bit. Okay, so that square looks correct now. So the space the person has around him is about that much and the standing space is a square in front and he can access the phone. Now that we've got the basic block shape of what we want, what we want to do to start with this frame is we want to just split it in half and use the mirror modifier. What this will allow us to do is to not have to make the same change on both sides, but it'll just have us make the change on one side and it'll be mirred across to the other side. So we're just going to use the mirror modifier and mirror that across the center line. So now for the parts we need, we'll need a box inside that's extruded inwards, and then we'll need these side pieces as well to make these fences. So to do that, we'll then designate how thick these sides should be. We can turn off snapping for this. So we'll dictate that that's that thick and then just move it a little bit away from his arm just to keep the same thickness with the boulder there as well. We'll then add the top sign where this telephone sign will go, as well as the roof cut. The purpose of doing the blockout is to give us reference of how to do the production model. So we're looking to get the basic shapes of what needs to be done. We're not looking to get the absolute final shapes of what needs to be done. So for these inner parts, we can delete this whole piece as this grid at the back will be a single plane and we don't want to have thickness on that. We'll delete this inside part and then just bridge the gap that's now left. We'll just bridge this gap just to give us some more working room. These gaps up top need to be bridged across for using mirror, we'll just snap those on the X and just make sure that they're all the way to the center and they combine and then just to bridge the other faces. Okay, so that's kind of the outside of it. So then we'll just add a plane at the back for the backing board of the telephone booth. We'll just move that plane into position. Move that up. This doesn't need to be mirrored particularly because right now, we're not going to do much with it. And even at a later stage, this will still just be a plane with an atlas on that just creates the dots in it. For these side pieces, we want these two windows split in two, but we also have a ground floor. So we want to make this kind of ground floor pillar here, which will be the one that goes through here, and we just want to make that all the way around. There's a lower one at the back below this power box, it seems. So we're just going to make those. So we'll designate where the side one is. The back one will add as an individual pillar, and we won't do it from these right now. We'll also then just define these pillars from the sides. That'll just give us a good reference point of where they need to go. And then also this middle bar, we're just going to extrude and make a semi thick bar here. Then to cut out these windows, we're just going to delete them and bridge in between them. So we'll delete these two windows and then bridge in between them. Okay. I would do bridge edge loops on both sides. And then we'll add the glass in as well, just as a placeholder and for some reference. So that's one sized glass, and then we'll just duplicate that across. This doesn't have to be super precise. It's just to keep a sanity check for later that we need to add that. It's going to make this bottom leg as well here just to fill in the other part of this structure. And then for the back pillar that's a little lower than this pillar here, we're just going to add a cut here that we can extrude through. So it's quite low to the floor. We want to do it almost at that height and then just extrude that across. What we want to be careful is also to delete this inside face that the mirror modifier can weld together without having to have an inside face that'll cause normal issues to for us later. So looking back at the structure to see what needs to be still done, we can see that there's a little inset of the sign in the front, which isn't necessary to add now. But we can just kind of do that inset that, delete this face, just to make sure that the mirror modifier doesn't have an inside face there, and then just do a slight inset here. This won't be used for final, but we just need to be able to reference things to each other. Another nice thing to do with gray box also is just to turn on your cavity and blender and just make sure this is set to both to be able to see your gray box model a little bit better. Do I just want to adjust this grid at the back to make sure it's right on top of that. And then looking at the reference, we can also see that this is inset upwards. So for that, we should just have a kind of cube here that we can inset. So this cube will just inset up to create some headroom in the actual booth itself. Okay, so that should be the structure of the booth now. The booth that I'm going to follow the closest is this one here, as I feel like it's the most interesting insight and isn't just a single line of things. They're quite similar, but it's always good to have one global reference. We'll reference the others for buttons or to see the phone from a different angle. But for the most part, this reference is the best and also has some damage that'll tell us stories later. So to start with the inside here, we're now going to do this box at the bottom. So to do that box, we're just going to add a cube and just make sure that it fits in just a little bit off both sides. And looking at the reference, it looks about just under knee height. So it seems to be maybe just above knee height. It seems to be almost there. So for this acid, we want to just move it to the back of the grid just to make sure that it can't link. And we'll make it a bit thinner because it is a I'll reference a lot of the things above it. It has a slightly sloped face. So we'll just slope that inwards here just to get that piece here and we'll move it in front of this back support to make sure that that is not getting in our way. So we'll do that and we'll move the grid to the front of the support. I don't think it'll be at the back. So it'll be in front of the support that will have a piece here at the back rather than in the front. That does look more correct. So this piece also has a door in it. So what we're going to do is we're just going to delete this bottom face, and we're going to insert this piece for the door. So we want the door to be then delete this bottom face to make space to just drag this down to the floor or then drag that down to the floor, and we'll have to create a I't need a loop cut on the other side. So we'll just do a simple full. This is dirty geometry, but this is just a gray box, so we're not going to need it later. Just undoing that fill to bevel these pieces. As the door will be the same thickness as the front. We want to extrude the hole around it rather than extruding the door out or in. So that'll give us a line. It's a bit thick, so just make that a little bit thinner. So extruding that inwards, that gives us a line kind of machine line around the door. Then we'll just delete these two because they won't be necessary. And we'll just do a new pace from edge here just to get that bottom piece. Not lean, but it's a blockout so it's not necessary to be full production ready from this point. Then we're going to do is we're just going to add another cube. The next spot we're going to make is this part here, this little shelf. We're going to make this by just making a cube, adding an edge loop here, and then just extruding that outwards. So this part is a little bit above this thing at the bottom. So we're going to move that to an appropriate location. We can at this point start moving the person away. We have enough reference of the inside of the box to be able to know where everything goes that we don't need the human anymore. We'll still keep them off to the side for things like the phone where we need to know the scale. But for now, we'll just do that. Then this box needs to be a little off the side because it is off of this edge here. Then I'll make sure that this is linked to the back of the grid as well just to make sure that it can be linked there. We'll do that. It is a squashed square to the side. So we just want to make sure that we follow that reference. So we want to make it a bit thicker on the side here. So it's a little squashed. And like that. Integrate the little shelf. It's off center to the top, we'll just drag that up. We'll bevel that line to give us some thickness. Then from that line, we'll do an extrude of this face, the front face, not the back face. Then we'll extrude the front face and from the reference, it seems to go just over this piece at the bottom. If we need to change this later, it just seems to be the most correct from what I can see now. Then for the sign, it is a little wider than the bottom piece and goes up to almost where the well, just under where the phone is. So if we take the screen as where the person's shoulder would be, this sign has to be just under his shoulder. So then moving that way. So we'll add a cube to get that sign, as well. Then we'll just scale that to what we saw at the reference. And then just scale that up. So now we'll just reference the human. It's a rectangular sign, so it'll be under his shoulder line. It'll just graze the top of it. We'll move this to also be linked to the back. And this should be quite a thin sign. It just has a thin plastic border around it. We only give ourselves some place to inset it as well. Before we inset, however, it is usually easier to select all the edge loops here or the corner loops here and bevel them with a bevel of two just to get that soft corner. Then if you do inset, it'll carry those lines inwards, and then you can just do an extrude along normals backwards. Then just confirming that everything looks correct, these two parts feel like they can both be a little thinner and just moved off to the side a little bit. So for the bottom part here, we can see that this shape is a box with a slant downwards hitting this box at the bottom. The top of this box is slightly higher than the shelf, and it is in from this left hand corner here. So we're then going to go and add a mesh here, which is going to add a cube. We're going to position that sort of where it needs to go on the left hand side. Then we're going to start adjusting its side and its height. So its side and its height would should just be lower than that object. The object here feels a bit too fat again. So it's going to scale these two down even more. Let's move those in just that this can become a cube. Okay, that feels correct, but the cube stops here because it still has that extrude at the bottom. So then for that bottom part, what we're going to do actually sorry, we want to push this in first to be linked at the back here. And then it has to lean a slight bit over from the bottom part as it has to slant downwards into it. So we're going to push that to just be ahead of that. Then we're going to extrude this bottom part downwards, hitting that measure at the bottom. They're going to pull in this bottom edge, creating that lip this put also has a door, so we're just going to do an inset. For this door, it is flush with the back of the barrier. So we're just going to extrude this inwards just to create a little barrier the part and we can come a little bit closer to this corner just to fill out the photo booth a bit more. So I feel like this bottom piece of slant is too strong, so I just want to make that a little less. It feels like it's giving us too little space on the inside. So for this face, I'll scat it out a little bit and then just increase the width of this square to the left. So while increasing the width, just making sure not to get too close this part on the right, Okay, that does look a little better, and it is already done to feel cramped as it should. Then on top of this square, there is this pyramid shape as well. This pyramid shape starts right above the shelf and goes to the bottom of the sign. We can use these as a reference, and then it is the same size as the square box on the bottom. So to grade that shape as it is two shapes that I don't think are welded together, we'll just add a cube on top. We'll move that into position, make sure it is the same size as the box. So move this way and then just make sure that it's only to the bottom of the sign. Well, then move this forward and make sure that it stops at the front of where this box is. To get that little pyramid shape, we're just going to scale this inwards. Move that back a little bit, just to make sure that this back edge is solid. Okay, what we're going to do then is we're going to start blocking out where the phone needs to go. So for the phone, what we can see is the phone is the same width as this bottom box, and it is the same height, but a little more than the sign. So what we're going to do for that is where they just going to add another cube and move that into position. Make sure that we've got the same size as this bottom box. And we're just going to then move the top part before it starts with a curve just a little bit above the sin, and then just create some a little bit more breathing space for these assets as well. Now, we're just going to make sure that this is the correct thickness for everywhere. Link that at the back, and it leans over this little pyramid, a little bit. So we're going to go over like that, and we're just going to make the frame a little wider, just to have some more space for that phone. Selecting your vote just to make sure we select everything here. Make that a tad wider and then just increase the width of this bottom piece a little bit. The bet of gray boxing is we can just move assets around and we don't have to care too much about how high quality the models are, and if the textures are going to stretch, we can just change things and make sure that they still work without having to worry too much. So the phone here is in line. There's a little inwards, then this asset. So that'll give us some space. I want to make sure that the phone booth is not now too wide. It feels a little wide now. So what we'll do is we'll just make sure that we confirm this dimension here again. Make sure it feels a little squashed. Okay, that feels more correct. What we're then going to do is we're going to make the side phone here to put this in here. The plastic should be about that thick, and then from the top, it seems to be kind of there, and it lines up with the bottom and the back of this phone here of the body here. We're then just going to extrude that outwards to make the phone fit in this side. Well then drag it to where this part needs to go here with the phone. The inner body seems a bit thick, so we're just going to move that over to make more space for the phone to sit here, otherwise, we'll have quite a long phone. So we'll just do that as the body is quite a rectangular shape. Then just to give us a more reference, we're going to take this top piece and just bevel it a little bit to get that shape and just to know what its final height would be. So we're going to do something like that. Then the phone itself has a inset here. So for a lot of these objects, we're going to create simple variations of them and then just make those cubes kind of production later. We'll do this inset with a boolean. We'll give ourselves some reference, but we're not going to go too crazy with the details for gray box, all you're looking for really is reference to yourself. This is more of a thought process thing than really a creative production models stage. We're just going for the screen or for the inset here, we're going to use insight from all these corners and then just scale that to an appropriate thickness of all of these sides. And just move it up a bit as this bevel here feels a bit far now, we're just going to move this down just to create that plastic to the same thickness as it wants to be. Then here we're going to make this inset of where the screen should go or whether the inset should be. And then we're going to insert it again for the screen should go. We then you're going to scale that down just to get a reference of the screen as that is one of the main parts we want to reference in this whole piece here. I want to happy with where the screen goes or just extrude that inwards as well. Let's do a slight extrude as it's not a very thick metal. It'll just be the width of the aluminuinum around it. Then we're going to add a cube to do some of the buttons and for the coins and so on around here. Now it's going to move this up, and we're going to reference that in the top right corner. We'll make this a cube and then another cube with a button as well. Making sure that that's on the face this side. Pushing that in and making that a I have a slight thickness just to show the metal. We'll do that and we'll just make it a rectangular block. And just to make the button, we'll make a duplicate of that block, scale it inwards and just move it over. There we go. That should be fine for that part. We don't really need more for that. We'll refine that later. Then in the bottom right here for the screen part, we're also just going to do a cube to match that rather than doing the full model now. So we'll just do that. Pull that out, give it some thickness. Let's move that back in. Then for the part up top here where the coins go, we're then going to create a boolean. So for that, we're just going to create a cube that goes in here, and scale it to the appropriate dimensions. And then it has a little extruded piece here in the middle. So we're going to make a single line. We're going to bevel that line, and we're just going to extrude it from this side. We then just match kind of that shape here. So for booleans, we just want to make shape the depth we want it. And I prefer to call the Boolean cutter just cutter, as it just gives me an easier thing to reference. On the main body, then, what we're going to do is apply the Boolean modifier, search for cutter. Select the cutter. Then if you go to this object, if you push that into the face of the other mesh, it will actually make a cut out. The mesh won't be perfect, but it gives us quite a lot to reference later. That gives us that little coin piece up top. Then the next thing we want to do is the keypad. There are four smaller buttons up top, then a grid of a 414 grid at the bottom of rounder buttons here. For this, we're just going to use an array. We're going to create a cube, just make it a small cube this reference to where our screen is with this button, squash that down, make it a small button, then we're just going to make sure it aligns everywhere. Anyone's really happy with the alignment, and just see that there's a little more space below the screen, and it's a bit smaller. So put it into place. Then if we do an array, it'll want to put it one side off here, but we would like the other side. So we'll just make this minus one, and we'll just make that even less just to get that gap between the buttons. There are four smaller buttons here, which we'll just make a bit thinner as well. And then there are a separate set of buttons at the bottom here that are the square buttons or rounder buttons. Before we duplicate those, it is usually easier to just on the array master, if we're going to copy it, just make this one have rounded edges as well. We just need to apply all transforms to make sure that it doesn't bevel weirdly there, and then just set the origin back to geometry. Then I'm just going to bevel these edges with a slight bevel. And now we can copy these buttons to the bottom array and just drag these apart as you don't want to scale the whole thing now because that'll mess up the corner widths on all sides. We just want to make these more square buttons, more rectangle buttons. And then what we can do is we can just array to the bottom as well. So we'll look for the Z axis. And move that down and array by four to get that grid. Then just confirm with how far the buttons are from the bottom here. We can just move some things around to make them fit better to the reference. That does feel a bit more correct. I think that does it for the screens gray box here. What we're then going to do is make the blockout for the phone here. It's going to start at the cube again. We're going to start with this notch as that'll give us the most shape for everything around it. I want to make it a slight thickness here and make sure it starts from the plastic for the where the foam needs to go here. And then we can carve the notch into it by creating a bevel down the middle and selecting the three front faces here and extruding along normals backwards. So that'll give us a line down the middle of these two cubes. You can then move this part forward to get to where the notch would be, and we can move this part backwards to be at the back where the plastic would meet. Now that we've got this notch, we can just give it a little bit more breathing space on it is quite flush with the machine so that won't be necessary. Then for the phone, we're just going to add another cube. So this is just an acid we want to scale to the person's hand because it is an object we know semi well how it looks, we just want to confirm with the person's hand afterwards as well. So we'll just scale that to where the reference shows us it needs to be. It falls about halfway here, and we can just confirm that with the person's hand. It can be a little bit longer. So something like that feels a bit more appropriate. And we can just move that back. So just to give it a bit more of a phone shape, we'll do a we'll make it a bit thinner. And we'll just do two parts on top and bottom here. Then we'll do that and we'll just make it look like a phone. It's a very basic shape, but it is not meant to be the final shape of it. Then we're going to insert at the bottom here for where the cable needs to go. And we're going to extrude that outwards and make the end a bit in. Then put this phone back to where it needs to be, and I see it can be a little thinner at the front here. Let's make it thinner at the back here. It's going to move this by vertices forward and just set its origin to geometry as well. Now that the phone is in place, the other reference point for where this cable needs to go is there is a high degree inset here for where the cable goes. So we just want to create that as well to give ourselves a finishing point for where we want that cable to go. So to create that, we'll just do a inset here and extrude. This is not the final of what this shape would look like. We're going to have a curve here or a merger between these two parts. We just don't want to do that now as it would take too much time for the gray boxing stage. I want to make it a little thinner to match the same input as the bottom, as the cable will be the same thickness all the way through. They want to move that downwards, and that gives us both in and outward points of the cable. So what we can then do is add a Bassia curve. Make sure it's scale a zero that we don't have weird angles. So we can then take one point, rotate that 90 degrees because the cable will come from the inside out in a 90 degree fashion, and then just move that back to where the cable would come out. And then the other side will move to where the cable will come in, and that'll come in at the same angle as we made the input point. Just scale the curve down so it doesn't affect as far from the input point. We just want to match the lay of the cable. We're to pull this back and then make sure that the input point is on its place. Now that we've got those two points kind of defined, we can then add some geometry to the cable as well just to give it some thickness. Okay. Do apply all transforms. Make that zero C there we go. And we want a slightly thick cable here. So we just want to push that up and make sure that it links correctly on both ends. And this top one needs to be a little thicker. But Okay, now that we're happy with where the cable connects, it makes a slight curve, and it comes back laying on this part, hitting the phone here, then whipping around here as well. So we want to keep those points in mind because that's where we would like to keep our curve anchored. So to add more pieces on the curve, we'll just subdivide this. Scale that inwards, and then the first point we'll put where the cable goes behind the machine. The phone, sorry, we'll move that up. So then this loop is quite extended. This loop then extends downwards towards this bin here and hit it on the way through. So we can make the loop go this side and just rotate that appropriate angle and make sure that this curve feels more natural. It's a bit far out, so we'll just turn that back and just make sure it hits the points we want it to hit. Is confirming it feels like a correct cable the whole time. Let's move this part in because we just want a believable twist of the cable that it doesn't look too fantastical. And now we can just start playing around with the extremeness of the angles here just to get something a bit more interesting. The phone feels too far back, so I'll just move this part forward. But we'll move the curve as well. So I'm going to select this whole phone part and just move it forward. I don't want to select the back edges here as that needs to be solid against the wall. So we'll move this phone part forward, being sure to select the curve as well. We won't be able to do that. So we'll just move the phone and then we'll move the curve. So we move the phone, and we'll move the curve into place, just so we can get a silhouette break with the front of the cable here as well, and not make it have to come out at such an extreme angle from the outward point from the phone. And then we'll just increase this curve here to not make the cable, have a nick in it. Okay. So for the blockout that does look good, let's confirmed we have everything. So we've done the power box thing at the bottom. We've done this with its door. We've done the little shelf. To make sure that all our spacing on all the sides are correct still. So these two parts have gotten squashed as we have working with them, so we'll just need to readjust them a bit. We'll readjust them, move them inwards, just scale things around as we go. And now the breathing space on this right hand side feels a little better. The cable feels correct similar to this. We can add a bit more droop to the cable according to the reference. Seems to come down a little bit further, and then just make sure it doesn't hit here. To be the exact cable. We just want to do it accurately or close enough. I just want to make sure that we have the two pillars on the side that we do. Then we have this telephone here. There's some insights here that we're not going to do. This we'll rebuild the frame in production, so these won't be necessary to put in now. We have the buttons. We have the coin part here. We have the keypad. We have the phone. I make it look a little bit more like a phone, just be with these parts. It looks a slight bit better. So that seems to be all of the parts for the gray box or the blockout. So what we can now do is we can start moving to the production model in Part two. This will give us a solid reference of where parts need to go, what scale things need to be, and where they need to be in relation with the other parts. So I'll see you in part two when we move to the production model. 3. 02 Creating Our Frames: In part two, we're going to start with the production model. This will mean taking all the grey box assets to final. We're going to start this by doing a final pass on just the scale of the actual machine. So we're going to start by putting the person in, seeing if he fits, seeing if the booth is small enough so some scale changes I would like to make, so I'm just going to select everything. And I'm going to scale up the booth by one or so squares. So just apply all transforms just to make sure that it's scales from bottom. So I'm just going to scale it in one direction up just a little bit, and then make it slightly wider. Okay, I'm happy with that scale from the front. The other piece that feels too long is this piece from the side. So it's going to go to the side view here and pull back this front segment. We're going to pull that back to just about here and then just make this pillar thinner as it won't be this thick in reality. It looks a little better, and we're just going to do the same with the backing plate here. Make this a slight bit thinner. After that, then I want to scale the slats on the side of these two windows here. So I'll just select these. So I'll select these by just looking from the front and scaling them from here. We're just going to scale these down a slight bit to make them smaller. Something like that will be fine. Now, it's going to do a final pass of where everything is placed. So something is just move around and remove the phone a bit left. Make sure I select all of the assets in the phone to make sure they all move together. So the cutter did not move when I moved everything else, so I just move that up. Yeah, that looks correct again. Now, I just want to move this whole construction here So this can go a little bit left just to give everything else a bit more breathing space. Then we can just do some scale adjustments on these two pieces to the right here as well. So slight adjustments. That does look a bit better to a reference. And then lastly, I just want to scale these two up a little bit and just move them into behind the cable again. And that looks better. Now the scale feels more accurate according to the reference. We've got a thinner side piece here. We've got the phone here, we've got the scaling here more correct, and the bottom is also fine now. Okay, so to start with the production model, what I always like to do is to move everything that's in the blockout is a new collection. I call this blockout just to know which is new parts and which is old parts. What you can also then do is just join these together and apply a uniform material to all of them. I like to usually just make this a darker gray by just going to the viewpoart display in a new material, just sitting this a bit darker gray. That did not apply to all modifiers, so I'm just going to make sure all my modifiers are applied before joining. Otherwise, these modifiers will apply off towards. Now I can join them now that all modifiers are applied. Now that's joined. Now I can just go back and reassign the material to just a darker gray, and then just do the same for the cable as well. Then if we create a new cube and put this in the collection of production, this will be where the final high and low poly models are created. So following the reference of the blockout, we'll create these. To build this frame, we're going to build a outside frame, housing inside frame because there is a line here dictating that there's a frame within a frame here. So we're going to construct this in segments, but make it look like metal that is pinned together on the sides. So if we're starting that, we're just going to make sure that this cube is the same scale as our blockout leg. We're going to pull up the bottom, make sure that's in line. Going to go all the way to the top. For this inner piece here, we don't want to go too high as this piece still needs to be separated. These pillars need to stop where the telephone sign will stop here. We'll just move these up and make sure that they only stop at the top of the telephone sign here, which can also go just a bit lower. I'll just lower that head a bit. Do something more like that and then bring this pillar up all the way, making sure that it's also scaled correctly to the front. Okay, then that'll give us one of our supporting pillars. What we are then going to do is duplicate these across and then join them together. So for starting, this will also house the bottom piece that will be welded in between these two pplllas. So we're going to add two cuts, bring these down. So we're going to bring these all the way down here, and then we're going to bevel them to the thickness we want this bottom pole to be. We can make it a slight bit thicker than the blockout just to cover some more of that ground off here. So something like that looks a bit better. We're then going to join these two together. This way using bridge faces. I think that will then be our first layout of the frame, just a solid frame that goes all the way to the top and then has this bottom piece here. Then for the second part of the frame, we are going to add a cube again, scale this down. Make sure that this is in the corner here where the previous pillars connect. For this, we just want to make a general block of where this needs to go, of where the inset needs to go here. This will not include the middle crossbar between the two pillars as that'll be a separate elements as well. To make the inset and extrude a bit easier, we'll work with only a face and then mark out where we want our lines on this. To make sure there's measures in the right place. So we don't want this center crossbar to be included. We want these two to be frames of their own, and we want them to have a gap in the middle. They're just doing an inset to see if these pillars will look fine. We'll inset them a slight amount here that'll give us them the four beams around the sides here. But we can then also add a cut here in the middle between the two. So going to confirm that inset. Then just going to use the knife tool to create the side pillars here, one side pill on this side, and one side pill on the other. And then we're going to delete this center portion. Rather, we're going to separate the center portion out and use that later. And we're going to delete these two parts where the window should go. We're going to separate these out as well just for use later as well. We're going then to set the origin to the middle of these frames, just make sure that the back part is where we want it to be. And then we're just going to extrude it out a little bit just to be able to see it better. This frame will then be at the back of the previous frame we've done as well. And then its front will be a very, very slight inset from the outside. This will give us just a slight more interesting line on the outside here. Then for this inside piece, we're going to do the same thing. We're going to pull this all the way back to where it needs to stop. So then extrude again so we can see it from the front. We're going to pull this back to where the other mesh ends and pull this forward. Again, just a tiny bit inset to create an interesting line there. That does look almost correct for the frame. We've got this topr. We've got this side here. This does look correct for the side frame. Just confirming. So now we want to start beveling all of these edges, just to add a slight more interesting weld line here. Doing a test bevel to see which would be easiest. So I think we're just going to bevel the inside ones just to have not a complete angular here, just a slight cut here. I'm going to select all the inside edges. And then bevel them a tiny bit. We're going to do the same for this inside face here. Here we want to select the outside and inside pillar to make sure that we're beveling these together and that they are the same radius having both those measures selected, we can now bevel them together. Again, just giving it a very slight bevel just to have that break of the corners. That'll be fine for that outside window now. We're also then just going to drag these windows back a slight bit here. These can stay a single plane as they are just windows, but we are going to put them slightly inset into this mesh as well, forming a slight separation between the pillar and the window here as well. Once that's done, we can unhide our blockout. We can join these first. So we'll just join those together, or the unhydr our blockout assign all transforms to the side so we can mirror it across to the other side. Well, then mirror that across. So we have two pillars on the sides now. Then we can start working on the telephone sign up top, as well as the top middle part here. Now that we have these side pillars, we can now inset this cube here and we can do this top hat here that also, which we did not show in our blockout has the slight inset in the middle here, which we'll also add starting that we're going to start with the telephone sign in the middle. We're going to add another cube. Jam that into the corner of the other pillars. Then just scale this to where we want it. Then we're going to make sure that the face of this cube matches the gray box face. And the back also matches the thickness you want for this part. So this part is then an inset and an extrude inwards to the same as the blockouts going to confirm that that's good. To add some interest to the spot, we're going to bevel this outside and inside edge. As well as add a slight bevel to these corners. We'll select all of these together so we keep a consistent bevel across the whole asset. Then we're just going to add a very slight bevel here to catch the light a slight bit better. That does look correct. So for the backside here, there is a pillar still here, which needs to be connected between the pillars. So to do that, we'll apply the mirror modifier to make sure that we can edit between the pillars on both sides. And we're going to carry this bottom pillar through here. It's like bridging the faces and pulling it down a slight bit and a slight bit smaller. This makes efficient use of the mesh from the previous pillar to create this one as well without having to add more loops to just create this. Okay, I'm happy with that. So what I'm going to do is I'll make a duplicate of the grid of the blockout and just separate that selection. And move that to production with the other material assigned the light material assigned. And then I'm just going to move that into place of the blockout of the production model here as well. Confirming that it is in place. For the top telephone section, let's have a look here. There are inset pillars going between these pillars on top here as well that fill in the gap between the telephone and this top piece. We indicated these in the blockout on top, but we'll have to fill these in with a separate block to make sure that we keep consistency with the reference. So we're just going to add a cube. Go to wireframe. Make sure it's the same height as the telephone sign as that's the infall between the bottom and the telephone sign around the edges. We're going to add this part in hide the blocker to make things a bit easier. The similar solution to this would be to actually increase these top pillars we have here. So we just grab these two edges and make these a slight bit thicker to the bottom of the telephone pole, creating that bridge we have here on top. That'll then create this bridge here. Now that we have that, we'll just create the same at the back. But we'll do the back piece with a separate cube. Making sure it lines up to fol this gap, and then pulling that across. Making sure that the thickness here makes sense and pulling this part in to be the same thickness as the pillars we have all the way around. However, we want to insert this a tiny bit to get interest here. That's confirming that looks correct, and I'm quite happy with where the frame is now. The thing we can add now is we can now start with a roof. So we're just going to add a cube for that as well, bring back the reference and then create the roof. We've seen in the reference that there is a slight hat on top now that is a extruded piece up here. So we'll make it a little bit smaller than the gray box as that's the final size we want. So we'll make it to there so that we have some space to create that inset as well. We'll make sure that this matches all the sides. Some imperfection here does also help for the storytelling as these metal pieces wouldn't have been assembled pixel perfectly. So that's why we're not using any snapping to connect these pieces here. Then we're just going to make sure that the roof also matches from the sides. Just like that. Now that we have this roof, it needs to go up a tiny bit as this gap is slightly bigger in the reference. We'll also add some damage and so to these pillars on the sides here to pull it closer to the reference for the metal damage as well. But for now, this is fine. As we are now working on the low poly moodel to go too high, we're just not at the point of doing that just yet. So I see this back pillar has warped our inside faces of the inside pillars. So we're just going to pull this back a bit to fix this mistake. So we'll just make this the same thickness just delete this one. We'll create a separate cube then for that face for the holes that were made and make sure that the inside faces are still square. So then to reconstruct that pillar, we'll just take the pillar from the top and make the bottom piece here again. Just like that. Now we also have the consistent insights here, and we can just do a quick confirm to make sure everything else looks fine, as well. These inside blocks, we can make a bigger machine line around them just by scaling them down a tiny bit just to get a darker line around. Just something more like that. Then for the top roof part, it will be hollow inside. We're just going to do an inset to there, then do an extrude up to create the whole snapping that TZ just to make sure that it's constrained. And then pulling it up to see something like that. As I just want to make sure that this myrtle is the same on the length and width of the square here. That does look correct. Then it does have this piece up top. Checking if we want to make that a separate mesh or use the same mesh. But I think using an inset of this mesh could be ideal. So we'll just do an inset of this mesh all the way here, reveal the blockout just to check the scale, or then extrude this upwards. And now we've got that piece up top. To make it a bit more interesting, then, we'll extrude the top piece here. Just to break the light. And then we'll do a smooth bevel at the bottom here. Just do a three white bevel at the bottom. Now we have some shading issues, but to fix those, we can just use weighted normals, as we want to use these in the end anyway. I'm just going to enable auto smooth, so it smooths, and we're just going to say to keep sharp for now, that's not going to help So we're just going to bevel these edges that give us some issues. Just going to add a slight bevel on all the corners. Now that roof part looks more correct. So thinking logically of how this back plate would be attached, as it won't be in a slit at the bottom here, this back plate would most likely have been bolted to the back of these pillars. So we're just going to make logical storytelling here by making the plate a slight bit wider and a slight bit taller, so we can put some bolts in it to keep it in place. We're then going to put it to the other mesh, making sure it just intersects. This top art, we don't want to extend too far up. I think we want to just I think nailing it into the corners could be correct here. Then we will make a bolt to fit that. So we'll just add a cylinder with 16 sides. No, we're going to add a mesh iv sphere with 16 sides or do we want just eight? So we're going to do maybe do nine sides just to make that a bit more interesting. And we're just going to grab this top part just a rivet type bolt here, we'll just do a cultural inverse and delete these faces. Then we'll just do an extrude to give the body back to this bolt. And we don't need to fill the backface as we're never going to see that. So we'll just do a weighted normal that's how all the models will be we'll be weighted normals at the end. So we'll just weight at normal that then for this inside piece, we'll make sure to just do an inset and extrude to give the inside screw hole and just pull that in and do another inset just to solidify that bottom part. For this outside, we'll just do two supporting loops around this edge. So you get a bit of shine here, and for a bolt, that should be fine. So we're just going to name this bolt as we're going to reuse this object a lot. Set origin to geometry to have the center of the bolt. And then we can start moving this into place. We want to use these bolts at a correct scale or a normal scale? It's going to compare it to something like a hand and those bolts seem to be almost correct. It's going to hide the block out again and then start nailing this grid to the back of the telephone booth here. For these bolts, we just to make sure that they are on the surface of the grid. And then just logically tuck the grid on all the corners it would have been nailed in. Because this is a light grid, it will not be supported on all edges. It'll just have three bolts on the side and perhaps two in the center just to keep it in line as well. So that seems more correct to the reference. We have no reference of the back, so it's just giving it some storytelling by thinking about how this would have been done in real life. I am quite happy with that. Just confirming everything looks fine in the inside here. For the roof, this inside edge here is still giving some shading issues, we'll just do a bevel here as well, just to make the roof smooth here and add a supporting line on this inside edge. As well as then beveling this sharp edge here to make it a slight bit softer. Now just looking at everything. We've got the grid, we've got the back. We've got these side pillars. We've got all of these. We've got these pillars up here, and we have the telephone sign in front. The telephone sign has a slight curve to it. So for that, we can just add three lines and just pull these out accordingly. So the middle one will just pull mostly to the edge of the sign, and these two on the sides will pull up a bit just creating a curved inset into the sine. We can then start applying weighted normals to the sine as well, and then just adding support loops to take away the shading issues and making sure the sine is solid. So we'll just add some loops around. Now that looks more correct and it has the curvature inside as well. The frame is constructed fully and has glass in it. The grid at the back is logically attached. This roof piece is correct now with the little hat on top as well. That'll do it for part two. In Part three, we'll then move on to all the internals of the phone booth and finishing those up. See you guys in part three. 4. 03 Creating The Phone Booth Internals Part1: In part three, we're going to start moding the internals of this phone booth. So starting out, I just want to move everything that we've created previously into a collection where it's now called production. I just want to call this texture set one because we'll know that the texture sets will be separated the outside from the inside. So naming this texture set one just gives us a better reference of that's the frame, and all the internals will be their own separate material. Moving on then to creating the insides, we'll start with the cube to start at this bottom piece. We'll scale this cube to the same size as this back piece. Just getting the roughly same shape and then getting the same slant as the back part. Then just scalding this backface inward so it hits the back of this grid. Something like that looks correct, and it can be a bit wider as well as this front piece. Well, then also delete the bottom as the bottom face of this will never be seen as the phone booth can't be tot over and this will be into the floor. So then creating an inset from this back part. Looking at it from the front view to make sure it is the same size as the blockout door. Deleting the ground part to make sure the lines carry through, scaling that downwards, scaling the door in a bit. Now just going back to our reference. In the reference, we can see that there's a straight line on the side of a thin gap, then a wider hand holding line up top here. So we'll just mimic that from the reference as well. We'll start by beveling these edges here to a very thin line. And we'll extrade this backwards, constraining this to the Y direction to make sure it doesn't go off kilter. And we'll just do the same depth as the previous lines. We'll then remove the bottom face of this cut as well, and we'll hide the block out to see what we're doing and just make a new collection called texture set two to make sure that we know which parts are internals. Now that we have the side edges, we can drop this top edge down a slight bit to look more like the handhole. Doing something like that gives it that shape that we're looking for. You can then just make sure it doesn't collide with any pillars or so and just pull this back face forward to make sure it stands in front of this pillar rather than having clipping issues. We can then apply a weighted normal modifier and start just cleaning up this mesh slight bit. We'll start by an edge bevel on these edges here, as well as on the back. And because this is a smooth metal object, we'll do a two bevel here on all edges, just to make sure we get a nice light shine on all of these, making it feel like folded metal rather than a through the object. For these inside lines, the outside line of the door will bevel I bevel this a one time to give it more of a cut out feel. Then on the inside of the line, we'll add a loop cut just to make sure that the lines stay solid as well. And also on the edge of the door, creating a white line of light here. Just referencing back to the door that does seem to be all the components. The damage and bins we won't add at this moment, we'll add those at a later time when everything's done. For now, we're just looking at creating a more final version of all the assets and then moving on to full production, high quality high polymodel. Just revealing the blockout again, now we can start with a new part. The next part I want to focus on is this piece here. When we were blocking out, we made this piece one piece. However, looking back at the reference, these seem to be two folded metal pieces. So what we're going to do is create a back plate and then create the folded metal piece in front of this back plate. So just adding a cube for the back plate. I just scaling that to the same width as the other one. We don't want to do the cut here because we're going to make two plates now. Then just making sure that that is all the way at the back of the grid, and then that the front is the thickness we're looking for on that plate. That'll be at the back of the grid. Then this plate will be a thickness of about there, just some thickness, but not going overboard. These are some curved edges, but we'll add those after for the front part, bending an extruded cube is slightly complicated. So what we are going to do is separate this plane, delete its faces, and bend this piece. So we're going to gather reference of where the blockout shelf is so that we can bend it into that shelf. So the shelf is roughly about here. So we're looking for a bend from about here to where the shelf line is, which will be here. So now that we have those two lines, we can hide the blockout as now we know where we're going with it. We can then pull this line back to be in line with where the shelf needs to be, and we'll extrude that to where the sign does need to be or where the shelf needs to. Well, then pull this all the way forward to where the shelf ends and just adjust some thickness to where that is as well. Hiding the blockout again. Now we can see we have a starting of a curve here. And to finalize it, we'll just do another loop cut here. Want to quite a soft bend as. This will be the same thickness of metal as the back piece, which is still a little thick, which I'll just make it a little thinner. So we'll make this piece the same thickness as the back panel, so you cannot bend that metal very solidly. What we'll then do is a bevel here. Once you do the bevel, at the bottom here, you can see that there's a different kind of offset here. If you make this percentage, you make that 100%, it'll fill the whole bevel you've set up. Then you can start adding segments. For this one, we'll add seven and confirm then the big part becomes that now you have duplicated vertices because you did this at 100%. So for that, we'll just do a mesh, cleanup, merge by distance, and we're expecting four vertices to be removed on all corners. Now that we have the shelf, we can apply the solidifier modifier. And we can do this to a minus degree. If we do do this to a minus degree, we always need to keep in mind that we will need to flip the normals. So applying this and looking at face orientation, the model will look fine as it is. But we will need to do object apply all transforms. And if the normals haven't flipped, then, then you know that the shelf is correct, and we don't need to do much else. The corners of these shelves are bevelled, so we're just going to do that as well. We'll select both of these to make sure we get the same bevel. And just make sure we select all of the corners on all edges. Then we're just going to do a slight bevel and we'll do a two segment bevel on all those edges. Just checking according to reference if that looks correct. That does look correct. Yourself could be a little thinner and we'll do that by just pushing up this top part, a slight bit and just adjusting the curve from the side as well.'s to make it a soft transition into the thinner metal. And then pulling this back part back just a little bit and just reconfirming the curve. I also give it some metal fatigue, interesting damage. So it'll just look a little bit more authentic. Well then add a weighted normal modifier just to see if anything will need to be fixed. So once we do that, we lose this edge, and we can get that back by just applying to loop cuts here. Now that we have that edge back, we can just confirm everything looks right. And we can just make sure that this edge, which is looking a little wonky, is just straightened. We're going to straighten that edge a little bit. Just by moving these words over a bit. That'll still give it some damage. Remove the loop cuts first just afex that edge. So we'll just select the edge where it needs to be flat and then just scale that to zero. Those two make sure we have a nice flat edge that side, there we go. Then we'll add the lines across here again, and the weighted almost should carry on and that should be fine. For this plate will also then make this a little thinner and push this top plate back. Now we have these two metal pieces combined together, and they do look like the reference. We also then have two bolts on top here, which we also then add in. These holes we can add in post with substance and with texture. But these bolts, I would prefer to be an actual mesh as we have made these already. So I'll just take one of the bolts from the back and just move that to this piece. Scaling it appropriate for this piece here and we'll just add two bolts here. Then just making sure that this goes all the way back into the model. And then just confirming everything still looks fine. I would prefer the shelf to move down a slight bit, so just going to do that here. Just to have a little bit more metal on top here as well. And that looks good. Comparing that to the blockout, the shelf is a slight bit lower. And this top piece, we can move some things around. But I think for now, this lower shelf looks fine. We'll then move on to this bottom box here, consulting the reference to see how this looks again. So we can follow the blockout for this bottom box here, that'll be fine. These little parts, we can add in texture afterwards, and this top piece is separated and has quite a nice bed here, which we will do in the low poly version as well, just to mimic that whole curve here. And then that goes up. We're doing a two part construction here. So just adding a cube to follow the blockout. Making sure we scale this to the same size as the back boox then just making sure the back at front matches. And then also just checking the back here. Then lastly, we can do the extrude at the bottom here. Make sure that hits this bottom piece. Just looking at the reference to see if there is an interesting inset here, a slope here on top as well. So to add some character to this bottom piece, we can add that as well. So we'll just select this piece, select this front edge and give it a bit of a slope. There'll be a bit more true to reference and also give us reference of where this part here needs to go. We'll then push this part back a slight bit. And this part seems to lay on top of this bottom part here. So we'll catch that almost halfway through the curve and make sure that its bottom matches with the slope here. So we'll do something like that, also giving us a p to put some interesting rust here in the texture. And then we can move on to just inserting its door. So for the door, we'll just do an inset, and we'll just extrude this back a slight bit. This is very close to what we did in the blockout phase. It's just we are adding the pieces we miss there then. So we'll add a bottom piece here, this is a more straight come down here. So the frame continues, becomes taller, and then only goes down. Then to add some more visual interest, we're also going to do a very slight machine line here. So doing another inset of the door to get a very slight line around it, grow the selection by one by pressing the upkey, selecting the middle face, and then doing an extrude of the surrounding faces. This will give us a very slight inset even at the bottom of the inset here. That might be too large, just going a few steps back and doing that inset again to get a smaller machine line. And we're looking for something like that, grow by one, deselect the inside, then just extrude backwards to get the line. Now we have the drop where the door is inset, then the machine line, then the door. It feels more as if there is an actual door here. Then we'll take this piece and the top hat to final production together. We're just going to reveal the blockout again. We're going to add another cube for the top part. Going to match the cube to the blockout. Also get the same height. So this part has to not exactly match the bottom box because this is quite rusted and bent metal and it doesn't fit exactly the bottom. So we're just going to make this close enough to fitting that shape. And then the top, we're going to just sear down to fit that back pyramid and we're also going to bring this front part inwards as well. Okay. Okay. Okay, now that we've done that, we can see that there is a lip here that needs to be straight and then only go into the pyramid. So to create that, just create a line here, and then bring these two line by selecting both scaling and pressing zero to make sure that they're perfectly aligned, doing the same with the center, and just pulling that back to where that needs to be and doing the same with the other side as well. Once that's done, we can start adding some of the damage of this curve here. So to do that, I'm just going to add a few lines down the middle. We'll do two lines. So we'll do them at awkward distances here. Then we'll bevel them to make them a bit bigger, and then we'll just move these words around. We'll be careful not to select the back and just to make our lives easier, select this bottom here and just lead that. This can be a hollow object as we're never going to see the back of it, the bottom of it. Then for this front pot, we can distilate these words and move them around. Looking at not going too extreme with this damage, but also just making it look good. Is moving those around. Then if we just do an object apply all transforms and just pull it out, we can optimize the mesh a little bit here by just merging the votes and collapsing them just to make sure that this doesn't go all the way through. Then once we have the shape, we can start selecting these outside edges. And we can add a soft bevel to these. We'll do a bevel with two segments. First, you get a nice soft metal feel here and we'll add the weight to normal modifier as well. Once that's all added, because we did keep transforms, we can go zero it and it'll be at the same place where we left it. Now just hiding the blockout. We can just see where we are. So this door looks good. The bottom part needs to be still bevelled. So we'll just do apply all transform so we can edit this on its own again. We can then delete this back part of the mesh, and we can select all the corners we want to have beveled. So having all the back corners selected, and this cuts through here selected, we can then do a bevel and we'll make this a one semen bevel as this is quite sharp metal and we don't want to lose too much of that shape. Then the outside of the door frame will also bevel. Just a slight bevel just to keep that shape. We'll apply the weight to normals modifier and turn on auto smooth. Let's check for any improvements that can still be made. So we can have two loop cuts on the inside of the door just to make it feel more solid. So we can do one loop cut here on the inside of this machine line and on the other side here as well. It'll just solidify this line and make the door a bit more solid. And then we'll zero this mesh as well as it'll return to the previous point. So now having those three pieces, we can move on to creating the frame uptop where all the information is. Just start this frame, it's going to add a cube. Going to move that inwards to the frame in all just to line these just to make sure that they are the same size. And pull this down. It's also good to always reconstruct blockout pieces because we can fix some of the global scaling stretches we made and so on and just make sure that everything is made to be the correct size and the correct place rather than relying on us not having scaled them before. So we're just going to turn on a wire frame here just to see the interior lines, and we're just going to insert this to where the interior lines are. Something like that. Then we're just going to hide the blockout as we have all the reference for where this part needs to go. We're going to insert the inside and then we're going to bevel these corners. So the outside corners and inside corners have two different size bevels. So for the outside, we'll bevel them just a slight bit and add two segments. Then for the inside, we'll add a larger bevel. We'll just add a larger bevel and do two segments as well. Just checking to see if that would be too low and if we do need more. So just as a check, it would look better if we do four segments here. We'll just need to reconstruct the mesh on all corners. So then to do that, we'll have to manually just reconstruct them. So we'll select all of these lines that go through. Just use control backspace to undo those, and we'll use the knife tool to cut through these edges. We'll cut those through and then make these make triangles all the way backwards. And we'll just repeat this for the other corners as well. Ensuring that we keep the mesh flowing right here and also making sure we don't have too much pinching on either side as we want to bevel both inside and outside edges of this frame still as well. Then for the bottom two corners as well. Just doing the same, starting from the outside and moving inwards. And then for the last corner, as well. Now that we have a frame with two different bevels on the outside and inside, we can also select this inner edge. And just create a smoother transition from that to the frame in the middle. We'll first do apply all transform so that this bevel doesn't scale strangely. Well then do a bevel with one segment, just to give it a better light catch on the inside. Then we'll bevel the outside edge here. We'll have to select this a bit more manual because there's two triangles touching the edge here and we can't select through triangles. We can only select through quads. So we'll just make sure that manually this goes all the way around, and we'll give this quite a soft bevel as well. So just beveling that to where the triangles almost touch on the edges. And then we'll apply the weighted normals modifier to this as well. And just confirm that we're happy with all the sizes on this. This frame can be a slight bit thinner. So we're just going to do a apply set origin to geometry and just scale it a bit thinner and make sure that that hits the back of the grid. And this poster is also bolted and it has two bolts on either side. So we're just going to mimic that as well and just make sure that ours looks the same. Setting origin of geometry on the bolts to make them easier to move. These will be smaller bolts, so we'll just scale them down, move them to intersect the frame, and then just put two bolts at their appropriate positions and duplicate them across to the other edge. Looking at what we have now, we've done most of the internals. The only thing left to do then would be the phone. That'll be it for part three. In part four, we'll then start modeling the whole phone, as well as the cable and the telephone oh 5. 04 Creating The Phone Booth Internals Part2: In Part four, we're going to model the actual phone itself. So just looking at the shapes we have here, we have a cube on the outside with some beveled edges, and then we have this plate on the inside. We can see that this bevel carries through all the way out into these corners and into these corners here. So what would be the best to do is to create a metal plate stand out, and then have this black plastic, in this white plastic, go in and fold around on the inside. So the best way to make this model might be to do it from the panel, extrude outwards, create this inset first, lay it back, and then model the back here rather than trying to cut into a cube as these bevels won't line up. So let's start there. Just making sure that everything is moved into Desi set two that is on the internals. Then hiding the blockouts. We're going to create a plane that shows the middle shows where that panel needs to go. So just a single plane. And then we're just going to scale it to where that panel is. For that, we're also just going to enable a wire frame just to see clearer. Move that closer. And just move this in as well. Now, once that matches, we can do an extrude, just to get the bevel on the corners. Do a slight extrude. Doesn't matter how far, we'll remove that later. We'll select all of the edges, and we'll do a bevel. We'll do a five bevel here. Just a five segment bevel. And we just want to keep the face here, so we'll do a control inward and just select the outside. So now to get an edge here, we just want to do an inset on this face. Go back to Io frame and make sure that the inside of this shape matches the inside of the other shape. This will just give us an edge loop around that we can follow. We're moving that inwards. Then the inside screen here or the plate here will be extruded inwards. Just making sure we've got that frame in mind, and then the inside edge here will also be bevelled. We'll do this just to keep reference of where everything is going. They will bevel that one as well. Now what we want to do is we want to carry these bevels of the inside edge to the outside edge. These will complete this bevel up top. Then the same for this side, and the bottom ones will complete this bottom edge, but this bevel will be separate for these, we can do a scale to zero here and just do the same on the other side. And move that downward as well. To make life easier, we can also do a mirror. So just going to make a center line. We can't make a full center line because this is an gon, but what we can do is we can make a line and do a manual knife cut down the middle. So we'll just do that and then select the faces on the left hand side and just delete those. Making sure we delete all the faces that side. Then we can pick a verte in the center. Make sure that vertex is clean. Make sure this all lines up and we can just do snap ertzes cursor active and then do object set origin origin to three dcursor. We can then apply a mirror modifier to mirror that across to the other side. Now everything we do, we just need to do on one side rather than both. So from this corner curve here, we need to still get this curve up top and subsequently, we also need a curve that follows that. What we're looking for is this curve here from the bevel on the corners. We'll start with creating this from the top. We'll create three loop cuts here and we'll move these to the reference line we have from the blockout. Does many sure that we keep a good curve here and that that curve bleat into the edge bevels here. That curve does look fine. Now we'll need to do the same for the bottom. However, for the bottom, we need to bring these up to something like this, as there'll be the edge here. And we'll just make sure that this doesn't pinch too much on this corner this corner becomes straight, so I just want to avoid any unnecessary issues there. Just want to straighten out this bottom edge. Yeah. And then we want to make sure that there is a more aggressive curve down here than at the top. Well again add three here, then we'll start aggressively curving this and we want to go up because the curve on the outside is quite close to this corner here. This corner is a slight bit down. If we pull this up to about here, that'll put the corner here and then we can just start shaping this into a curve, just making sure to keep this more aggressive than the other curve. And even use the scale just to make sure that the curve is more aggressive. Now we can just confirm that that's what we're looking for. The whole shape looks a little square, testing with some scale. This bottom curve can still go more further than this. And now we've got this top shape that we need a bevel here and the bottom shape here. That should be good. What we'll need then is the inside where these curves are going to stop. But first, these sides are also curved a slight bit. So what we're going to do for these is we're just going to add a line here. We'll add three lines. Well, we'll add one line, straighten that out. We'll then move this line out a slight bit and we'll just bevel that then. Leveling that three times and then making sure that this edge lines up. So this edge needs to be straight and the inner edge of the screen also needs to be straight. We want to select the two verts on the inside selecting those, making them straight, and making sure that they connect correctly with the curve at the bottom. That should straighten that out and we're already starting to see that curve at the outside. For this curve on the outside, we want to make it move over a little bit. For this inside line here, we'll just move this in a very slight bit We'll do something like that. Then for the top curve, we can then do this maintaining the plastic that's on top, and we'll have to bring this side edge closer. So seleting this side here. And we're going to select these curves as well and just pull them a bit closer. Scale that down to make the curve sharper and just pull this closer to the screen. These lines we can keep straight as the outside is the one that needs to bend. This line, we can just keep out a little bit to just keep that inner bevel and just confirm where this outside line is. The top is also a bit close, a bit far. We'll just also bring this a bit closer to the screen. Scale up a little bit, bring that closer to the screen to make a slighter pinch here on the corner. Then we'll just make the curve here a bit more aggressive. I will go for something like that. Then for the bottom curve, we can make this quite a lot more aggressive, so we can just move this almost all the way to the line at the bottom using the bottom as the bevel line on this edge. Which will not be a good idea, so it's rather bring it. Let's bring it down to there, but then move the bottom line down again. So we just then want to take these lines and move them down. Scale zero and move these down. Then we can bevel the entire edge here, just giving us a nicer edge to have bevelled and to catch light on. This curve has lost some of its shape, so we're just going to match this to the inside curve. Sure to try and move these vertices manually to fit that inside curve. That looks a little better. Just looking at it from the front view, making sure everything's correct. This vertices out a bit. Then the inside curve here needs to be a bit sharper. But we'll achieve that by pulling this one closer and making sure that the end ends here and we'll just do the same for the top curving a bit close to do this I'll go from the least to the most in the middle and then it'll return to the top line again and go all the way around. So just confirming that that's the shape we're looking for. We're looking for a white curve on top, a smallesh curve on the side, and into a white curve at the bottom. We've got a white curve up top, a smallesh curve on the side, and a big curve at the bottom. The curve on the side can make a slight bit more aggressive. By scaling that up and moving that out. Then just making sure the bevel corners still work, do not lose them. So here we're just trying to match the inside as much as possible and just create a nice fall off into that curve at the bottom. Then we just want to do the same at the bottom as well where the curve has now broken. Now we just have nice fall off into that curve and the center here is a bit sharp. We're just going to bevel this and then just add another segment just to smooth out that transition on the side. What we then need to do is insert this screen, everything except this bevel or the outside of the screen here. So we'll pull that inwards just to get this dent. So I'll turn off ya from so you can see that better. Now we have this nice dent on the side. Hover we just want to confirm this a bit cleaner. So we'll just select this whole line. We'll then do a bevel on this whole line. Quite a sharp bevel. And then at the bottom, we want to start pulling the bevel away because the bottom is a bit softer. So we just want to pull this bevel away to create a smoother fall off, but still keep that edge quite nice. H so looking at what that does, that just makes the bottom here smoother. We'll apply a weighted normal as well just to see what we're doing. So that'll make the bottom almost disappear because the screen still needs to be bent backwards. We don't want to make this too solid. So this will be fine for now. And then just confirm everything else looks good. The top still carries this line here. These carry the sides of the monitor here of the screen here. And then I just want to the middle middle feels a little thinner because we're having too little we're having a little too little mass here to keep the machine up. So we just want to move these a bit loser. So we'll move these a bit closer and then just make sure that this curve still lines up. And then just doing the same for the top that does look quite good. For the middle screen here then what we are going to do is duplicate to this piece, separate selection, and then just do extrude here pushing this backwards object set origin to geometry. We're going to apply the mirror first, then set origin to geometry. And we're going to push this back to sit where the plate would be inside. Then we're just going to delete the back here and make sure that we delete these in the middle as well. There's there's a face in the middle, and then we'll just do a mesh cleanup merge by distance to make sure that those vertices go away. Now we've got the metal plate on the inside, which will scale down a slight bit just to get a nicer machine line all the way around this. So that's quite a good way to create this inside. So then what else do we need? This plate can be handled on its own because it is a separate piece now. So we can also keep this straight, create this whole panel, then bend it, or we can bend it and then create the panel, which makes our life a little harder. I would prefer to keep this straight, then do it, and then bend this backwards along with everything else using either a lattice or just moving the vertices. So what we're going to do is we're going to create this whole front plate first, including the returned coins, including this and then all the buttons. We'll do this first and then we'll create the back, which then includes these bevels at the bottom, as well as this phone hook on the left. Moving on, we're now looking for the location of the screen as well. The location of the screen will need to be inset into this part here. We're just going to turn on the wire frame, select the face here, do an inset a small inset, then we can scale this around or then move this to where the screen needs to be. We'll move that to an appropriate location. They will line up that corner, then we'll start moving the other corners into place. So we'll line that corner and then line up this corner Then we'll just do an inset here, a extrude inwards, I mean, we'll also make sure that the back of the body here is pulled back quite far to make sure that we have space to extrude this screen inwards. So we'll extrude that something like this. Well then duplicate this piece, separate selection, and this will just be the last panel that goes on top, as we want to get some parallaxing to the screen at the back as well. We'll optimize the mesh here later because we're having a lot of pinching. But for now, it's not affecting the shading and there are still some holes that need to be cut. A good solution to this for now could also be to just get rid of these lines Just keep the minimal versions of the lines. Then when we do our bevels and insets, we can then start terminating wherever we need to, and we don't have to worry about it intersecting and creating new vertices that we have to clean up later on the lines here. So then moving on to the buttons to create this panel, we're going to look at our reference and see, Okay, the grid last time we did was fine. The buttons are a lot more complex than we made them. So we're going to start with these top buttons, which is a cylinder pulled in half, and then there's a little bump and an inset inside. So to create those buttons, we're just going to go add mesh cylinder. We're going to make these eight segments. They're very small buttons. We don't need to go overboard with these. It's going to make this smaller, bring that in delete the back face. We're going to select these two middle edges. We're going to do a bevel on these, then we're just going to pull this cylinder apart. Then we'll pull this apart to match the shape and size of the button. Something like that will fit. So then we'll also do an inset on the button. We'll do an extrude inwards, which will be a softer feel. And then we'll just bevel the corners, making sure that this inside is equidistant on all sides. And select all of the sharp corners here. While selecting the two inner sharp corners as they're a little smaller bevel. So we'll bevel the small, and then the outside edge will bevel bi as this is quite a soft edge. We're also going to undo that and apply all transforms to make sure the bevels don't do weird things. Select the inner two, do a sharp bevel, select the outer one, do a soft bevel, and we'll do this by one. That should be fine. We're also just going to do a weighted normal to make sure that the button is smooth. And doing a weight to normal, we can see that the inside is a little further from the edges with the shine. We're just going to do something like this and we're going to pull the inside a little thinner. That looks good for the buttons, and we're just going to pull this in a little more. Something like that will look good for the buttons. We're then going to do our origin to geometry to make sure we can move the button correctly. We're then going to scale that all the way down to fit with our grey box version. These are quite a lot fatter. We're just going to select the sides here, move these into place, add a bit less sharpness on this far edge here. We're just going to select this edge, do a bevel, just to have a bit more smoothness on the side here. Something like that'll be fine. Then we're going to just scale the button up a bit to be a bit deeper. The buttons in our blockout might be too thin. Looking back at it, scaling this back a bit. We'll do this, but we'll do it in the middle of the buttons. Just moving this to our new panel to just see what their scale looks like or push their back against the new face or make this inset a bit smaller. Just doing that to give the button more body. And we'll just scale this inner loop as well. So something like that, looks quite good. So then we're going to select that and do an array like we did last time. We're just going to array. We're going to do array by four. We have to do this in the negative direction because we want the buttons on the other side. And then we're just going to mimic those four buttons over there. I can make these buttons a bit shallower. They're catching too much shade. And then we'll just give them an extrude backwards as well, just to have more body here and to stand out a bit more rather than scaling the whole thing and making that curve sharper. So, something like that looks quite good, what we're going to do then is duplicate these buttons to the bottom, then comparing the buttons, these are flat and rounded buttons as well. So we're just going to use these buttons and just make those buttons as well. We're just going to move these up. Let's rather reconstruct these buttons, as I'm afraid we'll lose too much of the cylinder from doing that. So for these buttons, as they are bigger, we'll use a 16 sided cylinder. Let's drop that on its face. And pull that in. So we want a rounded button in this space, but we want to extend the rounding, so it's going to do the same as we did up top. We're going to make sure that that's in front of the face, delete its back face, select the center two lines, do a bevel, and then just separate the two halves further apart as much as you want the flat. So then we're going to separate these out. Do something like that. That feels good. These buttons will also stand out a slight bit more than the top buttons. We're just going to push this into where the back plate is. Pushes out a little more than the top buttons. We're then going to do an inset and an extrude inwards, make this a bit smaller. And then we'll just bevel these inside to sharp and we'll bevel the outside one very soft. So just something like that. We'll then apply the weighted normal modifier to this as well. Then we'll make sure that these buttons are in the same position then the back ones are. We're just going to do an array, the opposite way by four. Make sure this lines up. We're then going to do a duplicate array that doesn't go that way, that doesn't go that way, but it goes downwards. Should be the Y direction, and we'll do this by four. So just having a look at the buttons, these buttons can be bigger, they feel too far apart. So we're just going to select them and scale them up a slight bit, and we'll just have to readjust the arrays. So we'll move something like this. And that feels quite good. Making sure that these insights aren't as far back, pull them up a slight bit. It is on a slight bump. We don't want a indent. So something like that looks correct. We've got the screen cut out. We've got the buttons. Now we have this boiling up top here, and we also want to make this piece and boil in this out as well. For these Booleans up top, we already made this one for the gray box, but we haven't made this one. We just made a placeholder for this. So to create these for the top one, we'll just duplicate the cutter we have on the blockout. Just duplicate that, separate the selection. And that'll just be de named. We'll just name this cutter again. And we'll just set origin to geometry to make sure we can control it. Then on the panel, we'll apply the Boolean modifier as difference, and we'll use the cutter to cut into this. We can then hide the cutter, see if we're happy with the position of this. Looking at the reference, the cutter needs to be a bit more a bit longer here. So we'll just move these up a bit. And at the bottom as well, And then we'll just move the whole thing down and hide the cutter here to see if it's in an appropriate position. It's now a bit too big. So just going to scale it down a slight bit just to get the same gap as the reference. Then we'll just hide the cutter, knowing that it's there. The cutter will also need to be bevel on the edges as the reference has round edges here. So we'll just let all of the edges on the side here and we'll do a bevel. The point we're looking for is this nose point here to make sure that this is round. We'll do a two bevel to make sure we've got rounding everywhere. And now we've just got a more satisfying shape than we did in the blockout. Okay. I just checking this piece starts in line with the screen and this piece goes over just before the screen ends here. Our screen feels a bit long. Always want to pull this back or we want to move this cutter over rather. We'll move the cutter over and just extend this front part and extend the nose here to there, a little bit back. Something like that works better. We just want to make this nose piece thicker as this is the metal, this is not the final inside. We just want to do something like that so we can still fit the inside in as well. Now for the other side, just looking at what we have back here, we can grab this piece here and separate that selection. We call this cutter as well. That will then be cutter 01, set origin to the geometry to be able to access it better. Make that longer to cut all the way through. Then we'll just apply another boolean and boolean that by cutter 01. And then we'll just bevel its edges as well just to get the same shape as on the reference. We'll bevel that something like this with two segments to get a nice round and we'll then just hide that cutter. The cutter is making a piece at the back. We just want to make the cutter longer so it cuts all the way through the panel. So now it cuts all the way through the panel as if it's a metal panel. That is what we are looking for. So for the top part here, there is a button with some trade mark on. It's very similar to the buttons we've made at the bottom. So what we're going to do is we're just going to duplicate a button from the bottom. So we'll duplicate and we'll separate the selection. Just make sure we have no modifiers on this except the weighted normal modifier. We'll select the inside. We'll just delete these faces, and we'll do a new face from edges just to get a flat button. We'll do origin do geometry here, and we'll just position that to where the stop button needs to go. T stop button is a little longer than the bottom ones, so we're just going to do something like that and just position that in place. Making sure it's the lines up with the back metal here. So then, looking at our reference here, we need to now start creating this inside piece here. So what we're going to do for that is we're going to have to grab the cutter. So what we're going to do to make it easy is just grab this front face of the cutter. Duplicate separate selection. Now that's not on the active cutter, so we can just height the original cutter. We can move this one to texture set two as this will be the inside of that thing there. They will move that to be in line with where this will go. Then we'll just select the inside edges. Just make sure that we have one big end goon for this. It'll just make our life a little easier for this next part. So we want to do an inset with how thick that edge is. So something along those lines. And then we just want to make another segment here for this inside curve so it's not as flat. Just something like that to keep it a bit smooth there. Then there's a coin slot that goes through all the way from here to the back. So what we'd want to do in that case is just carry this line all the way through to the back. Carry that line through and make sure that whole line is straight. We'll just scale this to zero to make sure the whole line is straight. Move that back. And this will just be the cut in the middle. I might want it a little thinner, what we're going to see now. Then on the top, there is these two square pieces here that stick inwards. I just want to make those as well. For those, we're just going to add two loop cuts on both sides here. For now, we can just draw these in just with a knife tool and just apply, making sure that all of the edges line up and are flat. Getting the appropriate thickness for these. And then this coin slit here will be a little smaller. So we'll just pull this inwards to be smaller. We'll pull these back and just make sure this curve still makes sense. For the next part, we're then going to have to extrude backward all of these parts. So we'll extrude these parts backwards as far as we need them to go. So to somewhere like that because it's quite a deep object. And then we're just going to extrude the coin line back further again. We'll need to select both of these faces to extrude backwards to make the coin slot make sense. So, something like that looks quite accurate to the object. This back line could be a bit thicker. Just to put some more mass this side. I'll just move this over. Just something like that. And that does work quite well. We'll do that after on the middle plates extruded backwards to grated lip here. Just make sure we have no weird shading issues. Then this inner edge here, we'll just want to bevel. We'll just bevel that to make it smoother. And then we'll want to do the same with the coin slot as well. Sorry, the card slot, not the coin slot. So for this, we can see that the mesh combined here undo to get back to where the coin slot is just to make sure. It looks fine. I'm not sure what happened on this end. It's going to have to fix that quick. So it seems that these vertices just combine. So what we can do then is just reconstruct this front part quick. We'll just delete all of these here. And then we're going to extrude the backwards. On the y direction. Some reasons etches want to move, so we're just going to move that backwards and just manly move that into place. Just making sure it lines up with where our previous part was, and then just going back and making sure that we link all of this together. There'll be a cut needed here for this middle part here. We're just going to move that into place here, and then just bridge these faces across. And then bridge these faces across these and the ones at the back. And for this front cap, we can just do new face from edges, that'll be fine. Now that the coin slot is fixed, we can just bevel this edge here just to make that smooth again. And we can also just apply the weighted normals modifier to this with auto smooth. We can't do that yet. We'll do that after some cleanup. For now, we're just going to leave it like this and just make sure that where this bevel ends here, we want to do this whole edge as well, this top edge. So we're just going to select this top edge here. There's a lot of gns here. So when we do do cleanup, we're just going to have to be more cognizant of this piece in particular. O we're just going to have to fix all of the gns in this mesh at the moment. But that'll just be in the cleanup pass. So we're just going to move this meshed a little bit forward just to get back that piece on this side. So something like that looks good, we just need to keep in mind that we'll just need a final shade. But that's not an issue. We'll just fix that in a later stage. That'll do it for Part four, and then in Part five, we'll continue modeling the rest of this face. We'll then do this piece over here, as well as the return coins here at the bottom. We'll then also do this extrude here, and then we'll move on to the phone itself. So you guys in Part five. 6. 05 Creating The Phone Booth Internals Part3: In part five, we're going to finish the body of the phone here. What we're going to do is we're going to make this part over here. We're going to do this part at the bottom here. We're also going to create the rest of the body going backwards. And we'll create this outcrop here for the phone. We'll probably get started with the hook here of the phone as well, but the phone might be its own section afterwards. So to finish this part, let's start with this put top piece here. So comparing that to what we have, this piece is quite a lot thicker, and it's moved down a slight bit from this edge. So we're going to start by moving that cutter because there's a live cutter, we can just move this down very easily and just move that hole. And then just make it a bit thicker to fit with what we have. Now that we've done that, we'll have a hole that's more appropriately sized. That looks better. We'll do the same as we did for the other side. We'll duplicate the space of the cutter and separate selection. We'll move this to texture set two, as well as just quickly doing a pass of all the other objects into texture set two. Just set origin to this one and make sure that the cutter is hidden. We'll then move this back to where it needs to go. So we'll just line that up with this face. So this is currently one large gun. We wouldn't want that because we're going to have to split this in half. So we're just going to have to do a quick cleanup just by putting these lines through here, as well as just these lines through here. And over This will just make sure that everything is pools and that we can actually use this object fully. It's going to do this on the other side as well. Now we can create lines through this wherever we want. Starting off, it's just going to create a line down the middle. The button is going to be this side and the other one is going to be this side. The button is going to be a slight bit smaller. We'll move this part over here. For the button, we'll then select this entire piece here. This insert this inwards. We want the button to be about this size and square. So we only have one edge for this currently. We only have this outer edge that has the bevel on it. We're going to correct this edge quickly. The easier way for this might be to merge these vertices inwards so that we can reconstruct this edge on both sides at once. So we're just going to make this zero length. Make sure that both of these line up. So we'll do something like this. We'll then extrude this inwards as this will be the holder for the button itself. And now we can bevel these edges. So for the inn edge we're going to select the whole edge, but for the outer edge, we don't want to do that. And we want to bevel these edges with four as we want to line up with the outside here as well. So just doing a bevel. We're going to do quite a sharp bevel, and we want to do it with four segments. So two outside to inside. So something like that looks correct. So these lines line up with the outside, and that's exactly what we want. So on this side, we can just merge vertices at last, just to get the edges to be the same here, repeat the same for the There we go. Now we have two edges that line up completely, and we have a triangle here, which is not a massive issue. To get rid of that a little bit, we'll just move that into line with the st, just to make sure that we have a straight line across to the other side and it does interfere with the actual coin return slot. It's going to make the zero, move this into place. Hey. So for the button itself, we're going to duplicate this inside section, split it out, separate selection on this. Make sure the origin is in the middle of this geometry. Then we're just going to push that back all the way into the slot. And we're going to extrude it upwards. Spit it forward a bit more. So we're just going to extrude this upwards to about here just to make a nice well protruded button. And we'll give it some forward facing just to add some visual interest to it. So that looks quite good for the button. The outside edge here will need to be bevelled. So we're going to select this whole outside edge just to give a softer metal feeling so that the button doesn't catch on the sides. Though beveling that just gives us a more cleanly defined button. So for the button itself, we had to do weighted normal, auto smooth, and we're just going to do a bevel on the button. It would be a very small bevel. So we're having some freak outs here, so we're going to apply all transforms and set the origin back, just confirming that face orientation is correct. And we're going to do a bevel again. And we're just going to do this with percentage. Easier solution for this is to remove the back face. Upon removing the back face, we should then just be able to select this front edge and just give that a slight bevel, just making your life a little easier. It has quite a soft edge, so we just want to make this bigger, something more along those lines. Just to get that nice soft metali button here. That should be it for that side. Then for the other side, we're going to do the same. We're going to insert these. I'm going to do merge vertices by collapse here. Go to make this age zero. I'm going to see what happened this side. Zero is going to insert this. Yeah, that's fine. We'll have to merge some vertices. So inset merge these vertices by collapse, do the same for the other side. Merge these vertices by last so that we get that corner pulled across here. So that'll just pull both of those verte across here. That's not a problem. Then resist scale this to where we appropriately want it. So it'll be a bit longer on the inside. And we're just going to start with another I just going to start with an extrude inwards here, and we're just going to do the corners first to bevel these. So we'll do them the same as the other side, just extrude and two inside, so we can just terminate them the same. Match the roundings then we're just going to merge these vertices inwards again. And the same for the bottom. So then this side, we have two that needs to go into four. So for these, we'll split this further apart to make somewhat of a more relaxing part here. And we'll just triangulate these vertices inwards. We'll do something like this. And then we'll just create a ring that links to this as well. So we'll link these and we'll link them together. And then also just triangulate the bottom part here. Yeah, so now we have an inset for the left hand side. So what we want to have done here is there is a inset here with a thin edge that's then inset with this part moved upwards to get this bevel here, and then there is some mechanics inside. So let's focus on this outside inset first. So we've done this first inset, but the edge is thinner on the side on the reference. So we just make this a bit wider to make the edges thinner and we're just going to it wider to the left as well. Just something like that. We have a nice thin edge here. We then want to scale the inside here. To scale it down and move that up so we get this fall off here and just to make that fall off look a little better. We also want to bevel this outside edge. Let's bevel that with one and something like that should look fine. For the internal mechanisms, we should be able to use a different flap. What we could do here is extrude this inside part here, bevel this edge. Just like that to have that a bit softer. And then we can just add a cube to fulfill that flap on the inside. So this flap will just be somewhere here, all the way over to the other side, all the way down, and it'll start curving at the bottom here. So we just want to make sure that this is deep enough. So move that backwards. So let's say the flap starts there. The flap will lean inwards quite a bit. So let's say the flap does something like that. Maybe a bit forward. Then this bottom part has to be straight. We'll make that part go all the way down. We'll then just bevel this bottom part here. Just bevel that by one, just to get a soft edge at the bottom. Then these normally have a little lip uptop. We're just going to add a edge loop there and do an extrude for this top lip. For the top lip, we'll then also bevel these top edges. Just to make that smoother. We'll apply weighted normal modifier to this. Apply auto smooth, make the edges a bit sharper. Make sure that there handle here is quite sharp. That should be that for the inside of the coin thing here. Let's just want to apply a weighted normals to this outside here to have a smoother shading. So we have a bit of a free guide on top here, so we'll just do that and then pull this line in as well. So that'll smooth out most of the issues there along with just doing that to get that secondary inset there. So that looks quite good. Just going to apply the same material to this just to keep it consistent with the outside, so I know that these are still boolean, and I can just see the difference between them. So now that those two objects are confirmed, I can apply these two booleans here. I can then take the inside of these lines. I was going to select all the lines and extrude these backwards. It's constraining to the Y direction. Just to make sure that there is a slight lip where these can come in and we can make the metal feel a bit thicker. And we'll just do the same with the other side, strain into the Y direction. And we can also for some visual interest, move these back a very slight bit. Just something like that to make them feel a bit more punched into the metal, and we'll just do the same on this side as well. This side is already kind of like that, so we'll just keep it the same. So that does it for this face. So now moving downwards, we still have the return coins here. So for this, we'll do it the same as the top part here. We'll cut out a rounded rectangle, we'll push that in, and then we'll just create it. We'll make this a flap on its own again so that we can only have this edge and then boolean out the circle here. Then this shading won't affect the square uptop. So starting with that, we're just going to start by making sure the machine is still the same size as the back one. That is the case. So we're going to add a cube. Looking for the possession of this. So the size is about that, a bit smaller. And then the reference we have is quite good on the gray box, but I prefer to move it up because this corner is going to be bevelled. So just following the reference, it's about there. So we're going to want to wireframe, select all of the corners. We just want to bevel these corners with two inside edges, something like that. We're going to just call this cutter, as well. So cutter Zerra five is what we're looking for. So then we're going to cut into the face itself. I'm going to apply cutter 05 to that, hide utero five, see if the whole feels correct. I would still move it over a slight bit to both ends. So I would do something more along these lines so that the corner bevel gets a chance to breathe here, and then we'll do the same as the top, we'll duplicate this front edge, separate selection, and hide the cutter here. Then set origin to geometry here. But then for this part, it has a slight rim around it. So it would be good to be able to get that as well. What we would do for that is we would make this part bigger to cut out a hole that's bigger than the back part we have. It's geomgy to scan it evenly. So we'll do something along those lines. And going back, we'll have to apply this boolean to be able to do that. First you're going to have to apply the mirror to do that. Apply mirror and apply the boolean. Then for this Boolean hole here, our geometry isn't great yet. We're just going to create a new face and we're going to do an inset. We're going to insert it to somewhere like that where the insight button is at the moment. Then we're going to pull this edge up here. We'll just pull it up that little bit just to give it that bounce to make it feel like the paint is gathering around it. Maybe a little more. Even though the isn't optimized on the outside, we can still just boolean this edge, but not boolean bevel, just to make it sharper, something like that to make this inside piece feel a bit more solid. And now that we've done that, we can just take this again. So this piece is constructed This is a cube with rounded edges stretched inwards with this extruded in. This is its edge, and then the square is taken out. So how it can do that is we can make an edge by creating an inset. So firstly, we're just going to align these a little better because the scaling was a slight bit off. So it's going to align these a bit better by moving the vertices manually. It's doing this on all four corners to make sure that we have the same here. Do we want to make a slight machine line? We're going to have to scale it down a little bit on the inside. So just something like that. Then we're going to do an inset to the thickness that we think that border is. That border is quite thick, so we're going with something along these lines. Then we're going to separate selection this inside as this is the top face we're going to want. But for this outside edge, it will be extruded out quite a bit. It'll be extruded to somewhere like here, when we need this face at this moment. So then the bottom here is pulled up quite a bit. The bottom here does something like that, and the front face needs to move backwards. We've got something like that. If we just duplicate this then new phase from edges here, so we get this inside face and delete everything else. Select face, control I, delete everything else. If we then move this backwards, and we'll just extrude this a bit so we can tilt it and just delete its backface. This coin thing is tilted inwards as if it's being pressed. So we get something like this as the finger hole will be at the bottom, and that'll allow us to open this flap. So we'll just do something like that. It feels like it's still sticking out a bit far. It feels fine. And then we'll just have to cut quite a wide finger hole at the bottom here. The origin to geometry here just to make sure we can select this part, something like that. Then we're going to get to add a cylinder. I want to make this 16 divisions just so we can get a nice rounded circle. We're going to scale this down and just fish it in the middle of the mesh. And then we're just going to This is going to have to cut at the same angle as the bottom plate. So we'll do something like that and then just make this the same size as the bottom. So we want to ideally cut this halfway into the cylinder. So something like that could be correct, we just want to then set to local to scale the cylinder down to be more of an oval. So we'd like the oval to be in line with our bevel line. But that doesn't seem to be a very practical solution here. So even though it might require some cleanup, we're just going to put this here and we'll just name this cutter. So that then becomes normal cutter again because we've applied cutter one. So we will then use that cutter to cut a hole into the mesh. Just see how we feel about the hole. The immediate problem I'm seeing is we're going to have a we're going to delete these inside faces going to delete them as we're never going to see these. And we're just going to extrude this face inwards to create the back here, and we're just going to say new face from edges just to have a backing plate here because we can see into it once this hole is cut in. So just confirming I'm happy with the placement of this hole itself. So then we can apply this cutter. We'll have to do some cleanup, making sure that all of the vertices fit. So that's good for now. It won't wait a normal because we'll need to clean it up first. But we can still draw through the edges. So we'll just create a sharp edge here just to give that weight to normals, just to make it look better. Then there will also just be one of these that we do in the cleanup s just to finish it up. But for now, that shape does look quite nice. We can even expand this outside edge a bit to make this a little bigger. There we go. That feels quite nice. All right, so that's pretty much the face of the machine then. So the next part is quite complicated because we need to tilt this top. So just to make sure we have some nice edges and so on, just to make sure weights normals are fine here. So looking at the reference, we have a straight up to here, then this top curves back almost 45 degrees. So just where the screen starts, this whole body tilts back. So that's what we're going to look at doing now. So to do this, we're going to have to make sure that everything here is correct and just modify together, add it together rather. So just applying all of our modifiers. To confirm that this is correct, I'll just make a group called face for now. And I'll just duplicate this just to make sure's call this backup just to make sure that we don't break anything at the moment. So then for face, I'll just apply. This will apply all the modifiers on this face. So just confirming everything looks correct. So we'll then select everything that's on the face. So the point where we want to stop is here, this edge needs to curve in. So we want to grab everything above till this edge. So we want to take this away. I think we want to take these away. And then we want to tilt this back quite a bit. So we'll do 45 degrees. And then line that these makes sense again. So we just want to do something like that and just apply a weight to normal on this face again. So for these edges here, they're a bit sharp, and we just want to move them up a tiny, but just to fulfill the curve. So we just move these up a bit, and that just breaks the ugly line we had there previously. Then we just want to make sure that both these edges are straight. A confirming that those are straight, we can then start working on the back. Looking to see if this curve might be too much, but where the person stands, his eyeline will line up and look down so that curve feels fine. Then what we'll do is we'll start moving the whole face backwards. Not on local, we want to be on global to move everything in the same direction. We want to just sit where this face needs to be, and then object apply all transform so that we can lock that into place when we need it. So we're going to lock everything into place at the moment. Then for the face itself, we're going to just grab this outside edge. We're going to do an extrude locked on Y, so we can move this backwards. I's going to scale this to zero to get to the back here. So that'll just move everything back and now we should just have the phone as it should be. The weighted normals have naturally broken. The last part we wanted to still do here is bevel these bottom edges here. These we can pretty much just bevel on their own. Going to bevel them with let's say two segments. Then we would just like to reconstruct this line here. So on this side, we can reconstruct this into the coin thing here. Just take that back. Then just knife to these across. Make sure to grab the outside edges. Something like that. Then for this inside one, what we can do is just delete all of these because we're going to reconstruct it. So we'll just delete those. Then we're just going to use the knife tool to pull these across. Because this is a flat piece, we can just do quite long lines that are triangles. You wouldn't do this on a curve piece because this will break a lot of things. Then after that, we can also bevel this entire line going around. We'll bevel this with three, and this will be quite a smooth transition from the back to the front. Just looking what's happening here. So the mesh is pulling to the side here. If we do percentage, it might keep better. It does not, so just do that again. Let's do a percentage. Maybe an absolute would work quite well. So we're going to do apply all transforms, just to make sure that the bevel isn't freaking out because of anything like that. And we'll just do a bevel. The bevel does still freak out a little bit on this left hand side because it's not sure what to do with these triangles over here. So for now just remove these triangles, and then just try this bevel again. So now the bevel stays more consistent on this edge. We'll do two, and then we'll just put these triangles back. We'll go over there over here, and then do a double triangle to this right hand side here going over there. That's quite solid for the actual body of the phone here. What you can do as well is just join this together for the time being. We don't want to do that just yet. Let's keep it separated because there's still some modifiers and things that need to be applied and still some things we want to edit. So we're just going to set origin to geometry and just pull this back to where it needs to be. Making sure that these faces line up, and then we'll just apply all transforms over here. So now hiding the blockout, you can see that now we've got the phone in place here, we can now change these materials around here. And we can also change this one over here. Is to keep everything consistent. Now we can start on the phone nook on this left hand side. To do this, we can go and add a line, which we scale to zero, we just keep it straight and we can just line that up with the phone on this side. We can go select that all the way to the bottom, wire frame to confirm. So we'd want to do one or two more here, so we're on a flat. I'll extrude this on the X direction, so it snaps towards the phone and we can just scale this to zero and we'll make sure that this reaches the phone over here. Just pulling this out to make sure it's fine. Pulling this out, there's some bevels and things we can add here. But for now that works. We're just going to push that back to where it comes from. Then I think what we're going to do is we're just going to finish the last part of the body, and then the next part we'll do the phone and the cable on its own, as well as adding some damage to the rest of the booth. So we're going to do this, we're just going to pull the phone out here. We're going to make some breathing room at the bottom here by just combining moving these vertices up. I'll just move these out of the way to give us a better place to bevel here. So for this top part, we want to select the edge that we want to bevel around. We don't need this back edge, we'll never see it. So we'll just do something like that. We'll then select all the way around where these two plastics meet and then just do a bevel test. It works everywhere but up here because we select it too much. Just doing another bevel test. Like something like that could work. And we'll also then do the edges here. We just want to make this look like soft plastic that's melded into each other. We'll make this slightly big and give this one segment just to be soft. This also give us nice edge loops on the inside, making sure that they don't get too chaotic and we should also be able to apply the weighted normals just to make it look smoother. So that does look quite smooth, just not sure what's happening up here. So here we've got some vertices going through each other. So this is because the telephone line is too far on these sides, so we're just going to pull it back a little bit. We're just going to pull this away from the center console. We'll merge it with the center console later. For now, we just want to have a intline here into the phone and just bring this a little closer to fix that normal issue over there. And then here we can just do some cleanup. Move this line out so that this triangle is in a better position here. Then we can just push this body back as well. I just hiding the blockout, just to see what that looks like. It looks quite good. I'd prefer maybe the outside bevel to be a slight bit larger, but let's see. Let's see this. To make this outside bevel a little larger, we can just grab the inside vertices here. And then just make that a little larger just to get a smoother shade on that edge. So that looks quite nice. I just want to add another edge doop here just to keep everything stationary. Just something like that. And then one at the back to not let the back shadows affect the front. And, of course, just want to make sure that this entire back part still meets with the grid at the back. So I'll do that by just pulling this back again. For the little nook here, I'm going to go with a slightly different design than the blockout. I'll add a cube. The phone is going to hang in the same place, but we're going to do a U shaped rather than the A shape or the H shape we currently have. So we're just going to move that over. It's going to be easier to just grab one face. So we'll just isolate one face. Then we'll just specify where we want this bracket to be, so I want it to be that wide, and the phone will hang at the bottom here, maybe something like that, and then going across here, just leting all the unnecessary faces. Then want to pull this back all the way to the new model, making sure it's flat. They want to pull this back to the face of the other model and just extrude this to the width of the other phone holder. Just want to extrude along normals. Just do an object apply all transforms. Then we can extrude. Something broke, just undoing a few times, then just applying all transforms. There we go. It looks better. Then we just want to do something like this. Object, apply all transforms so we can push it back to where it needs to be. Then for a better bevel, we need to pull this edge across so we can bevel this whole edge together. So we'll just knife to these through. Then we'll delete these edges on the side. So we'll delete both of these. The bevel was set on the wrong mode, so it's going to do back there. I was not bevel along faces because it created extra faces inside, so just making sure that it doesn't do that. Select and extrate along faces. Supplying all transforms to make sure it's fine. There we go. That's the extrude we actually wanted. So then we can just reaffirm that it's in the right place. I just again scale this appropriately. Object apply transforms. Now we can pull this bracket out now that the faces aren't broken. So then we want to cut this edge through to the other side. Just pull them across using knife tool. Then just deleting these edges here. Then we can to make this a bit softer rubber, we want to make it something like this. So there's a sharp edge here, but we want to make this smooth, it makes a bevel inwards to where we want to go. So we'll just first focus on getting that feeling quick. So this top art needs to come in a little bit. So we're going to bevel first and they do that. It's going to be easier. So we're just going to bevel these two corners here. I can make these quite soft. Bevel them with two segments inside. Now we can push the top back here to make that slight slant, something like that, and then just push this inside as well. These just need to line up with the same slant here. And then the outside also needs to just come in a slight bit. So this part here perhaps needs to go down a bit more. So something like that gives us a slightly better shape. Then we can select all of these edges. And we can just do a soft bevel. Something like that. This edge is still a bit far forward. So we can fix that by just pulling it back a bit. So where it feels a bit more natural. So something along those lines, and we can do a weighted normal, apply auto smooth. That looks about appropriate for the phone bracket itself. We could also pull this bottom bit out a little bit. So something like that feels quite good. So we'll just push this back into its origin position, and we'll hide the blockout. So now we've got the phone, we've got the side, we've got the nook for the phone here. In the next part, then we'll do the phone itself, the wire connector here, and also just get a better path for the wire to make that look better. And then we'll start adding some more damage like this where a metal is bent and so on, all around it. But that'll do it for part five. I'll see you guys in Part six. 7. 06 Creating The Phone Booth Internals Part4: In part six, we're going to be modeling the phone, as well as this connect on the side. Looking at the phone, we can see that it is a curve here that goes into straight, and it's just beveled on the edges. Then looking at the bottom here, it's just a cylinder with an extruded little lip here that goes down and houses the cavil, and then goes into this teardrop shape that's a half circle here that goes straight here. So the best way to do this would be to then go to the actual body here and just move this out. Having moved this out, we can then start by adding a plane and it's rotating this 90 degrees. We then position this on the side, we can use this to dictate where we want to go. So we want to get two shapes here. We want to split the phone into this back plastic shape here and then extrude the front part here. So to do this, we'll start by scaling the head to be where it needs to be. So we're just going to scale this to about that size, move it away a bit just to give us where the double line needs to go. Then what we're going to do is we're just going to duplicate this downwards. Just rotate this in, and then we can just move this we think this bottom part would go. This will still be the back line rather than having the front as well. That's why we're moving it away a bit because it'll slope downwards into these. So we're just defining where this back part needs to go, or then also mark I'll just join these together. This top will mark the halfway so that we can get a smooth transition between these two. What we're looking for is just the base positions of these two shapes so that we can do a smooth in between. So this bottom part can go a little wider, so it's a little lower at this point. We're looking to have it just end just under where this panel ends. So it's moving that away a bit and just making this part a little bit less aggressive. We wanted to end at about 35 degrees slope almost 25 just to get a bit slope. Then it goes quite small towards the back, keeping in mind where this curve between the two needs to go. So we just want to aim it sort of up at the top part here and always just keep confirmation between these two, and then just confirming how thick we want this back to be. So it's quite wide. Then these two we can bridge just confirm that we're happier with that shape. Then we can add a bevel in between and we can move that back to a more extreme angle than we're looking for. If we then bevel that by percentage, if we make this 100% and we do a seven segment. We're getting a bit of a bulge outwards, which is not exactly what we want. We wanted a bit smoother. I'll move this back a little then we'll do bevel by percentage, 100 and we'll do seven again. So now we're getting a much better fall off here. So we can confirm that. It's skew. And then we can just do a mesh, cleanup we'll do mesh cleanup merge by distance, and we're expecting four vertices to be removed because it is the four that's on the edge of the bevel here. So now that we have that, we can start moving a few things into better places. So we can just move this head back a bit. This will just be the basic shape of the spine. And then to make this line here stand out a bit more, we're just going to move that into place and have a double line here to make that just feel sharper. Then what we also want is we want a machine line down the middle that separates these two parts. So once we've just confirmed that we're happy with everything here, it's quite a good shape. Just go to do a test extrude here to make sure that it looks correct. Something like that looks nice. Obviously, we're still going to have this front part. We're just confirming if the shape looks fine. So then we're just going to make this machine line and just make the line a bit better to have in between. So what you're going to do is we're going to get close to this edge. We're going to make a line over here and one against the face. But we don't want to add segments through here, so to avoid having too many segments, we can delete these three, and we're going to have a triangle on the side here, making this line run all the way to the bottom, just giving us a bit of a better line here. We can then also make this curve less aggressive. And make that just merge with the back spine a bit better and just position all the verticies into calmed positions again. Something like that looks good. The head might be a tad bit too big. We'll just scale this down and move this backwards. Then just readjust the curve and just move this inwards. Now that looks a bit better. Then what we're going to do is we're going to start this front part by extruding this in Y and we're going to scale this down a slight bit. The front part we're looking for is about a third of this. It's almost the same size, actually. So we're just going to extrude this out almost the same size as the back spiny here. And then what we're going to do is the spine itself has a very thin one, but it goes thicker to the bottom and thicker to the top. So we're going to use that as our reference and scale this down and move this back. Just looking for the correct scale that the spine pulls in and up where it needs to. So then want are happy with that position that goes up into that. We can then bring this one down. So now we're referencing the back plate here where the phone will sit at the end because this will be its final shape. This is the actual front here, so that's what we need to touch the booth here. Then we'll move these outwards to create a better shape here. Checking, then we can even move this back a slight bit. Just reconstruct the curva a little bit, just to get a more aggressive shape in the front here, and then calming this bottom here like this. And we can also pull this back a bit to just get a bit of shape here. And then just move these to where they make more sense. The better we construct these, the easier it'll just be to move the front. So then we just want to move to the head up top here, and this line that comes from this bevel here, we just move outward, and we'll just carry that line all the way through just to make sure that we have a sort here, and we'll just make that a quad by adding a vertex here in the middle so that we can get this shape the same here. We can also then start moving this into position of where it needs to be. So just confirming where that needs to be on the actual clip itself, we can move these around. Just play with it a bit. And using wireframe or position the front where it needs to be, then we'll move this backp in a bit. And then we'll just pull the spine of this front part back as well. And then just readjust the curve. Then for this part, it also makes a sharp point up top and then goes into the back body. So we want to make a slant that goes up and then into the face. So we can then just confirm our shape. Make sure it's zero scaled, we didn't scale it into different axis and extrew that out again. So just confirming that the shape looks fine. So that's quite a good curve for the phone. Then we can start just confirming our amass fight, and then we can start with the extrude. So to do that, we're just going to move it to the side it needs to be. We're then going to extrude this across. We're just going to make it a bit thinner than the actual bracket here. So then what we're looking for is just so the shape fits, and then we're going to move this away. So it's just going to do an object, apply all transform so we can bring it back to this exact position. Then we're going to move this back, and we're going to start giving this inside a bit of a more interesting look. So to do that, we're just going to add a loop cut and push this out. Then the bottom face here, we're going to move inward. So we're going to move these in here. We're going to move these bottom ones in here, maybe just to give this face more of an interesting shape. And it's going to pull this down. It a bit more thickness. And then just make sure that these two here pull in smoothly. So just something like that to get a more interesting face shape. And then for the top part, it's a bit low down and curves into aggressively, so it's going to push this up. So we want that about there. And then this middle part, we can move this up as well. And we're going to move this up to somewhere like here. Just make sure that this face is straight. And then the rest of this inside here also needs to scale down. So it's going select all the inside faces where the slant will end. So for now, it's going to do this middle of the bridge. It's going to scale this in. I'm going to scale that into about there and then move these verses in again just to make sure that we don't have this weird lip here. So something like that'll work. Phone still feels a bit thick, so we're just going to scale it in again a little bit. Just something like that. Then what we're going to do is for this bottom part, we're just going to scale these ins wrong. Something like that for now. Then we're also going to do is this back part here, we can see that this comes out. So we're just going to pull these bottom faces out to stand out here, and then the star pot also comes out a slight bit. So we just want these two shapes from the back as well. So for this back part, we actually need to make this a bit wider. And then pull this bottom face down a little bit. So something like that. And then we'll do the same for the face here. See how that in this direction up so we get this sort of layout here. And we just want to make sure that the back line here fits it as well. D or something like that. And then at the bottom, we're just going to do the same. Just move this machine back into position where this bot is. So we just want something like that. Confirming the shape. So this bottom feels a bit too aggressive, so it's going to pull this back. It's like these lines and pull this up. Just so we have something like this, that's a little less aggressive on that part. And then it's going to pull this out a slight bit further than the actual body. So it's something that should work quite well. So these top pieces are to shop. These we just want to make a more natural come into the actual phone itself. So here we'll add a line so it doesn't go all the way down and make a sharp edge here. Then these we just want to pull inwards. Just to get that nice smooth shape here. And these we can make a little thinner as well. So it ends more naturally. And this we can move back to create a smoother line here. So again confirming the shape, see if everything worked as intended. So then we can see that there are four wide bevels on these four corners. So we just want to start setting those up and making sure that they will work. So that'll be these corners. If we think of this as a cube, these just end as a poly. So we just want to select the four corners with no inside face connecting them. So selecting these we'll just do a bevel test. And we'll see that that'll give us the direction of the bevel we're looking for. I go to undo that and then do a white bevel on these and do a three segment just to keep it smooth. Just confirming that that looks correct. That looks quite nice, and it also separates this back shape. We're just looking at it now. We can make this shape a slight bit thinner. Just compared to the rest, it doesn't feel so blocky. So we're just going to scale this back a little bit and just make sure that the phone looks a bit better and get you in a bit more. So something like that I'll work. Now we just have the fall off as we want it. So then what we can do is we can just solidify this back piece here because we want a solid line here, a nice fall off bevel here at least. So we'll just go all the way around and select this line. And we'll also just do a sag bevel just to make this feel a bit more plastic, and we'll just do a one segment line here. Then we'll do the same on the front face. Just make sure we select everything here. Making sure we're happy with the shape. So this face can go a little thinner still. I go to select the face and just make it thinner, just so that the phone ends better in front. It's going to confirm that that still matches where we want it to go. It does. We just need this front part to come back a little bit. We have some clipping in the top here. I was going to pull this back and make sure that the face is flat again. Then we can start with that bevel there, so we'll just go back to the phone and we'll just select this front face and just do a soft bevel here as well. And then what we also want to do is the line that goes through here is quite aggressive at the moment. So what we want to do is we want to bevel this and make a soft bevel. The problem we're going to have is we're going to have some clipping up here, so we're going to have to move this line up a bit. So we'll just go to wireframe. We'll select these two verts here and we'll just move them up, so that didn't work on both sides. Going to wireframe, selecting these two and then just moving them to a place where they make sense. We go back to model, and we'll do the same for this bottom part as well as this line is also too aggressive. And we want a bit more of a sharp line here going to the straight at the bottom. There will do a bevel here as well, and that'll confirm this shape and the outside shape here. We'll then do is we want to do a bevel on this inside line here. So we'll select this all the way around to the bottom as well here. And then that'll end in this bevel here, but that's fine. So just doing a test, we can see that that'll just smooth this corner out, go all the way around and then make a edge loop here. So we're happy with that, and we can maybe select this line as well, just to add this into this line and smooth out all the pieces we need. So we want to do this a little sharper with a one as well. So something like that looks good. Let's just smooth out that part here, and then the top as well. Just go to check this machine line just to make sure it's not too sharp. Just move this outwards a little bit. And then we can just apply the weighted normal modifier as well. Everything order smooth. And we can then just see if our phone shape matches. We've got this side here. We've got the shape here. We've got this inside piece here and the face here, as well as the double with the machine on the middle here, and then the slant inwards. So just confirming that, we've then got the rounding with a sharp at the bottom here, which can go a slight bit sharper. So I'll just move some of these vertexes closer to each other. Making sure to be on wire frame, so I move them on both sides. Well, I'll just collapse these to make a sharper edge at the back. Just to separate those two shapes better. So that then just gives us that sharper line we're looking for at the back here. Then moving to the front, we've got this machine line here, which then dictates where this needs to go. I don't think an edge loop in the middle here would help that shape. So we can do that. It makes it look a bit sharper. We're just going to add an edge loop on the inside here, and we're just going to do the same for the face here as well to make the shapes more pronounced. So that seems quite fine. Firm, we look good on top here. We still have this edge loop here. That through that comes through. Not happy with the shapes separated at the bottom. So rather than doing this offset, I'm just going to make these move more into the same place. So something like that will work. Yeah, that's quite good. So then we're going to move that back into position and just confirm that we're happy with that. It looks good. Then what we're going to do is we're going to move the machine backwards as well as the clip. And then we're just going to set the origin to geometry of the phone and move that into the booth to where it needs to be. So it's position is around there. Then we'll just confirm that it's right from this angle as well. Which it does seem to be. So the next part we're going to have to do is we're going to do this bottom cable clip. So we're just going to add a cylinder for this. We'll do 16 signs. This is going to be quite a small object. G to scale this down, go just make sure that we delete this top face. So what we're looking for is a slanting down cylinder that will then also have a lip in front here. So we're going to make that lip here, look at it from the side, and then we're just going to move the vertices forward and make a supporting line so we don't affect the rest of the cylinder. And we're just going to move these forward and out a bit to just give it that interesting shape that it has. We're also then just going to make a new face from these edges, do an inset, and then just leave the inside face. We won't see these inside faces because it'll be against the phone and at the cable. We just want to make sure that there is an inside face that we can see if we look at it from a lasting angle, and we just want to make sure we bevel these edges as well. Just to make it look a bit softer plastic and then this inside edge on the bevel as well with one. Now we just have this slip and then this piece here, we also just want to bevel something like that, and we'll then just apply the weighted normals modifier, also apply auto smooth. So that'll just give us that lips going to move that into position, and it seems to be a bit shorter. It's just scattered up. So we'll just move that to the size we think it should be at the phone. So move that here, then move that towards the phone, and we're just going to match the slant on the bottom of the phone as well. So we're just going to move that until the front end touches. It needs to go down a little bit, so we want to hit it more down here so that the back hits up there. Then what we're going to do is the back just needs to be lifted to fit the phone. So it's going to do that. Press one up to select the loop. Then we're just going to rotate this up and move it to the bottom of the phone. So that then gives us the plastic molding of where this cable will get into the phone. Maybe we can move this bottom piece up a bit just to make it not as pronounced. So it is quite a long and thick piece here. I just want to make sure we mimic that kind of so that is good. It needs to be a little fatter, so we're just going to make it less tall. We're just going to move these up, while pressing one up to that bevel. So something like that's good, and then just make it a bit fatter to get that cable in. So we're just looking for something like that, making sure that the scale also makes sense for the rest of the machine. Then for the side, we're again going to pull this out here. We're going to we're going to create this side piece and then use a duplicate of this cable thing here to get reference of how big the cable point should be here. So to make sure that we have the same cable size inside, we're going to select this inside face. Going to do a duplicate, move that down, that by 90 degrees. So now this ring is the exact same cable sizes we have at the bottom of the phone. We're going to then take this shape and just extrude this backwards, select it, and then just set origin to geometry. Is going to move this into place on the side here. I'll go halfway between these, move this to be on this surface. I'm just going to separate this from selection and extrude this outwards. So just looking at the reference, making sure that we get this thing right here. So, it hasn't extrude away from the hole, so we can actually make a part bigger. So you can just look in wire frame and make the outside part here bigger. We also won't need these inside faces, so we'll just delete these as well as this rim uptop here because we're going to close this shape off. So it's going to delete that. Make sure it hits the surface. Then we're going to move this backwards. Actually, we're going to make this like this. Then we're going to make another extreme backwards from here, so we get where that Y needs to be. Is to constrain towards X. Gonna move this backwards, roughly around there. It looks good. Then we're going to do a new face from edges to get the cylinder here back. What we're then going to do is we're going to take these bottom faces until they get to the curve, roughly around there. We're going to then extrude this down. Constraint to Z just to make sure it's in place. And then we're just going to make this a bit smaller, as well as just making it flat. We're looking for that kind of shape as well as then just make it thinner. So from the side. So we want to do let's make this back part straight, and then in YF frame, we'll just curve this back as well because this is a angled shape. We just move this back. And then this bottom part needs to have beveled corners as well. So we're going to go to this part. Just go to normal so we can scale this along the edge. And we're just going to scale this to be more logical. We're going to scale both sides at once. We can't do that normal won't work. Just go to scale these down manually. And we're just looking to have a kind of sharp on both sides. You can do this curve more aggressively than this, so we'll just scale these even further. We're going to start quite small and then make it a cylinder here. And then we're just going to scout these round. We get a better fall off in here. So just for reference as well, we're going to grab this because the cable also needs to come in at the bottom here. So we're going to use this shape for reference. And now we can see that this bottom part needs to be a slight bit bigger, but it's almost the correct shape. So we're going to scale this up a bit and just make sure that that cable can come in here still. Then we're going to just do an inset And we'll move this a bit closer. Actually, we stay there, but we're just going to reference it from an angle, and you can see we need another loop cut down the middle here that's then pushed outwards, ever so slightly. So that'll hold the cable nicely. There'll be some edges, so we can just move these inwards. Just moving these into position. Two fit this circle bit better. It's just moving these two edges outwards. This doesn't need to be exact because we're at this lancing angle, but we want it to be close enough. Leaving this ring and then extruding this inwards. I do extrude along normals. And just extrude that inwards and then do a bevel on both edges here to make it feel like soft plastic and the inside as well here just to make it shade a bit better. So you want to do something like that. Then we have that shape we're looking for. But this top side, we just want to make sure it's bevelled as well. So we're not having a really good place to bevel here. I think it'll be better if we just do a test to see if we can get a more teardrop shape up top here by just doing a test to merge vertices and collapse them here. So it'll mess at the bottom. So what we can do is we can just select this top edge here, go over here, make this part of this outside rims bevel. So let's move this outside rim up a little bit, as well as then just adjust this back part here. Making sure that this line at the back still stays straight. So let's move this whole back part here up. Something more like that. And then move this bottom part up. So now I can do that bevel again. Select the stoppie, select the side, then include that in the bevel at the bottom here. So then we'll just bevel these two pieces together and just give that one segment. So that terminates in here. And we also want to bevel the back of the circle here. Et's give that no segments, just something like that. Well, then later fill this in when you go through all the models to make sure that they're optimized. Then we'll just make sure that this gun is taken away. And for now, that looks quite good. So we'll just move the machine here back, put that zero, and we'll move this clip back with it as well. Making sure that this goes halfway is between the two here. All right. In going back, we can see how the clip fits here. So that looks good and it gives us an interesting angle to pull this through. It does feel like this bracket here is a bit close on both sides, so we're just going to go scale this by global scale this down, giving a bit more breathing space on both sides. We'll join this cable thing to the phone itself. And I think the phone will just rotate just at a more interesting angle to not make it look so machined just to make it look like the cable will be putting it to the side. So it's confirming everything's correct. So we have a beginning and an endpoint for the cable. So we can just save there and then make sure we grab the cable from the blockout. So hide the blockout. And we'll just make a duplicate of this cable and move that to texture set two. We'll just make sure that all the new objects we created also moved to texture Set T. Let's move all of this to texture set two. Make sure the cutters are hidden and then we're going to hide the blockout again. With this cable, we can then also just give the same material as everything else here. Now we just want to make this a bit more interesting here and make sure that we're connected to the new conats on the phone as well. So for this, we're just going to move the edges of the curve here. And just make sure that the cabal fits in here. It's a little bit, but that's not too much of an issue. We can just go here and scour down the thickness a little bit. So we'll just something like that, and we'll make sure that the endpoint here is connected as well and connected to the same angle as well. So we'll do something like that, and then just move it backwards. So that looks good. Then we just want to adjust the curve in the middle here just to have that interesting curve it has here. So it comes out and then loops back. So it looks like an eight from the front. So to achieve that, we'll just drop this cable down a bit. Then if we scale the cable negatively, we get something similar, but we'll just need to smooth all the edges. And just make sure it does curve under where we come through here. We just want to make a segment, to subdivide these. Make sure that this point is on the bottom and looks like it touches here. And we want to make this curve outside here more aggressive. Make this hit against here, and then just rotate this curve out we just want to get to this general shape. Make sure that all the points hit and that there's no clipping to reduce the clipping here. And then you can just look at it from the top, as well. And just make sure that the whole cable makes sense. So I'll just lean out from the phone, come forward, and then it'll lean up back to the connector on top as well. Just making sure that the curves are quite subtle. You can also select them and just fillet. No, that's wrong. You can just make them softer. Just checking to sing. Something like that looks good. Making sure that there's no awkward pinches. So here's a bit of a pinch. So it's just looking for the closest one to it to make sure that they don't collide. This one we can make a bit bigger, to make it smoother, and the top one can write that end so it doesn't hit the body here. Now looking at that from the front, we have a eight shape forming, but the one in the reference is a bit sharper, so we can just lean this out even more and just make this loop bigger. And just make this come in a bit backwards here. So just to relax the cable, and then make this fall back here a bit further back. Curves up more naturally to the connector here. And now we're getting a strange bend here because this is rotated wrong, so we just want to rotate this to then be smooth out and smooth in. And the bottom piece here we can just extend to make this curve sharper and then just smooth that out with selecting the bottom one and making that difference less. So that's a cool cable shape. We've got the connector on the bottom of the phone, at the end, confirm that this still connects and makes sense and just do the same with the top. And that connects. So looking at it now, that seems to be all of the parts of the machine. Well, the telephone booth. We've got everything. We've got this now. We've got the phone. We've got this connector. That all make sense. We've done all these parts. So in the next chapter, we're just going to confirm all everything's correct. We're going to make a few minor adjustments. So going to be doing little things, adding brackets at the bottom here, making sure that the separations are logical. We're just going to do a general overview pass of seeing if this is how the model would be constructed. Then we're going to add a few parts for that. And after that, we're going to start doing a cleanup of the outliner and then starting with the final high and low poly moodels. We're going to be fixing some of the mesh enons and making sure that everything is quads. I'll see you guys on Chapter seven. 8. 07 Geomatry Cleanup: In pot seven, we're just going to check if everything as a bit more logical. One of the places to start is just starting back at textia set one. We combined these together, but it would be better if they were separate. So what we're going to do is, we're just going to select these two here. It's going to make sure that these bottom faces are zeroed so that they're equal. It's going to separate the selection. Do an object, apply all transforms so that they can reset to this position. There's going to fill the hole that moving those make in their sides here. It also make a face up here, so it's going to delete these on both sides. And they're going to do a new phase from edges in here and this side. Once we've done that, we then going to go back to these plates here and just bridge all their edges so that they're solid And then we just want to snap them back to position. Then we want to set origin to geometry so that we can move them away from the edges. We want to move these away the same distance as we've moved this top away. So that'll just give us a bit more of an interesting support here. And we can then just move this to be in line with the leg as well, and just the same on this side. So that looks quite good. What we can then do is we can do a cube. So we just want to make them more logical here and make the attachment point here clear now that they're not attached to each other. And it'll also add some visual interest to have a bracket down here as well. So we'd go with something like that thickness, move it to where it needs to be. Then we scat it up to not too thick, according to the pillar here. Scale that down to about that distance. And then we just want to add a loop cut and just extrude the top here as well. At the top, the same as the bottom. And then we want to make sure that it hits both sides. So then for the bolts on this bracket, we can just grab one of the bolts at the back here, it's right at that 90 degrees. These will be a little smaller bolts, so we just want to scale these down in a slight bit and then just make sure that they logically attached. And then we just want to add on to the back pillar, as well. Then for the bracket itself, we can just do a apply transform so we can snap this back into position. It just makes it easier to edit in the void over here. We'll then use a knife tool to just cut over here, and the same on the other side. Then we'll delete these phases going through so we can get a soft bevel. We'll snap this back into position where it needs to be. And then we'll just bevel this edge here. Do quite a white bevel because it's semi thick metal and we just want a nice bend over here. Do something like that that breaks the sharp corner a bit and just make sure that these two parts are attached. Then just make it look a bit more finished. We can do a bevel. A very soft bevel here. Well, a sharp bevel. You can do 0005. Something at that stance just to catch the light a bit better. And then we can just do weighted normals as well, applying auto smooth. And that looks quite good for that bracket. So we're just going to go ahead and apply these modifiers. For these bolts, I think, in general, what we'll do is we'll just apply a subdivision to these. No, not that one. I just want to apply subdivision surface here. Want to apply that. So these are just make the bolts higher polyes, but it'll make sure that they look a bit cleaner when we bake. And then we just going to remove the absolutely unnecessary edge soups here. The inside ones are fine, just want to remove these on the edges. So after we've done that, we can just join these together. So first apply all modifiers, then just join. We can then set origin to geometry. Then we can just duplicate this across. Rotated by 90 degrees and just make sure it's logically attached on this side. Then easy enough, we can just duplicate this across the other side. This just makes everything make more sense here and just look more attached. The next step we want to do is just to move these two texture set one, then we just want to start cleaning up our groups as well. So in the groups, we made this backup to be able to be used as a low poly, but now that we've gone further, we can delete this backup and then just make sure all the parts in it just deleted as well. Then for the face group, we can move this to texture set two because it's the interior of the machine or the phone booth, sorry. We can then delete the face group. The blockout we can keep as reference. Not that it'll be much necessary. It's just good to always keep that in as well. So then we can also start naming and changing the objects. So we have all these bolts that are named the same and in the same place, not in the same place, but they're all named. They all bolt. These we can join together. So it's going to do a check, so it's going to join these together. Then the same as the bottom one, we can then just do a subdivision surface, apply that and then just have the weighted normals carry that as well. What we'll have to do then is we'll just do the same cleanup on these as well. So we're going to do an object apply all transforms, move these to the side, and we're just going to do the same cleanup we did at the bottom on these, just deleting these two lines on every bolt. Then just repeating that step all the way through. This will save us a few polies. It's not very necessary to do this, but in the low poly version, we don't want to keep as many polies to allow for more use of the object in game engines and so on. So we just want to make sure that we're not doing anything unnecessary here, but we still want to keep the smoothness and just allow a nice break from high to low. So it's just a bit of cleanup. Then when all of those are cleaned up, we can just push them back to zero. Can then just make sure that their modifiers are all applied, and we can just call these bolts. So this will just be texture set one bolts. They're all smooth, just confirm that they're weighted normals. They look fine, and they look ready to bake. And what we can do is we can just hide them to confirm that they're done. We can then go to cube one. These are not named, so that's what we're doing now. So we can just apply all transforms to this to keep it in place. We can then move this off to the side, and we can start confirming if there's any mesh issues on this or not. So just checking the bevels. This line stops abruptly at the back here because there's a triangle here that's beveled through. This edge was not completely selected when we beveled. To fix that if this happens, we're just going to pull this through to the back like this. Then we're just going to delete the triangle in front here. So we'll just do that, so it matches the back bevels as well. Just confirming that this did not hpp it on any other edges. What we'll do then is we'll knife to the bevel through here. I'm going to grab it over here and push it all the way to the back, and then just make sure it's the same distance away from this side. And then we just want to reconstruct this all the way up. So we'll just do something like that and then go up here. So that just confirms that loop cut and makes that shading mistake away. Then for the inside part, we just want to push this through, so these become two poles, not ons. And it's going to do the same on this side. We're very happy with that. Then in front here, we can just do another bevel loop cut here. Just make sure that goes through. Then here we just want to check for engons. These all polys they just run through. There's a pinch here on the edge because this goes up. But in general, these are all polys. We just want to confirm that this all looks correct. Best way to confirm this as well is just to see if a loop cut goes through all of them correctly. So when we see it does, we can then name this just top nameplate. Being careful to use spaces and using underscores as game engines don't like spaces too much. So naming them with underscores just makes your import process easier. Then we can move to cube two. Cube two will just be the grid at the back. There's no optimization here. It's just a grid. So we'll just name this grid, and we'll just keep hiding the parts we've completed. Then for cube three, this is just one of the plates that goes in the back. It is just the support. This support is all quads, but it is still one pixel sharp. So what we're going to do is just going to apply a bevel modifier to it. And for the sharp metals, we'll just use a 0.018, and we'll just copy this over. So we'll apply that bevel and then a weighted normals modifier, as well as auto smooth and just apply these. This will just give us a nice line here and make the light fall on it better. Or they name this just back grid top support. And we'll hide this as well. So copter will then be these sides. But these are currently mixed with the glass. These glass we want to separate. We're going to separate these away and we just want to call this glass. Then for interest's sake, we have texture at one, texture at two, but the glass will be its own texture because it doesn't fall in either of these categories and will be a different material. So we're just going to create a new collection named this las and then we can just hide this whole collection because that's anything that'll go in here. There is actually one more piece that would be in the glass, which is this front panel we created for the screen here. So we'll just move that it last well, I'll auto hide because it is now in that collection. Then we'll move on to cuter. So cirqur is both of these pieces. So the easiest way to approach these pieces would be just to check if they're correct. We've also got sharper edges, but we can break these down into better pieces. So what we'll do is let's duplicate this. Do Object apply all transforms, and we'll separate one entire piece and delete the other by just inverting select. What we'll then do is we'll separate it in pieces, so we'll separate this selection as well, and we'll separate the inside selection. So now that we have all three pieces, we can confirm them individually. So this piece will have ons in the middle. So we just want to carry these across. These will just make them quads. And then we just want to do a bevel in front here as well. Doing a tiny bevel here just to get the light better and then applying a weighted normals modifier with auto stim with on. I'll just make that part a bit nicer. Then for this back part, we just want to make sure that the sides are quads. A part that will not be a quad is this back part here. We can either collapse these m. So we can collapse those and then merge at last here. This will make a triangle backwards and we can just do a line down the middle here as well. These will give us two quads over here, and then we'll just repeat that for all the other sides. To make it easier, we can just do a collapse on all these, then do merger vertices at last, back here. No, that was wrong. That's not easier. We can just do Mergers collapse in front and back. Collapse Okay, these black ones don't want to collapse, so we'll just do at last and then just press G to repeat at last again. So make sure we do this for all the edges on this side. Again just use the at last and then just repeat that action the whole time. It just makes things easier, so you don't have to do a lot of different actions continuously. And then we just want to do the inside as well. So avoiding to move them just allows me to reuse the merge to last action the whole time. This will require me to move them backwards afterwards, but that's easier than swapping the tool the whole time. So we'll just do something like that. Then we'll confirm that all of the lines are straight here just to give them as much relax as they can have. And then just the side as well. So we're just now confirming that everything is quads over here. So these inside ones are all quads. These are all quads. The triangle here in the corner is a bit sharp. So what we can do for these, it won't really matter, but we can just not have two double triangles there, so we hinged at last on these corners. And we'll just do the same for the bottom. You will just give us a triangle in that corner. So for the side, we want almost a kind of global bevel on this. So let's see what the Bev modifier does with this. So the Bev modifier does give us exactly what we want. So we'll just copy that 0.018. It's still a little thick for what we want here, so we'll pull this back a bit. We'll do a 0.00, 02 here, and we'll just do a weighted normals on it as well. So these are bevel all the inside edges. And it'll just support on all sides. So we'll then apply the modifiers. Then just confirm if everything looks correct. So I just checking these corners because there would have been a bevel that goes through them here. So that looks correct, and it does seem to be keeping its shape quite well. Wout having any mesh issues as far as I can see. Now I'm just seeing if we just keep the weighted normals, modify apply, this will make a difference if we add some more light to the sides. So let's add two loop cuts down the middle here just to keep the corners better. And then we can't add anything on that side. So those two parts are done. Then for these two signs, these pillars are still just cubes with a one white edge here. So what we'll do is we'll just bevel these to a very, very slight amount. So I'll use those two again here, apply the weighted normals, auto smooth. And now that these parts are all poles and not ons, we'll just apply the gray box to this here so that we know which are new and old parts. So for these parts, just make sure you've applied all of the modifiers. Select these again. If you hold Alt and left lick and make this error, all the parts will go together. C then just join these together. So you can name this just like before you name it, let's just mirror it. So we'll do object apply all transforms, and we'll just mirror that across to the other side. It looks correct. So then we can just name this side panel support. So we've called those side panel supports. Then we can just move them forward to confirm that we're happy with how everything looks here. So they still look like they kept their weighted normals, so happy with that. These bottom ones are also one pixel white edges here, so we're just going to bevel these slightly as well. So we'll do something like that, and we'll just apply the weighted normals and auto smooth, apply those and just call the ground side supports. And then just hide these ones we've done. Also deleting the gray box version of those sides. So you're looking at iruive, so this will just be roof. So we're confirming everything's correct here. So there's an end on uptop here. So we're going to do is we're just going to carry this cut all the way through and just do the same for the other side. I'll just make sure that that on is terminated. It does add shading, so let's just see what it looks like if we transfer these three. So for this one, we'll transfer all four through. I'll create a triangle in the middle, but it's not too much of an issue. I'll just confirm everything else is fine, so the inside also will not be a poly, but for this one, because it shading here, we can just collapse all four of its corners, making one point and then making that a poly. Doing the same on all sides. That should solve this to keep everything pools. It shading looks correct. So we're just going to apply all bonifiers and hide. We can just move on to the next part. So that's this back support here. So we have one pixel wide here, what's do bevel. So we'll just do the 0.018, apply that bevel, do weighted normals, a autosmooth, apply that, apply that. So what is call this ground back support. The names aren't important. As long as they make logical sense, that's fine. So for these, I think these four are all the brackets, so we're just going to combine these. These will already be correct because it's just this bolt here, then this edge around. These will all be polis. I don't think we can delete these faces because we'll have a vision through to them here. So we're just going to take those away and we'll just call these ground brackets. But so we'll just do something like that. Then we'll reveal everything. So a very small optimization we can make is just to delete these bottom faces here because these won't be seen and we don't need them to take up texture space later. So that about does it for texture set one here. Confirming the texture set what is everything we want it to be. It does seem to be. So then what we'll do is we'll call this texture set one, underscore low. So this will be our low poly to start with for the high poly later on. So we just want to keep these groups separated. So now that this one's completed, we can just move on to texture set two. That'll be a bit bigger. So in texture S two, so the curve here, we just want to make sure if your cable is a little wonky over here, just fix it. Then we just want to do object and object, convert to mesh. That'll just make realize this into an actual mesh. Then we can just call this pod underscore cable. So then you can move on to the next object. So this object at the bottom, confirm that everything's pools. So this door is also one pixel white, so we're just going to bevels edges because the outside here is beveled. So, the outside the inside has a slight bevel. The inside here also has a slight one. So it'll do is we'll just pull this door in just to get a bit of shading on all sides, just to separate this out a little bit. Just making sure we do keep the ground plane the same, so it lifted a bit. Just pulling this down a slight bit. So we have light everywhere, and you can see it now, if you just look at it for the front view, the light catches correctly. So I'm unsure what this object is. So we're just going to call a bottom metal piece. We'll know what it is, but we don't need to name it like that.'s name it that the handle looks fine. Everything else would be quads because this corner terminates on its own. This back piece is necessary because we can see it through here. I'll also make shading at the bottom. This grid will also be see through, so we will be able to see that piece. Then hiding texture set one again. We're going to hide this bottom piece here. So for these pieces, so let's not make the grid translucent too much so we won't see into these here. Liking at the reference. You can't see the plant and so behind this. So we'll do the same and not make this translucent. We'll just do seems to be a metal plate in between these grids as well. So we'll add a plane behind the middle grid when we do it in the texture, just to make sure that we don't need to texture the back of these objects. What we can do then is in this one, we can delete this back face here. Then just confirm everything as polls they are not. Here's a three wide here that we need to carry through to the other side. We'll start by deleting this backface. We've done that. For these The easiest way is probably just to delete this middle face and reconstruct these as we go. Going to this edge because they're quite far for knife tool, we'll just go across here, select them on this side, bridge, and then we'll bridge up as well. Then for the bottom, we'll have the same problem. I'll grab these on this side, the two on the other side or bridge, bridge up, then we'll bridge the middle part as well. So that just cleans up that mesh. Then for the front part here, I don't feel a bevel is particularly necessary. So we can just do a weighted normals modifier, apply an auto smooth. And we can see that we'll need a light line here. So we'll just apply that in it'll just make sure that that edge is sharp and that it has light. So that does it for that object, we'll just call this shelf back plate. And apply all its modifiers as well as hiding it. And for the next part, we've got this front piece here. So we'll do the same as the other one. We can also delete this face back here, so see it. Then for this part, we can delete this face here. Select these two edge loops here, these two pieces here. Do a bridge, repeat the action in front, and then repeat the action across as well. All do the same for all of these bevelled face edges here. Doing the same for the front here, bridging across to the front, and the whole front face here. Then on for this bottom part as well still. The others will all be polys as they are just extruded, bevelled. Then moving into the front parts. Bridge and bridge up and across. So that confirms that this is all polygons. We go around, that's fine. So we'll then just call this shelf. Apply all its modifiers and move on to the next piece. The next piece is then this box, which I think will all be polls. Looking at it from the front, this shading on the door seems a bit flat, so it's going to make this a little bigger, just so we get a better separation for textus lay on here. Comparing it to the reference, there are some parts that feel missing, but these we can add in the texture. We can just punch these in with some height. We have a little bit of damage up top here. And it is the letter at the back, where its bevels terminate. It's fine. What we can do for an optimization is we can just merge these vertices at the back. Let's leave those for now because otherwise, we're going to mess ourselves around the hypoly with subdivisions. So these terminate correctly. So we can just call this let's call it the power Box. I'm not sure if that's what it is, but we'll call it that. And we'll supply all as modifiers. Then for this top part, I think we have the same as that bottom. So it's top face terminates in a triangle here and across, so that'll be a poly. All of this will be fine. So we can just call this power Box hat. Because call it. Then moving to the next piece, we have this sign here. So for the sine, only the face will not be a polygon because the outside edge here we cleat up and it's just a bevel, we'll delete the face and reconstruct it. So we'll select all of these except the last one and the same for the other side, and let's do a bridge and a bridge inwards here. Let's do the same for the top over here. Do a bridge and a bridge across here. So the weighted animals modifier is still applied. Let's make sure all the shading is fine. Creates a soft edge to look like plastic, stops on the inside. That looks fine. We might have to add another line on the inside to just kill that a bit sharper. So now it feels like there's paper slit under this frame here, so that's fine. So that does look a little better. We'll just call this sign, apply all its modifiers moving to the next part. So this is going to be on the face. So it's going to be quite a few to clean up. So just hide this friend cable quick because that's done. Just making sure modifiers are applied. So just making sure everything else is now the face. So everything else will now be here. So these are going to be very small parts to clean up. So we're going to start with this little flap over here. So just a easier way to do this maybe is just to apply all transforms, just to make sure we can snap anything we move out backwards because we want to get to the back of a lot of these measures, we want to make sure that they don't mess us around if we do do that. So for this part, we're never going to see its back. You can just delete these pieces. So we can delete the faces. So this on the side will not be a poly. So it's just going to kill that through there and the same through here. So we're going to apply weighted normals to see what this looks like. We can probably use another edge line here to make it a bit sharper, and it seems to also need one here. So it just makes all its edges a little bit sharper. A slight shading issue on this edge, but we'll just make these two edges a bit thinner and then just delete the thickened one here. I just gives us a sharp shade there. So firm everything through here as polies as well. So these are all in polies. We just want to make sure that they all end in the same way. At line the back won't be necessary. So once that's done, we'll then just move this back and we'll just call this coin clip. Okay. And just apply all its transforms. So this will just be the phone bracket. Let's move that away. So we've killed the backside here. This walks through fine. This is fine. The edge here is fine. So this is just a confirm of everything looks the way we want it to. So it's all polys. It looks fine. Push that back to zero. What is called this phone clip. Apply all modifiers and hide. Then the phone itself will move away. Confirm everything here is polys, which they are currently not. So easiest way to do this again is just to delete this face. We'll then start by bridging over all the relevant parts. So we'll bridge through here. Select all these and the same on the other side and bridge. Now, so make sure all three this side and do a bridge. So there are now lines coming through here that aren't being bridged. So be careful that these verts don't float. So we're going to do the cross first and then fix those. Let's select the unselect these bottom ones, so we can bridge across. So we won't do that and then bridge across and deselect the top one. So bridge those across. So now these lines here, this one over here and the one at this side are not welded. So we'll pull these through and then we'll move the one verte away, and then just merge by last. And then the same for the bottom. Now all of this is quads and runs through correctly. The side here is all quads, this is quads, the back part is the same, but it'll only be for these pieces over here. Anyway, where the bevel affects the face here, it'll be the same issue. We're going to push this back as well as this bottom part here. And we're going to do a bridge. So we're going to have the same thing as the top where these two lines are pulling through correctly. Just going to do a loop cut and a bevel and then just reconstruct these up top. Usually, it's best to move one verte away and then just merge back to last the one that stayed in position. So I would do the same at the bottom. So that solves this cut at the back here and now just the top one as well. Then just deselecting all these. Doing a bridge. If it does break, it's because you haven't selected incorrectly. So just always be careful for that. And if it does break, just undo and just find the part you deselected. So again, we're going to pull these words away in just a distance that we can see and then just merge them at last. You can do merge by distance. I just prefer to have some more control over it. And then the same for the top. So then we just want to see if bevels affect anything else. So this back face will also be affected. Then we're just select everything here, and then just do the same as the other two parts. And cut and bevel and merge where sees at last. And the same for the top. So that solves that bevel. This bottom piece will all be quads because we polys because we pull everything through. And that's just cylinders. These are quads, as well, same as this side. And the top is also correct. So we're just looking to not have any end guns through the whole mesh. And then we'll just push this back to zero and just apply this and just call this phone. Then these bars that are called cutter are not actually the cutters, but the results of the cutters, confirm that that you're not have any extra meshes sticking out. Then we'll just start with this cutter too. It is all transforms applied to pull this out. It is a single phase thickness. These around this edge sorry, they'll all be quads. I delete this face. There's two faces here and one this side. Sorry about that. Then we'll just create a loop cut on this side, and then bridge these across. And then on top here, we'll just add a Let's bridge these first. We'll take these except the last one, and we'll just bridge them and bridge these across as well. Then we'll need another line here to bridge this bottom gap. So we'll do that and then bridge these across and bridge these across making this all quads. That should be good. That's fine over here. So this front part obviously won't be quads, so we'll just delete this and we'll just bridge this the same as the others. So for these, we can actually just do a fill. That'll just fill it with triangles all the way through. Then the bottom will fill the same as the top. We'll just delete this face. Create a loop cut down here, bridge these bottom faces, all except the top one. Bridge, bridge across, bridge over here. Okay, so not bridge over there yet, so then do a loop cut here and bridge this part here, Bridge these two across.This one over here and this one over here, and these like that. So that should make this whole part quads. Is to our weighted normal just to see if we'll need any extra segments. So I still doesn't keep it shaped very well. What we can do is we can just add a cut at the bottom here. You can see the cut doesn't go through this back part. That means that this part isn't quads, we'll just make a loop cut here and then just use the knife tool to connect these verticts over here. Connecting those. Then we'll just create a cut down the bottom. That cuts all the way through, meaning that all of those are quads. Then we'll also just do a cut down the coin line here as well, the card line rather, and then just a few across there as well just to keep that shape solid and we'll do so we have a slight shading issue here as well. So we'll do an interior line as well just to keep that. Then we'll make a line through here. We're looking to terminate this long piece here. We'll do it on the right hand side. So to get the shading is a slight problem because it's pulling too far. Let's make sure that this face is flat as well. It's having a problem with the shading, pulling over. Well, make sure we have two lines on either side just to make that line disappear a slight bit. Okay, so these lines on the solution, I'm just going to undo these two lines. So the lines we're looking for is the top edge of the actual slot here. We just need to make a bevel. These then end over here. It creates a slight shading issue, so we're just going to remove these over here. On both sides and we're just going to merge at last on this inside the same for this side. So now we've got this part looking solid. We've got a slight pinch on this corner as well. See if we can fix that we can fix that with an interior line here. And then the backp we can just add a line up top here as well. So that'll make it feel like the middle is pulling in. But we can lessen that effect by adding to loop cuts over here as well. So that just solidifies this top plate here. But the line carries through into this curve, which we don't particularly want. So we'll do merge vertices at last here. Just doing this all the way through. So if you've done it a few places, you can just delete one of the lines. And then we'll just do the same on this side. So we'll merge one side's vertices and then delete the leftover line. So that'll just solidify that part. This is metal, so we just want it to look quite sharp. Well, then apply its modifier and reset that to zero. All of that should be quads now. We've confirmed all of that's right. All of this is right, so that's fine. We're just going to call this card slot. Then moving on to the next part, it'll be this part on this side. I'll pull it out. I think that these two faces are the only two that won't be quads and won't really clean up on these sides because it's triangles into a polyto quad over here, I'll just start by deleting these two faces, going into the beveled corners here, selecting these all but the last. Just bridge, then bridge across on the inside, then the same for the top. It's the same over there, bridge and bridge at the bottom here as well. And just repeat their steps on this side as well. And we can just sorry, that didn't bridge, so we can just bridge this and then apply the weighted normals modifier as well. So just make sure there's all the same material and apply weighted normals. So that'll just make sure those faces are filled in. It looks sharp, it selects fine as the metal, and everything should now be quads. Just applying and take that all the way back. And we'll just call this coin back plate. And hide it. For this one here, it's just the button, only the face because of the bevels will be wrong. We've done this 100 times now. We'll just select cd. And just bridge them across to this side. This is the easiest way to fill a beveled face. You could also have triangles and stuff through it, but because we're looking to go to the high poly, we're also looking to keep the mesh quite clean. This will just make things a lot easier when we start subdividing and so on. So we're getting a slightly weird shading issue on this one. So let's make sure that the face orientation is correct. So it seems like we've got a face here that's wrong. So we just bridge that wrong. Then here we can just bridge. That should solve the shading issue. So that solves the shading issue. We can just call this coin button, apply all modifiers. So coin button, make sure the underscore works. Then moving down to the bottom parts, can pull this out as well. So for this one, this face will be wrong. That face will be not quads, and this face will also be dot quads. To solve these, we're going to solve this one at the back first. And at the top. Okay, so that should solve that phase. We'll apply the white normals modifier just to see how everything works. So then for this front piece, these pieces coming through will be quads, but these won't be. These will be very big ons. These are quads back here. So for these, what it can do is we can drag the corners. So we can create a center line on the other face just to make sure that we don't pull too far. So we can create a center line and link it to the cylinder over here. Then from the cylinder, we can go to the corner over here. This is a flat face, so pulling big triangles is not too much an issue. Does it do the same on the other side? And then at the bottom as well. So this bottom, even though it is skew, it is still a solid face. So we can just pull these through. You can see that the shading doesn't change at all because this is on a flat face. So these triangles are long. You generally don't want to do this, but for this situation, it is good. Then we'll just pull this one through as well. So that solves that object. Confirm everything is quads. So everything is quads except these that are triangles, but they're on a flat face, so we're not having too much of an issue with those. So we'll just apply all modifiers, take it back to zero. So confirm what this is, this is returned coins plate. Let's call that returned coins plate. Then for the next, it'll be the little door in front here. So it'll only do the one face as the back face will never be seen. Select these, go to the other side, select the bridge bridge. And the same for the front. And just apply a weighted normals modifier. Auto smooth. So we have a bit of a shadding issue. So we can just drag a support line around it to make the light fall better on it. We can apply all modifiers and call this returned coins door. Okay, so that's fine. Move on to the next. So for these buttons, let's look at what the most effective thing is that we can do here to correct them. Because we've collapsed the array in previous segments, what we can do is we can make a duplicate of these and they'll still fall in the same place. And then 9. 08 Creating Our High Poly Part1: In part eight, we're going to finish cleaning up the face this side and then we're going to move on to cleaning up the actual phone body itself. After that, we'll then move to subdividing all the objects and getting them ready for sculpting the metal damages in the next part. Last time is we're still busy on this corner. We'll just continue using the knife tool to just clean up this face. We're not too worried about any shading mistakes at this point, as we'll be beveling the edges on the insides here, and then that'll help us alleviate the pressure on these faces. These are just now sharing the same weight as the inside corners so they're making sharp edges. So as we go, we also want to make sure we're deleting these side edges the whole time. So we'll create one this side to create a fall off here. And then we'll just link all of these through to this edge here. And then for this side here, we're just going to pull one from the bottom here, make sure it is connected. And we're going to connect that straight in here. And then the opposite side of this one, we're just going to link in and then link the middle ones all the way up here. Just sharing the load between these and making sure it don't have too many triangles. Then just doing the same this side. So that looks fine. So I think the best would be just to finish terminating these top ones then. So I'll just pull this across. So there's no way for us to link these without making two long triangles, so we're just gonna make a weird poly in the middle here and just go to link across. And then we're going to make sure that the stop one stays a quad by pulling that all the way to the edge and over. Then for this part here, we can just link this to the bottom as well and we can link this one to the far top. We then also create a middle inset here just so we have middle line here, don't pull too far. Then we can take these up these we can take to the underside here. Okay. Then here at the bottom, we can also we don't want to cut too much into this face. So what we're going to do is we're just going to repeat what we did on top, make a triangle across here. We're then going to pull this one in here and then link to that. So I'll just terminate this corner here. We're then going to pull this across into this face and terminate that in its bottom corner. So now we have a place to attach this corner to as well. And the side as well. Then for these, we can link the corners together. And that should link nicely and bring these down. I'll just link these corners fully together. Making sure not to create duplicate vertices with the knife to And then just confirming that every verte on the outside edge is linked to a quad on the outside. So this won't be a quad because this top edge needs to be pulled through. I'm just going to pull that through to this edge here. Then just confirming everything's correct. So here we can just slide this down. Just so that's a bit more in line with the bottom here. So that pretty much does it for the top piece here. So then for the side, what we want to do is we want to make this part here a quad. So we'll pull over this one here all the way to the end, and then we'll start terminating this bottom side here as well. We're going to anchor that to this one here and we'll delete the middle one as that's not necessary. As well as these on this side won't be necessary. Here, we just want one that is in line with that corner and the same for the other side corner as well. I'll just delete the others that don't fit that. Then we'll just bring both corners down. Just from here all the way down into there and the same on the other side. These will all then go into the top vertex on the corner on the very far bottom corner. Just grabbing these and they'll all go to the far bottom one here, as those corners still need to be linked together as well. So would great um triangles into that corner. And then we'll just repeat the same for the other side. So this is generally the issue we face when using as many booleans is if we use beveled booleans, they do make our life a lot harder. It's a little bit of cleanup afterwards. The only thing that's good about them is your shape looks exactly like it needs to, and you don't need to bevel in a triangulated mesh, which could be harder. So I prefer doing it this way where I do the cleanup afterwards because it gives me better results and I control more what I want. We're then going for these bottom corners, we're just going to link these top ones together and link all the way down to the bottom, creating a ladder between each one and making sure we just don't do the last one to create a quad at the end. That's still not a quad, so we need to go one more. And with that one, that creates that corner to be a quad. The top corner will then be a quad. So now we have some shading issues. We have some shading issues up here that we can fix simply by going to this piece here, making sure to select this entire edge around it, and we'll just do a bevel to make this feel like middle and just to solve this normal issue. Select it. Then when we bevel it, it'll reinforce that edge. Give it a nice shine and it'll also take away a lot of the normal issues we have on the sides. We'll then do the same for all of the inside ones. Because these are triangles, we can't select them all the way through. So always just confirm that you are selecting them. Blenders double click won't work too well with that. Then we'll just bevel these inwards as well. We'll have to do the same for this face here. Film everything selected and do a slight bevel. We're still having some normal issues, but these are coming from the outside. Our solution for that is just adding a overall bevel around the corner here as well. Around the edge sewing. Then this way we can add making sure everything is selected. We want this to be quite a thin bevel. We don't want to have a too thick H between the two. We just want to create one to keep the normals in place. Normals are still broken because of these. You can see immediately that solves the normal problems we're having. There's still a little one in the corner here, but I don't even think that'll show up in substance. That's fine. Then we'll just pull this back and we'll call this face plate. And we'll just apply all its modifiers and just hide that as well. Now the last thing they have to do is this body. For these inside plates here, we want to make a inset just to keep it solid if you can look into the hole, this is the last thing you'll see. But we can then just delete these. For this one, we can just do a simple fill. Just because it's a bit easier, and we don't really need these mini segments in here. We'll probably merge these down later, but for now, this is fine. We'll just change in optimization. So that'll hold up fine. Then we'll confirm it. Everything else is quads here as well. So this feels like quite an unnecessary line at this point. It doesn't need to go all the way around. We can just merge up here and then just see where it comes in at the bottom. So we don't really have a place to merge at the bottom. So yeah, let's keep this line. I'll be fine. When we do optimizations, we'll pull all of these a lot closer. We're just looking to make everything quads now for the high poly. So then this bottom part will not be quads. So these around here will be quads, but this is not. So what we're going to do for this case is we're going to do a loop cut through the whole thing. It won't go through because we have a few triangles on this side. But we're going to cut it as well as we can. Then what we'll do is we'll knife to these together, and then just make sure that anywhere it went through these triangles, we'll just knife to them together as well. And we'll just collapse these vertices just to take some pressure off that middle. That one can stay the same, but that one we can merge in. Then we can just go around this whole piece, making everything quads. So then we'll just pull these to the new edge we've created. And the same for this side. As well as this top edge. And this should be the last quads we need to do for this model. So the weighted normals looks good on it. And I don't think we have any more gons on it because everything seems terminated correctly. So then we're just going to name this phone keypad body, something like that. We're going to apply all its modifiers, and we're just going to hide it. Now now that that's done, we're going start moving to the high poly version. So what we can do is we can unhide these two. So texture set one and texture set two, make sure that everything in the groups is unhidden as well. Just texture set one, texture set two. So now we have the full machine back and all of the models have polys in them. So let's make sure that anything that's still floating, so it's just a cutter that was left. Make sure everything's cleaned up and named properly. So what we then want to do is just make this material a different color. So I just want to make sure that we have texture set one and texture set two apply to everything. So let's do M underscore texture set one. Let's do that. And then just make sure that that's applied to all of the first texture set things. This will be relevant later when we bake, but it is always good to just set this up for now. So it's going to do that for all of the objects. And then we're going to create a duplicate for texture set two as well. So we'll assign texture set one, click on duplicate and just change as dis texture set T, and just make sure that that's assigned to everything over here. So what we're going to do after this is we're going to assign we're going to make these low poly groups and then start creating the high poly by using subdivisions and so on to set up for sculpting. So we're going to do that by taking all of these parts, applying a subdivision surface modifier to them so that they're higher poly and then making sure that they still fit the shape. To aid us in this, what we're going to do is for the textaset one and two parts, we're going to make them red. So that we can see them clearly. So the glass we can hide for now, the glass isn't relevant. Then we're going to name both of these underscore low, and we're going to create duplicates of both of these groups. And once they're duplicated, so it's rather select everything in the group, duplicate new collection. Texture set two high. We want to do a high with no capital letter. It doesn't matter in the group name, but it's just a good thing to get used to. So these will name them all underscore one. And we just want to then go to texture set one and just do the same. Make a new group. Call them texture set one high. They want to change their material as well. So what we're going to do is we're going to make a duplicate of this material and just do texture set to underscore H, and we're going to make this a blue color. This will allow us to see the difference between the two. And we're going to go through and make sure this is assigned to everything. So with these color differences, we will be able to see the easiest if the two meshes match or if they don't match. Because if we're baking, we want to have a certain distance away. We don't want to bake, very far. So we just want to make very sure that we can see where the separation of these two meshes are. We'll sculpt this in the gray view, but for referencing, we'll use the texture view. And we're going to do the same for the texture one high. So we'll create a duplicate, name this texture set one, underscore H, and I'll make this blue as well. And then just make sure that this is assigned to everything. So it takes a set one high. It's named wrong, one high, there we go. So it takes it one high, and just make sure that this is assigned to everything. Okay. Then once that's done, let's start with texture set one. What we want to do is we want to hide texture set. We want to have both visa visible. So we'll just put high and low on top of each other. We want to then hide everything and have just the single objects selected. For the back grid, let's see what the thing here could be. Would we need to sculpt these in? It doesn't seem awfully necessary. These seem like we can do microditl in substance because they're not too far. We won't ever catch these at a dlancing angle that we'll see the silhouette change. So we're only going to sculpt places where the silhouette would change. So an example of that would be the damage on this corner. We're going to sculpt a little bit into this because it is going to create a silhouette difference, as well as some welds here. These we can paint in substance, but we still need a better smoothing here. It's just not necessary for the grid as it's a single plane, so we're just going to skip this part. So moving on to the next object, we're just going to then unhide both of these. So for the top support, it is already bevelled. But to make this edge a bit softer, we're going to go to the high poly one, and we're just going to apply a subdivision surface, and we'll do this spike, too. But you'll see that this edge now loses its kind of weighting. So it'll unhide the low polyversion. And so with the high polyslect we'll just then pull these edges closer. Then we'll also pull a laser from the center by just using that ebling. We're doing this on the high polyversion, even though we have the low poly showing. What we're looking for with this is to have these match aslosi as possible. So just for the inside, we then want to do a line down the middle as well, and just extrude that over. So now we have a model that is softer here. So this edge is a lot smoother. We'll also apply the weighted normals modifier on it just to make sure it's a lot smoother. So that's kind of just what we're going to do with all the models. It's going to do that back so there's this a position. So here we're going to apply the I was going to say shade smooth here. So that'll then just be the high polyversion. Then for everyone we finish, we'll just do underscore high with a lower H here. This will be needed for substance. It's just easier to do that. So then we're going to height this one and just name a top support, underscore high. We need to keep these consistent, and we're just going to apply this modifier. That seems about right. Then for the bolts, so the bolts should be easy. We've already subdivided the bolts from previous. But what we want to do is just show the low bolts. And then for the high bolts, we just want to do a subdivision by two, so they're even smoother. Just apply this and then do a shade smooth. So hiding the low bollyblts, we can see that the high poly bolts are just smoother still. It just gives us a little bit of a nicer bake on these. So we'll name these bolts underscore high. And move on to the ground support. So for the ground support, we're going to have the same as the top. We're going to do subdivision, not the low polyon. We want the high poly, subdivision by two. And then we just want to throw a bevel here, a bevel down the middle, and a bevel up here. What we can do that might be easier is just to go bevel on all three of these corners by percentage, and we just want to do a 98 percentage. That might be a bit much, so let's pull that back. That wouldn't look too good. So what we'd rather prefer is to do these just one by one. So you're going to do the middle one, pull that close to the edge, the center one, pull that lose to this edge, and then the middle one, pull that lose to that edge or hide the low poly, and we'll shade smooth the high poly and just apply the subdivision modifier here as well. Or they name this underscore high to confirm that it is completed. Well, hide this, unhide the ground brackets. So for the ground brackets, this should also be a symbol high. So if we do subdivision surface y two, and if we now hide the ground brackets, so we can see that there is a slight difference to this bottom edge. So in the high, we just want to confirm these two bottom edges here with the bottom and the top edge, and we just want to do this on all the other brackets. The bolts, we've already confirmed to work with the previous models or the previous bolts. So for these, we just want to confirm that these edges stay sharp. But we still just want the smoothing of the high model as well. So now hiding the low and showing just the high. See now we're getting a slight better curve here and some smoother bolts. So we'll hide these and we'll shade smooth the high poly version, and we'll just apply all its modifiers as well as now make it underscore high Then moving on to the ground side supports. So these are going to be the same as the top supports as well, subdivision by two. So these we can do together. So do two lines, bevel them close to the corners, do the center line down here, bevel these close to the corners, and then do the middle line and just bevel these slash the corners as well. For this texture set one, these are going to be quite simple. They're just to gain some more shading smoothness. If we're doing high to low poly bake, we might as well do these. So it's going to name this underscore high. Then we're going to move onto the roof. So for the roof, let's see what happens if we subdivide this. We might have some corner issues. So see here, we have some corn issues here. So we're going to subdivide that by two. We're going to unhide the low poly roof. And then what we're going to do is we need to reinforce these corners. So we're just going to add two bevels through here on the high poly version. Do you see some Z fighting on top here, that means that they're exact. And then here you see where the curve is smoother. So we just want to get close enough to where the low poly version is that we don't have to bake too far with a cage. So it's move these loser to each other, then hide and unhide. So this top corner is a bit shallow. Just make that sharper, and then just make sure that all of these edges also just come together by just adding a few more support loops, as well as on the inside here, I see it's quite far. So that'll just pull it a bit closer to the low poly. So you see there's quite a lot of Z fighting, but we're baking the edges, so it's going to shade that smooth, and this version will be quite a lot smoother than the low poly version. Once that's done, we'll just name it roof underscore high as well. H. So just like that. We want to move on to the site bunel supports. So these could be a little bit of a challenge. These we need to be quite careful for because there's quite a few of them. So doing a subdivision, byte two, and then we want to pull these as slow as possible. So for these we want to make bevels on the side buners as these are the easiest to get quickly. Then it's going to do a bevel to the edge. Something like that. And then on these insides as well. Just bevel these close to the edge as well. Then for the insides here, we can add loops here. Add one on the inside here and here. Do the same for the bottom, as well as this side, Okay, so then around the outside edge, we can do the same, but we just create a bevel for these. So bevel, and then pull those close to both edges. And then do the same on the other side. So then to pull these edges on the inside closer, we'll just create loop cuts through here and on the other side, just to reinforce this corner triangle. And I'll just do this all the way around until this kind of fleshy part here goes away. So I'll just do something like this. And I'll just do this on all the corners for this piece. And then for the bottom here as well. And we'll have to repeat this on the other side as we don't want to copy things over too many times for high and low. So just finishing this up and then the last corner here. We also then have these inside corners that are a little wonky. So over these, we can just do a bevel. So here we'll just bevel these insides. Something like that should be fine. Then for this inside shape, we're also going to have to reinforce its corners. So we'll do a bevel through here. So for these corners, I want to make sure they match the top piece. So I want to do that and then inside here. So just something like that, just want to reveal the low poly to make sure that they match. They are very close to each other. So something like that'll be fine. Model looks smooth, bevels look cleaned up. Then here, let's just do all these corners as well quick. You're just going to repeat the process from the other side. Just making sure to get all the corners do not have a shading issue in painter itself. Then the same for the bottom. This should be one of the more complex pieces with this outside because it has to be so many corners. Generally, doing the subdivision like this, the corners will be issue, this should be the hardest one for this. And for this one, so we want to actually do the outside here first. So these two and then bevel them. Add a bevel so that that corner cleans up. Then we want to delete this bevel we started making. To add a bevel down the middle. Bevel this to the corners, and then one down the middle as well. And then just pull that up. I'm not sure why this piece doesn't go down, so I'll just pull that down manually. So we'll do just the shade smooth. So now we'll just reveal the other one to make sure that they're the same. So one is the same, but there is a definite difference of the corners shading. And then we'll also just sculpt on these at a later stage. So those are done, let's call them underscore high and apply all then the last one we have left is the top name plate. So do subdivision times two, and then just make sure that all of the edges here are fine. So we'll pull a line through on both sides here. Or do one back here and at the back to make sure that those are solid and two on the inside here. That should solidify that sign. If we shade smooth, we can see it smoother, and it matches quite closely to the other one with a little bit of difference. So we're going to call this top late underscore high, apply all transforms. Apply all modifier. Sorry about that. So then hide the top lat high. So now we've done set one. We can go through the low ones and just call them underscore low as well to confirm that these are all completed. This will just make it easier for substance to be able to bake these to each other as well. So I will call these unscoled. It also tells us which parts we need to UV as we only need to UV the low parts and not the high parts at this point. Well, at any point, to be honest. So texture set one is then completed and ready for sculpting. So then texture set two, we just need to do the same as we've done with texture set one now. So text two, the bottom metal piece. So we'll just unhide both pieces, go to texture, say two, and only reveal the one piece we're busy with. So we'll do a subdivision surface, two, and then we'll see what breaks. So here you see we're losing this corner. So we'll just pull this up, create some support loops here. Just do that on all the edges. Then I'm also assuming we're losing this inside here. It doesn't seem to, so we're losing the inside of the door. So we are going to have to pull this loser here. That'll smooth out the door, and then we'll do a bottom line for case and one across the top like this to make sure. So that should be the same as the low poly one. It is this top corner is a little soft. So maybe we'll just add another he dip here, shade smooth, and now just make sure that those two match. Now they match a lot closer. So we'll just apply that. Now it's just a high poly piece of the same thing and we'll call this underscore high and move to the second one, which will then be the card button. So we'll do a subdivision surface here by two. Nh this one. This one should just be as simple as just applying. It'll just make a very high poly version of the other one. Those are the same. That's fine. So card button is then completed. We'll call that card button underscore high. So the card slot will then be next. Card slot could be an issue. So for this one, we're going to do subdivision surface too. And then we're going to see how that changes. So a few small changes, namely that this bottom plate's pulling too much, so we're just going to add a edge loop all the way around to make sure that that bottom plate stops pulling and one inside here. We're also then going to add one through this gully here. That won't link, so it's going to create a line through here so that we can actually get a line here as these are better quads and then just bring two lines to pull that shade in on that corner so it don't get a stretch. So we're just looking for smooth shading and no obvious stretching. So that just looks like molded metal. That looks fine. Showing the card slot, we can see that they're different but not different in shape to each other, which is what we're looking for. So then we're going to go to the high and just maybe add we'll add another loop here just to keep the stop edge a bit cleaner. So then we can just also reveal and unreveal the high poly. Maybe we can add one on the outside to keep that shape a bit better. So something like that could work, it just takes away all of the nasty shading there. And just shows a bit better. Cool. So that's what the one's done. We can call that underscore high. Then for the goin back plate, we're going to do the same. Subdivision by two. So for assets like this, usually you're going to have an issue with the inside faces here. But the solution for that is just to create an inset of that face or going to the outside here. So I'll hide this in view first. So we're just going to a support loop in the inside here and the same on this side. Show those in viewport again. And then we're just going to support these edges with another loop as well. Just making sure that those loops go all the way through. And the same for that side. Then we'll shade this smooth. So that seems about correct. Unhiding the other one. So this is queen back plate. Those models seem close enough. Well then call this high And then we'll move on to the coin button. This one should also be simple, but it will lose its edges. So we'll just do subdivision two, hide the low. So it edges seem to have kept quite well and it's a smoother button, so it does already look nicer. So we're also just going to do an apply and call this underscore high. And move on to the next coin flap. So this should also subdivide fine, bite two, and then we'll just see if it loses anything or becomes too soft somewhere. I applied the modifier to the wrong one, just do that to the high poly, not solidify, subdivision by two. So it loses the top edge up a little bit. So we're just going to add a line over here. And then just for safety's sake, we're going to add a bevel down the middle as well to make sure it keeps its sharp edges. So that looks good. It doesn't look to clay in sides. And then we can apply and call this high So I'll just do it like that. Then for the face plate, we're going to do a subdivision by two. So we're going to have an issue with this inside face here. So we're just going to add a support on the inside here and one on the outside and reveal that modifier again. So that'll show us that that face is a lot better but not perfect yet. So what we're going to do is we're just going to select the whole face. Also going into the corners Just make sure it sleep all of the faces. This is a good way to do this on a large face that's showing shading issues. Then we sent this little middle triangle, as well. So that one and then get the other corner as well. And then the last one for the top corner as well. So once we have those faces, we can just do a very small inset just to keep that face solid. So that'll give us that face flat. And we can just shade smooth and have a smoother version of the face plate as well. Apply all modifiers, face plate underscore high. We're going to hide that. So we're headed for the bottom and keypad buttons. We'll do the same subdivision by two, shade smooth. These are round, so they'll be perfect, but always confirm. Apply modifiers, underscore high. So top buttons, same process, subdivide two. They became a little bit smaller, but they're still the same shape. Shade smooth, apply high Okay, then the phone phone should also because it is plastic, it should look fine subdivided. So we'll hide this version or shade smooth the bottom version. Now things like this look better plastic and just look a bit nicer. So these shapes are still exactly the same, but smoother. So we'll apply the phone and just call this underscore high something like that. Then we'll move to the phone cable. Phone cable should not be an issue. This should just be subdivided by two. Hide, confirm with Shade Smooth, apply all and name underscore high. Then moving to the clip So, the clips should also be fine, sub divide by two. We're not losing a lot of shape, but we are losing some shape, so we'll just pull this to the back and to the front just to make sure that we keep this sharp edge in the front. So we'll have something along those lines. That's just a bit smoother than the one at the back. Apply and name high. So then we'll hide that. So then the keep at body is the next part. So for this one, subdivide by two. And it doesn't seem like anything breaks. Slide shading issue at the bottom. But we can fix that by just doing a line over here and on the inside, and then just supporting this edge more. So we'll just do something like that to take that shading ate away. This face is well enough supported. We'll add one to the front of the side phone here and on the side here to make sure that those match. This bottom looks fine. We're going to add a line here to keep this pinch fine as well. I look plastic. And we're going to apply all and call this high. Then we're going to move to the side cable holder. Subdivide by two. Then let's see if the shape changes. The shape looks the same but smoother. That's exactly what we're looking for. So we're going to do apply, shade smooth and call it underscore high. So something like that. Then the Power box is the next one we're going to do. So the power box should also have some issues with its corners. Subdivide by two, it wants to be a circle. So we're also going to then pull it us closer to each other. And then just do this on all four corners just confirming that all of the shapes stay intact. And then just do a loop through the front and the back as well, and just a center line for good measure. So shade smooth, unhide the other, and those objects are the same, but softer. So apply name correctly. Then we're going to hide this. So the power box hat is next. So for this one, because it's not really a filled in object, it should also just be quite simple. Subdivide by two. You need to confirm that it kept its top shape, and it does seem to have. So we're going to apply all and shade smooth. And we're going to call this underscore high and hide that. So then the turn coins do is the next. So this one shouldn't be an issue. Subdivide by two, hide the low poly shade smooth. Confirm that that shape hasn't changed a lot, and it hasn't just become a better version. But we can probably just do a center bevel here. It's just rather draw the lines ourselves. So we'll do a loop cut, and we'll just support the edges on both sides because the top and bottom edges are supported. We just want to support the sides as well. So we'll apply that and then we'll just shade smooth and call underscore high. Just like that. Then we'll hide that. We'll move to the coins plate. We'll then subdivide that by two, hide the low polyon. I was confirm if there's a lot of changes. It doesn't seem to be. There just seems to be maybe one or two corners here that we can subdivide and add a loop cut or two down the middle here, as well as just around the top, just to make sure that all of the loops all stay the same. So about around about there. Then we just want to add two cuts down the middle here to also just make this coin pot in the middle more metal. And we just want to shade that smooth. So something like that will work. We can also go in and just cut this through here with a knife tool. I'll just make the corner there a bit sharper because we're cutting through triangles, and we just want a support loop here. So that'll just make that part a lot smoother and that'll look the same as the low poly. So we're going to apply name high, and then we're done with that piece. So then the shelf so the shelf is quite simple as well. So we'll do two. Then I'm just going to add a loop cut right down the middle, just supporting on both sides, making sure that they look similar. So that'll be fine. It is supported on those ends. So we're going to shade the smooth. They do match, apply all, and we're just going to call this underscore high. Just height that piece, and then move to the shelf black plate. Subdivide by two. So this one have an siento its corner so it's going to cut that down the middle. Bevel, get that down the middle, then bevel. So let's make that bevel a little wider. It needs to be closer to the edges. Something like that, shade smooth. Double check if it's correct. Apply all name high. Here we're going not high with capital with a lower letter. We want to be cognizant of that because substance recognizes by the tag, so just every now and then just do a sanity check if you have done that. Then the last one I think we have is the sign. That does seem to be the case. We're to subdivide subdivide by two. Then we're going to have to confirm its edges, so we're just going to drag two loop cuts through here and two through here to just confirm its edges a bit better. And that should be fine. We're going to then shade smooth. So we can add a loop carton inside, but we already added one earlier, so that already makes the paper feel like it goes behind the sign here. So I'm happy with it. We're going to do an apply all. Do a sign underscore high. So confirming in textia set two high that everything is named high, confirming that we've done them. Going through Tetia set one and doing the same, going through teta set one to confirm everything is named underscore low with a lower letter. So then the only thing left to do is going into tasia set two and naming everything's underscore low. I'll just copy this to everything. Just making sure all of these are named underscore low. Oh, now I'm just copying the low tag because these don't have numbers that need to be erased because they weren't duplicated from the others. So in a case like this, if I need to name a lot of things, there are some plug ins that could do this easier, but it is also fine to just paste it in. So we just want to do something like that. So confirm all low, confirm all high, confirm all low, confirm all high. So now we're ready to start the final model as we now have the high poly version of the whole model, and we can start the sculpting. So now we can start sculpting in some metal damage and stuff like that. We can start damaging some of the balls. We can start adding some metal dents and then just make those down to the low poly version. So we'll do that in Chapter nine. I'll see you guys then. 10. 09 Creating Our High Poly Part2: At nine, we're going to do a polishing pass as I've had time to reflect on the model, and there are some changes I'd just like to make. It's a bit of a bad time to do this because we already collapse our subdivision modifier. But for any changes that need to be made, we'll just have to go into the low poly and then re hi poly those parts. So simple things like not having a very nice round corner here, just some bolts I'd like to add. So these are just going to be minor to some shape changes. So we'll just get right into that. So for the first one, we're just going to add some more bolts here. So we're going to do that by just revealing the low. So we want to delete these bolts, which delete all the bolts, show the low, and then we just want to bring these bolts down. So it's want to have them nail this bottom metal plate down as well. We're going to move them in here. So that's any bolt change we have and we're just going to re hy poly, so we're going to duplicate it again. Put that in the hi poly texture set two, call this underscore high, assign the correct material. Texture set one. And then we're just going to subdivide this again by two. And just apply that modifier. Well, let's not apply the modifier in case more changes. I think it'll be fine. Let's apply it. So applying the modifier. Then for the other change, we're going to just hide the hypoly again. Then here we're going to change this shelf to be further back. It's extending quite far out. So we're going to change that just stay somewhere around there. So to confirm that shape. So something like that looks a bit better. Then in the high, we just want to delete this shape as well. Duplicate the low, move this to texas set to high. Call this underscore high as well. And then we just want to subdivide this by T. We just want to make sure again that it looks fine. So we'll hide the low, assign the correct material here, and then we'll have a look at all the corners if they're holding correctly. So we'll hold those two corners there. I'll just check for any stretching issues. I'll just do a shade smooth as well. And then we'll just pull this edge in as well. So that'll just give us a nicer rounding at the back. There are no stretching in these front corners and none of those back part. So something like that looks fine. We're then going to apply all subdivisions. Then moving on from there, we're going to be looking at these window frames. We can see that there's a need for some rubbers on the insides. What I'm going to do with this is I'm going to move the windows in a little bit. I'm just going to do this on both sides. So then to make our lives easier, I'm just going to take the one side, move this away, making sure to select this back edge as well. And then I'm just going to move this away along with the windows. Then to create these insets, I'm just going to make a loop cut down the middle and then bevel this out to just wide it in the window. I'm then going to extrude this along normals outwards. So that looks like a good height, maybe a little more. So then going to add a leopa down the middle, bevel extrude that along normals inwards just to make the insight for the window, and just repeating the process on the bottom side as well. Again, just a bevel wider than the window, Extrude along normals, cut down the middle, bevel, then extrude along normals again. So then looking around, applying the weighted normals just to see how it looks. Seeing that there's some shadding issues because of the one pixel gaps here, I'm just going to select all of these edges, and I'm just going to make sure that I bevel all of these together. I bevel them together just to make sure we get the same width on them. So I get Vermin I select all the edges. I just do quite a sharp bevel. So looking at the topology here, seeing that there's some stretching here, what I can see is we're creating a triangle across to the right. So this is better solved by just cutting these across to each other and then making two loop cuts on the outside to cut inwards. So first of all, just going to remove all of these cuts in between and then just reconstruct them by linking the corners to each other. This is just a process I'm going to repeat a few times. So we're just doing this for all the edges that link So you're not sure why knife tool is messing me around here, so just going to do a cut here and just delete the unnecessary geometry. So it keeps cutting this spilt to the left and check the settings and couldn't see why it did that. So it just kept deleting the unnecessary geometry. So then I'll add two cuts on the side here in line with the corners. And we'll just do this on the other side as well. Then we'll have to construct these corners of the knife to outwards to those, just making sure the other sides done as well, because we don't want these triangles here. So just bridging these together using knife. And then just confirming we did this on all sides. Then cutting these outwards to the new loop cuts we made on the pillar on the side. And again, having some weird geometry ses with knife tool. But just looking to fix those. Seeing that I can't just get it to play along on this one mesh, I'm just going to delete the extra faces here. Just try and apply all transforms and then just deleting the geometry on the side since it's still doing it. This is what we're looking for. We just want to be able to make a loop cut all the way through. You can only loop cut through quads, it is always a good thing to just confirm with the quad tool if you can actually just cut through. Just making sure we're getting all the sites here. And once these sides are cut, just making sure the geometry is again erased, that's made on the side here. And then just this last top edge, as well. So just double checking with a loop cut that we can cut through these, meaning that everything down that line is now pools or quads. You can see when we go down here, we have this triangle in our way. Experimenting with the best way to get rid of the striangle, what I do is I add a line on the outside that then makes the striangle a quad that then makes us be able to cut through it. Then just moving this line into a better position and then collapsing the corners into the actual line around as well. But seeing on the sides that there's some leftover geometry that didn't clean up nicely when I deleted the entire line, I just go through and clean those up quick. I just make sure to merge all of these into a triangle close to the corner and just delete any unnecessary geometry that's adding shading to these quarters. Just repeating the same on the top, and then we'll have to repeat the same on the other side as well. So we're still getting some funny shading here, and subdivision is still freaking out because the corners aren't supported enough, and the pillars on the side are too long to support these. So just doing a test with these loop cuts to see if the corner will be held better if we do it this way. So seeing what needs to be done, I'm just going to select this line here and just delete it because there's a better way to do it. So we're just going to delete these edges here and going to have to reconstruct the geometry on these edges as well. So just removing them from all the sides. What will work a lot better is to do a cross cut here to support these edges on all corners. So I'm adding loop cuts on the side of the pillars that match the corners sides. This we can then link across straight rather than having that triangle as that triangles creating quite strange shading on the outside. So we're just going to link across like this. So this will just create a nicer outlay on the outside. And we're just going to repeat this for the top I just using a bevel to get those lines equidistant from each other. Then just linking these corners to all directions just the same for the other side. I tested the loop cut, but obviously this loop cut won't work because the corner is still creating an engon on the inside. I just solving this engon this on the other side as well. So with this cut, it'll go through, but we don't want this top part. We just want to make a triangle on the corner, but a tighter triangle than we had previous. So we'll just merge the middle line down and just do the same on the other side before we create the top loop cut to support. So we'll then create side and top loop cuts just to test. And because it'll break if we do that before we do this bottom part, we're just going to link the bottom part the same as we did the top down. Also just the end putting this line through, then linking it to the top and just confirming that everything is correct by being able to loop cut through it. So then just adding the support loop cut, merging this in, doing this on all sides. And now just confirming that this looks the same as the top. These corners do need some more beveling, so going to add another line here and pull it into a cylinder here just to get the shading better, just quickly testing with a subdivision surface to see if that now does what I wanted to do. It's still stretching quite a bit around this corner. So I'm just going to solve this triangle here. Subdivision doesn't really like engons because it doesn't know what to do with. So it's always better just to solve it a bit. So here I'm just moving all of these lines inwards and just testing with a few different things, seeing if I can bevel this line to give us more support. But before we do that, we just need some more following the line on this side as well. So we're just going to follow the line closely with this outside support loop here. And, of course, repeat the same on the other side. And just on the bottom here as well. Just slightly pulling them away and just manually moving these out. These could have been solved with a bit of a wider bevel when we were first doing this, but we're too conservative, so we're having to manually move some things now. So, it's going to do the same with these corners. Then this inside shape isn't going to fit because the corners on our round, so we're just going to move this inside shape closer as well. Just making sure that that now fits the curve on top. Just making sure that it feels like it belongs there rather than having a straight in a curve surface. Moving the last few corners around. And then just making sure the front and back faces do align by using wire frame to look all the way through the model and just see if the vertex is lined up. So we're checking with support loops. So we're going to add these two support loops here in the middle and just going to pull these up, doing the same as we did at the top, creating the triangle closer to the corner. This will just give us better control. So because we moved it on the one side, it won't happen on the mirror side. So what we're going to do here is we're going to merge one side, then go to the opposite side here, and then just do the same on the other side as well. So here just doing the same on the mirror side. Then just at the top and on the back side of this thing we have to do it as well. Unfortunately, any fix we make to any corner here will need to be applied to all corners because they were all created the same, so the fix will apply the same to all of them. The only unique corners will be the four on the outside. Here just moving some things around as well, and just making sure that these triangles line up with these corners to make sure that they're shading looks correct now. And the same on the other side. So confirm me with these loop cuts that they go all the way through. Doing a quick inspection on all the corners. So not needing this top line right now is just because there are still some things that need to be merged. And just checking if I can actually use this outside line here. So what we're going to do is we're going to select this whole outside line. And if we bevel this by one, it'll sharpen the edge of this corner quite a lot. So the inside will be sharpened with a edge loop down the middle. But we just want to give this edge a better place to sit in and relax. So we're just going to have to select all these orders. Unfortunately, we can't select these with double click because there are triangles on the corners. So what we're going to do is just select these manually quick. And then just also making sure that all of these bottom triangles are connected. I see that I forgot some here. So then just selecting these edges again, making sure to go all the way around. If we did make a bevel here that we forgot to link one, we can reconstruct it, but we'd prefer not to do that. It might cause shading issues that we're not ready to fix, so I'd rather just make sure I select all of them the first time. Just going around this side and then the mirror side as well. We're going to bevel these all at the same time as well to keep the same width. We're going to select the three windows, frames this side and the other side just to be safe. So be careful for not selecting the triangle in the corners because we don't want to bevel that. If we bevel that, we'll have a lot of end guns on the side. A good way to also check if we've selected everything is going into wireframe mode and just seeing if the curves make sense. So there we just do a bevel and just add one segment. Then on the inside of this curve, we're going to support it with just an edge loop in the inside. This middle object we're also going to support by just adding a loop cut down the middle and using a bevel on this outside frame just to get closer to the edges, and then just subording the bottom windows frames as. Just checking if everything's correct. We're going to make these gray because they're going to be replaced. We're going to do and apply all transforms, and we're then going to mirror this across. Two, we can apply the mirror modifier because it is how we want it. To checking that the windows fit on both sides. We're then just going to move this to the high. We're going to do a subdivision by two. Do a shade smooth and just apply the correct material here. For these corners, because we want them quite round, we're going to add a loop cut quite far from these edges just to get a nice smooth rounding on them. We're just going to have to repeat this in all the corners. Now we can add this top loop back here and then just pull these closer to the edge as well. We're also still using the mirror modifier, so we're only going to have to do this on one side. So here I just get a little closer to the edge as well and then just also make sure that these triangles are linked. And with this middle shape, it went a bit gooey. So we're just going to add loop cuts on these sides and then down the middle. You can immediately see that that just brings the H closer and just makes it fit in that shape more. Using wireframe, I'm also just going to add a bevel loop down the middle that gets close to both sides to just add some support there. Not like that. So here it's going to now add that again. Just make sure it doesn't freak out this time. So just going to bevel that. And now we have quite a solid looking frame. Just going to make sure that these middle four corners are also supported on all ends. So again, doing the same, pulling them quite far away from the corner just to keep that rounding. So checking the inside and the outside curves just to make sure that we didn't miss a triangle somewhere and they don't bevel through. It's always good to just have a sanity check to make sure that the fix is going right both sides. So then once we're happy with these corners, we're just going to double check them quick. Yes. Then when we look at these pillars on the side, we can see they're quite gooey as well. Just going to compare this to the low polyquq. So to do some other fixes here, we're just going to apply the mirror modifier again just to make sure we have the same measure on both sides and move the windows into space here. Then these top pillars have gotten quite soft. We haven't added edge loops to these yet. So we're just going to support this whole top part by adding some edge loops all the way to the top of the pillars. So we'll just add on close to the edge, and then just add a cross down the middle. And then just the same for the bottom side as well. We're also just going to sharpen these on the sides just to make sure that they're a bit sharper. Now, that part looks better. The next part we're going to tackle is we're having the same kind of stretch on this inside here. So we're getting quite a pinch in this corner. So we're going to delete the hi poly of that version and reveal the low. Then on the low, we're just going to do apply all transforms, and then we can move this out the way. So why we're having that issue is because we're having a one sharp corner here. So we'd rather prefer to bevel this corner here. We're going to bevel this by a little bit to make this a sharp corner. So we'll do a two bevel perhaps, just to get a nice rounding on these corners. Then for the edge on the outside here, we're going to merge these vertices across over here and to the top. Then the same on the other side. Now that we've done this on the other side, we can just see if we can add a support loop down the middle here. We won't be able to add the support loop because there is a triangle down the middle. So we're just going to reconstruct this like this and we're just going to pull this triangle to the outside. We're then going to apply a weighted normals and see if it looks smooth. We're going to apply a loop cut on both sides of this inside curve, as well as this inside face here, and then on the door as well, just to get this sharpness back. We're going to cut this across now since we've beveled these corners, this face now has an on in its face. We're going to do a test of subdivisions to and see that there's quite a big problem on this corner here. These two triangles are fighting with each other here. So just looking at what will fix this. So you're stating with the inside curve here. And seeing if maybe let's reconstruct this outside over here, so constructing that all the way across. So this size differs now because I merge the vertex up. But the better solution for this would just be to mirror these across. So just evaluating the issue. Deciding to then mirror it across, I had to use the knife tool to cut down the middle, scale this to zero. Delete these faces. The backface didn't cut because there was an end going in the way. Di is going to cut that across manually, scale this to zero, move it across and then delete this backface over here. We then going to scale this to zero and just apply mirror modifier. Showing that in edit mode, we can see that these edges have gone too far. We'll just bring these loses so that they weld. Now we can evaluate this corner on one side and it'll mirror across to the other side. So doing the triangle all the way through and then just moving this into place gives us better geometry on this corner. So now the subdivision keeps this corner well. So we'll just add more supporting loop cuts around these edges. So now that we've tested, we can snap this to zero. And we're just going to add some loop cuts here to soften some of the edges. So we'll start with this outside edge. And then we're going to just look around what else needs to be softened. And then we're going to so it's just soften this inside edge. So I'll pull this to the inside. So that takes away that stretch that we have on the outside over there. We're then going to duplicate this to high set two named this underscore high, as well as any other duplicate parts you've done before. Then we're going to apply the texture set to high material. We're then going to apply subdivision surface by two going to hide the low poly. Then we're just going to move this away so we can tackle this on its own. So we're going to sharpen these edges over here, make sure the box keeps its shape, and we're just going to sharpen these corners on top as well. And then make sure the bottom keeps well, and the door should also keep shape. We're going to shade smooth and confirm that there's no stretching on these corners. So there doesn't seem to now be any stretching and these corners are a lot nicer round than previously. So then going to apply that modifier and we're going to zero this mesh and unhide the low poly to confirm that they're in the same position. So that part does look better now. The next part we're going to tackle is up here. Here we've created a hole because we're using backface culling in our game engines, seeing through this hole will make this back part disappear. What want to do with this part is just delete this high poly, reveal the low. We want to hide this gap a bit here. We're going to close up this gap over here. We're still going to keep some damage, but we're just going to close up this gap So we'll just do something like this, and then this inside face we can push up. And this face these edges we can just push down. So we can just do a little bit of damage like this. We can then apply the weighted normals modifier, apply all. Then duplicate this to high set two, call it high. And then we're going to apply subdivision by two and just make sure that its correct material is applied. Well as just doing apply all transforms, pulling it away to look at it on its own, do a sub shade smooth. Then we're just going to reinforce its front and back edges over here. We want to sculpt in front of this so we're just going to add some lines to the front of it. Something like that should look correct. We're going to then snap that back to zero. Reveal the low poly to make sure they still match. They do seem to. We're then going to apply all transforms. We're going to do the same with the side panels. Let's keep these live for now. Let's not apply them yet. Let's just apply them when we're happy with them. Applying them now makes them a bit harder to edit later, so we'll just keep them live for now. The next thing I want to look at is just this phone is a way too sharp bevel on this back here. We sharpened this in the low poly to make it show better than the high poly. So what we're going to do is we're just going to unsharpen this edge. So we'll just delete the high poly and then just fix this in the low. So I'll just let these outside edges and just use an edge slide to pull these further apart. I'll just do this for all four of them. Not touching these inside edges because that's connected to the inside of the phone, which needs to stay as soft as it is. So being happy with that, I'm then just going to move this to high, apply the right material. Then just move this away to do a quick check with division two. Is going to keep an eye out for any stretching here, make sure everything looks fine and all the edges are behaving well. So you're saying it's fine. And then just going to move this to zero, compare that to the low poly. So they do match quite well. Then the next part is this little connect on the side. Just doing some scale tests, seeing what feels good. We can see that it's about half the size of the head over here. Do scale this down a little bit. Move this back into position. Move this closer to the cable, and then just change the angle a little bit just so that the cable doesn't need to go out so far. So then this inside where the cable connects will be too small or too big, so we're just going to select all of these edges on the inside up by two to select just the inside edges, and we're just going to align this up with a cable and with the bottom of the body. Then just going to increase this curvature around the side over here. Something like that looks good, refining the curve on the outside because it doesn't need to be so round anymore. Then we'll select the low poly cable and just move this into position manually. We just want to make the cable look like it's not coming into skew here. Then just want to apply a weighted normal modifier to that. Then back to the connector outtp, there is a strange pinch on this corner when we subdivide. We're going to move this to the hi poly just to test testing to see if the smoothing works over here, but it doesn't pulling these inside faces in doesn't really solve that pinch either. I was just doing some experiments in the subdivision applied just to see what will work here. So being doing it down the middle makes too sharp. So going back to the low poly, seeing as this is clearly a mesh issue. We're just going to add some more supporting ops here. So just doing some more tests to see what will take the shading away here. So making the circle a bit smaller to see that that makes the shading a bit better, but the mesh is still pinching quite a lot. So ideally, we want to get rid of this triangle over here. So we're just going to delete these so that the poles come in, but we're just going to do that in a bit of a better way. You're trying to select the outside edge and just bevel that. Doesn't really work. So we're just going to delete these lines as they don't really contribute to the front a lot and these bottom lines going out. They don't contribute to the bottom of the shape. So it's just a factor of having too many polys that were unnecessary at the bottom. So once we take those out, we can see that we actually have a nice smooth shape over here. So then we'll just do the same for the cables. We'll just duplicate that to the high poly group, apply subdivision two, just to make sure that that still has its high poly correct now with its new shape as well. Then the other thing that was strange over here was this part was too big. So we're going to delete the hi poly going to go into the lone. We're then going to pull this down because the reference this part is quite low. So we're just going to pull this part down. So we're going to pull this part to about here, go to side view and just correct that. We're going to make it a little longer to hold the phone better. So we're just going to compare if that looks correct. And that does look quite a bit better. These side wings can also be smaller, we're just going to select these and just make them smaller. And then because we've made changes, we'll apply weighted normals and just make sure that all of the edges have kept their sharpness. So something like that to keep those edges sharp. Going to apply, duplicate this button. Going to duplicate this to high set two. We're going to hide the low and to name this high and subdivide by two, applying the shade smooth and just making sure that these edges are pulled in close enough. That'll work. You supply the correct material and unhide the load to see how close they are. They are currently close enough. So that solves the phone clip problem over here. Then another thing I noticed was also that this roof is quite soft and has lost a bit of its metal feel with the sharp bevels. So starting out, is going to do some tests with some bevels. So it's going to add some more sharper bevels or the corners. So keeping the weighted normals modifier up light because the low poly needs to look good as well, and just adding some cuts here. So I'm not super happy with how these corners look, so I'm just going to remove these bevels here. I'm happy with how the tops look, but I'm not too satisfied with these corners over here. Then for this top, I'm just going to select these two faces up top and just scale them down to get a sharp corner over here and then just support this pipe with more bevels. Then on the mapping with the low poly, I'm going to duplicate this to the high poly subdivision two, and the right material. Now I'll have to support these edges with these loops we deleted in the low poly because these edges need more support. And then I'm just going to add more loop cuts to the top, as well, just to get the shape more in line with the low poly, but quite smooth. Next we're going to do is this slot feels quite wide, and there's quite a bit of stretching problems around here as well. We're going to do the modeling changes first and then fix that stretching quick. We're just going to delete those two pieces. They're going to go to the low. This will be easy enough to move in wire frame. We're just going to grab this side, move it in one axis and just grab this front nose that feels a bit long. Just to shape it a bit more appropriately to what the Pin cards actual width is. So something like that feels better. It's just not as wide as previous. We can even do a little more than that. More along the lines of that. It feels a bit more correct. Then the other change I was looking at was for these buttons. We need to first duplicate this, take this to high. For the high vision part of this paddle, I'm just going to do a temporary piece here, apply the right material. There's going to be quite a lot of stretching, but we're planning to fix that later. I just need the reference for this part right now. I'm going to apply the high to this, do a subdivision by two. We're seeing some stretching around the corners. To is going to solidify all the edges. Add some cuts through here. Then just pull back that stretch on the back here. Make sure that this edge is well supported on this side. Also just making sure that the coin slot is solid at the bottom. We'll add two loop cuts for this cod It's got a long face. And then just add one on the inside of this outside curve as well. So just looking around and confirming that there's no stretching and then just comparing to the low poly as well. And for these bottom buttons, they started to look quite cartoony with this bevel, so we're just going to go back to the low and we're just going to remove this outer rim we made. So it's going to delete the outside buttons. So we're going to actually separate these away, give them gray color as they are going to be replaced and we're going to do the same with the three buttons on this side. We'll need these for the arrastal so we don't want to delete them. I want to set the origin to the middle of these two buttons over here. Not that wrong one. Set origin to geometry. Then we're going to make this inside bowl less. Just selecting these lines across. You're going to dissolve those lines. And we're going to pull these faces out a slight bit. We also want to apply the weighted normals modifier. And we want to soften this outside edge as well. That just gives them a slight gradient on the inside, but not a lip over here. Then we just want to do the same for the stop button. And then just pull these faces out as well and apply weighted normals. And let's sharpen this edge on the outside. So something like that, feels a bit better, feels more metal like. We're then going to do is we're going to array across to this side. We're going to do this by four. It's usually best to check the last one's position as that'll give you the best indication of where these go. Then we can select the gray buttons over here and just delete those. For the bottom ones, we're going to do an array as well. We're going to cross this way by four, we're just going to do an array again. And then adjust the bottom array. So zero to that side. Going to go down and forward a slight bit. So we just want to line these up with the buttons. An array by four. So now those buttons fit back to where they were. So just for modifiability sake, we're just going to duplicate these to high set two. We're going to keep the arrays. We're just going to hide low. We're going to take away the weight to normals, subdivide by two. And then we're going to shade smooth and apply the texture set to here and just check that these buttons still look the same. So we've also got the array now, and we can just edit the first button. So we'll just make the edges sharper and just call this high and we'll just repeat the same process for the bottom buttons. Just call them high, assign correct material, subdivide by two and remove the weight to normals. I was hiding the load to see better, then revealing the load to see if they are close enough. They seem to be. Checking them for any stretching errors, making sure that they look better now. These do feel more solid and they don't seem to have shading issues. Then on the top here, I also want to add some interest. So currently, we just have this one line on the outside here. But looking at the reference again, we have a double frame here. So we have this metal piece over here. Then we have this rubber frame on the inside, and we have a slight kind of strange slant in here. So I want to try replicate this a bit closer. So to do that, we're just going to delete the high poly vision, and most likely we're going to delete the low poly as well. But to start with, we're just going to add a cube. De scale this to where the previous vision was. Just match this on all sides. Most of all sides, we can then also just move it back into place and just make sure it matches the depth of the inside one as well. We're going to pull this off to the side to just work it over here as it's easy to move back. We're going to do an inset for the outside metal barrier. And then we're going to duplicate this by three times. It might actually be easier for this inside to separate the selection and then just reconstruct this outside border. Then reconstruct the border, we duplicate it out as well just to have an outside edge on it. G to move this in a bit to just give it that machine line. Inside that again for where the sign will need to be and just move the signs inside away. Reconstruct the inside of this edge. Here we can see that the outside is straight, but the inside makes a slight fall off. Just not have that fall off go all the way through, we're going to add an inside line here and a little crevice for where the sign needs to go in. Then we're going to select these top and bottom edges over here. But before we do that, just the back needs to be filled. So we're just going to select the back faces and just bridge these across. And we're gonna move to the front faces, selecting the top and the bottom and scaling these up to create that slant on the outside. Well, then also going to move the sine line a little bit forward just to have that layer to the face, not have that metal border so thick on the inside. So just pushing this whole thing and its bevel a bit forward. So we can also see that between the sign on the sides here, there's no machine line, so we'll add that now. But just to give us some better reference, we going to put the sin in place into the groove where it needs to be. We're just going to create bevels around where the metal pillars are just to give us a solid bouncing point for where the curve shouldn't go. We're going to do this on all sides. And just create another edge loop so that we have a soft fall off to the stopping point. Then they're going to pull the sign out and just do a bevel by seven. And then just seeing that the loop ca didn't pull through to the one side, just going to redo that and just redo the bevel quick. That looks better. So now what we can do is the outside edge we can just select and scale to zero and just move this into the line on the sides. So just confirming that there's now a soft fall off into the actual lines on the side. Apply auto smooth and apply weighted normals. Then we're going start with this machine line on the edges. So testing a bevel, it doesn't really look good. So I'd prefer to separate these two parts. So we're then going to make a line over here and scale this to zero so that we have a straight line just to get this little edge over here. So we're going to pull this part out? And we're just going to connect these lines all the way through, just making them straight rather than the 45 they're making to the corners now. Do we need to go on both sides, go all the way around so that it'll allow us to delete this corner? We're just going to delete half it as we're going to make a few changes, and we just want to use the mirror modifier to save us time. Then we're going to delete the triangles on the sides and just line these up a bit better with 11. 10 Sculpting Damages: In Part ten, we're just going to start the sculpting, so we're just going to consult the reference to see which parts we need to export. We'll only export the parts needed, as we don't need to export everything in magazine brush heavier than it needs to be. We're going to start by just making sure all the modifiers are uplide down as we are moving outside of the blender and to Zbrush, so we can't keep these modifiers in. In Zbrush, we're also just to add a little bit of damage to all the parts. We're not looking to go overboard, not looking to move anything out of place. We're just looking to add some slight damages, create some dents in some parts and just bend the middle where it makes sense. So I just doing a double check that all the modifiers are applied and all the measures are correct. Well then going to start by selecting all of the soft metals over here. I'm just going to export this as one group. Let me just name this once. And once that's exported, we can look at the internals to see what we want to export over there. So for the internals, we're also, again, just going to take all the soft metal parts, make sure all the modifiers are apli down. I go to consult the reference again to see where the damage would be here. There's very minute damage here, nothing too crazy, something we can bring out mostly in the texture. But we'll take all of these parts with just in case we want to do some big plastic damage or some interesting metal damage. The most important parts we would need to export is the inside shelf area and the bottom power box area to get the reference for where those dans need to be behind the bolts. So we'll just make sure to take the bolts from the other group along with the set on the inside as they'll be needed for reference for the sculpt. So we won't do any sculpting on the face, the phone, or this little metal piece at the bottom, because it doesn't feel very necessary to do that. So I want to have all those internal objects selected? We're just going to export that again as the second group. This is a recording test. Testing the recording. A Now, we're just going to apply gray material to see a bit better. And we're just going to do a final check to see if the other part imports correctly as well. Confirming that that did import correctly, we're just going to create a new scene just using the cylinder. And then we're going to go to the Subtools menu. We're going to import the first part, then go to the subtols menu and then add a tool for the internals here as well. Now that that's done, we have both parts. We have the exterior and interior as their own separate parts. Now we can start dynaming these separately. We're also then going to run the split parts operation just to make sure we have separate parts for all of the little parts that came with the internals and externals. Does this just give us more minute control of each other parts. So when you select a part, we can also isolate you clicking this button on the bottom right. Then we go to geometry, we can just see what the geometry looks like and then use a dynamesh at a resolution of 1,500 plus just to make sure that we have enough resolution to sculpt with. Now that we have our parts separated, we can start with the sculpting. We're going to do this by using a trim dynamic brush with a square alpha and a lower focal shift. As we only want very soft and minimal amount of sculpted details, focus more around the corners. We're going to go back to the reference just to see what kind of damage we have here, and we can see that it's kind of just slight bit of damage on the corners and then trailing off a little bit to the edges. So as we go, you can see the trimodynamic brush, it'll just sharpen off this corner, just giving it that hit metal feel as if it was bent into this corner on its own. Using a very light roughness, as we really don't want to go overboard and make this metal feel damaged or really broken. This is just to give it some manufacturing quality to it. We're also going to smooth out any face pulling we're getting in this inside. And we're just going to make sure that we also sculpt this top edge as we trail off here as well. Just breaking these pure three d lines just to make sure that we get a better silhouette from the sculpting. We're then just going to repeat this in all the sides and just make sure the whole thing looks the same. An So moving on to the next part. We're also again going to use the trim dynamic brush for the square alpha and just start sculpting into these side metal pieces. We're assuming that these are sort of the same metal, so we're just going to do the same we did on the top on these sides, only mostly focusing around the corners and sculpting the long edges. Just doing this first edge, we can see that we're just chipping into these corners again slightly more heavily as these are long shapes, and we just want to break them up more interestingly. So to start with just gonna do a little cap and then just drag that into the long pieces as well. So it's just going to be a piece of repeating what we did on the top part. So we're just going to do that now and just make sure the whole thing looks the same as well. Do we're done with that part, we can then just use the copy to duplicate over to the other side. This will save time and just allow us to get the same quality on the other side and just add small changes for variation. So we're just going to make sure that this is moved into the exact place that the other one is before deleting the other one. Confirming on all sides, it's the same. And then just deleting the other part Now that that parts deleted, we're going to add some small changes on this side to not make it mirrored, but just to have some interest here as well without doing too much work. Oh For these bolts on the shelf to get this indent at the back, we're just going to use the move tool and move it back ever so slightly as if the metal is pushed down by the bolt being screwed in very harshly. We're just going to do it to a very slight amount, and then just repeat that on the other side. After this, we're then just going to add some metal damage to this and then also to the power box at the bottom, just to finish off this interior. Now that the sculpting is done, our mess is quite heavy around 60 million poles. This one handle very well in other softwares, so we'll optimize this by 80%, meaning it'll only have 20% of the original polycunt left. We're just going over to decimation master, and we're just going to say decimate all. Let's just make sure that we can specify a percentage of what we want to keep. Then we'll also make sure that the detail all stays as obviously we don't want to lose any detail when we decimate over here. We're just going to delete the unnecessary bolts on the side here as well. As we don't need to decimate these, we just needed these for reference. Just making sure that all of the bolts are deleted. Just doing a final cleanup before decimation. And we're just going to decimate all after the bolts are deleted. This will take quite a while as it analyzed all the measures. Optimizing it this way also makes it much easier to back in other software as it won't have to reimport this heavy mesh. So we'll then just after we've decimated, just look at all the meses. You can do this by using Shift F or just checking the wireframe of them. Wet wrap it with other decimation looks. We're then just going to export this out as the high poly. I would say save that. We're then also going to open it in Bama set just as a final check and it'll also be the software where we are going to bake the maps. So it is always good to check in that as well. Also just making sure to save the tool from zebras, as well as the optimized version just to make sure we have something to go back on over here. Now in marmoset, we're just going to import the high poly. It looks to have imported fine without any issues, but we'll just do a thorough check just to make sure that all the edge damage pulled through and that there are no strange pools that are pulling or any weird shading issues over here. Confirming the mesh legs correct, we can move on to the next pt. 12. 11 Uv Unwrapping And Baking Our Phone Booth: In pot 11, we're going to be doing the UVs, as well as then the baking at the end of this chapter. For the UVs, there's going to be quite a few time lapses, as the models at this point are two different. So it's just going to be a general discussion of the steps I'm taking and how I'm thinking about things rather than showing how exactly to do it. Just making sure that I separate the high and low poly just correctly, just to put the high into reference as we won't really need it at this point. We'll have to work with it again when we bake, but we won't need it at this point. So I'll start by just hiding everything and then just going one by one and doing each mesh. Now, I'm just looking for a good place to start just seeing what the meshes are. So with the square can do that later. The bolt will be garden easy place to start as they are mostly just unwrap, but there is still a part that we gain just optimize a little bit on them. Before we UV them, I'll just delete some of these lines on the inside as well. This is just a lineup step that it's spotted during the UV, so might as well do it quickly. They're just using rowbpace to just undo these lines. What we're generally going to look for with this final just slight cleaner pass is just to find where the seams for these models can go. Seeing if we have clear lines to mark them and so on. There'll be a few things that will just shift around in the low poly just to make sure that we're happy with it's also just a slight optimization pass just making sure that nothing got away from us again. This is a continuous step we'll do just to make sure that our performance and our polycunts don't go absolutely insane and that the low poly is easier to work with. Seeing as the high polyro our sculpt isn't really affecting the shape. We don't have to do anything too specific with the high poly from there. So just applying this lessening change to all of the screws, making sure to get all of them. With the step, what we're also looking for is to remove the lines that make absolutely no difference to the measures themselves. The brackets the brackets themselves are fine, but these interior screws will also need to be lessened it's the same as the top. I'll just select the same lines back swatch them as well. Then just repeat the step all over since we've broken the instance when we went to hypo For these squares, they're mostly fine. There's not really optimizations we can do here, and the seems will be fine for the UV. Just checking all corners just to confirm that there's no mesh issues or anything like that. So for the roof, we're also just going to make sure that everything's quads, everything's fine. There are really many lines we can merge here, but we can maybe lessen this curve on this side. So we'll just delete these two lines. We're just looking to if we delete the lines that makes no difference to the mesh in general. We're not looking to change any shading so as the high polyosal back to the shading we have active. It's just there are some polys that make absolutely no difference, and was any good to use for the subdivision surface. I'm happy with the roof. I'll just collapse all the modifiers down. Now, getting to these sites. What we're gonna do is the same as we've done. Every time with them is we're just going to delete one of the sites. And then just apply the mirror modifier over for this fix, we're just going to make sure that all of these quad supporting lines we use to make the highly off the subdivision surface bake better. We're just going to merge these all down to triangles. We remove these triangles at an earlier stage, but now we can put these back as this is now the low polyen it doesn't need to be subdivided, whereas in the subdivision previously, these were the triangles that was causing us issues. So this is just an optimization, just making sure we don't have 20 to 30 polys per corner and just making sure that we merge the line down exactly where it makes no difference. We'll have to just do this on all corners, of course, but at least we only have to do it on one side because we're going to mirror across. These slight tweaks will be the last modeling changes, as once we start Uving, making any modeling changes will be quite difficult. So it's always better to confirm at this stage that everything is exactly how you would like it and that all optimizations are done. Generally for optimizations, just using the collapsed vertices works quite well. You can also combine a line and then just delete the leftover line, which works in some cases, but for corners like this, merging the center is a bit more effective. Than just doing a check to see if everything's fine, looking for any more corners to do. Iselecting vertices and collapsing. Now there are no mesh errors, we'll just apply the mirror and move on to the next piece. For this interior piece, we've mostly used bevels for all of the corners, so there should be no mesh issues. There's these cuts going through that might affect it, but these define the inside cuts, so those can't be removed as they'll affect shading too much. That'll be fine for texture set one. Then move into texture set two. We're just going to optimize these meshes as well quickly. I'll delete these two center lines we use for the mirror on this power box. And then every time we complete a mesh, we'll just move on T you see where these lines are being deleted, the shape moves. So we'll skip that mesh as the most optimized is going to be. For this tray here, we have to do quite a lot to make the high poly work, so we're just going to merge these down to points. Then also cleaning up this insight where we've had to apply too many support loops to make this work. There are these again using collapse as I want them to be centered. For this one, an idea could have been to just select the two sidelines and then just delete them. The problem with that is that both the top and the bottom well, the top line anchors quickly, so we'll just do that with the bottom line here we'll just merge the vertices and then just select the bottom line and delete. Just checking for any other errors. So nothing there, so we're just got this grid on top here. We're going to do otomizations. This is a mess because there's so many curves. You can't really remove anything. You can remove some in the corner, maybe here. And we'll just make sure the weighted almost is applied, that there are no shading issues. With this button, it makes a weird shading Nick up top here because of how we link them across. So it's going to move this line up just to lessen that shading error and just apply the weighted normals modifier again. So for the flap, there are quite a few unseen vertices at the back here, so we'll just merge these all together. This will, of course, most likely be different between both models. So just looking at the general steps and then applying them to your own model would be the best practice. For the face, we have done some optimization, and we spent quite a lot of time on it, but just checking if we can merge these triangles back in. It doesn't seem super feasible, and we could reduce that mesh by a lot. For the buttons, they were still in an array, so just checking their polycunt. Once happier with that, just apply the mirror. And then just doing the same with the top buttons. For the cord, it'll UV you quite easily because it was just a curve. So just checking if there's any optimizations we can do, but it does seem quite even on all sides and not too subdivided. For this little phone holder, there's not really a line that's unusable here. All of these contribute to the top curve. Then for the phone body, because we've added this piece on the side, we have quite a few vertices, quite a few edge loops running around that are necessary to hold the shape. Some of these, we'll just merge all of them into center and then just delete the lines that are left. This removes the quad line we have from beveling the corner on this extra piece on the side. We're looking for a termination for this bottom weld here. And then the face just terminating these rods as well. Every change we make, just to make sure that the shading doesn't move. As the bottom you saw the shading bounced up as well. That is something we want to avoid as that'll affect how it references to the high polymtle. So we're just going to look to be creating the triangle mergers on the flat edges as much as we can. And we're also going to look to create the largest triangles we can without any shdding errors. Usually, the best practice to start is to look at where corners are beveled and need to be supported by a large amount of vertices or edge loops. So as you can see here, this inner bevel that defines the inside of the face requires a four white bevel and then lead into a square which doesn't require anything more than a single edge loop. So we want to terminate the complex side to the simple side. That's usually the best practice for so you can remove quite a lot of edge loops on the side that weren't necessary at all to keep the shape. For the stop part, we're also going to do kind of descending triangles where we do two small triangles into a large triangle at the end. This just makes the stretching less. And we're just going to do the same on this side, large triangles on an empty surface. You see the merging in the bottom creates a shading issue because the triangle is too large and leading from a corner. So I will undo that and then just continue on to the next ones. This is doing a quick shading check, applying all modifiers, and then moving to the next part. So the phone, because it is such a smooth shape, probably needs all of its edge loops, but it's always good to just taste and see if there is something that can be removed. Be bottom parts curve is quite high poly, so it's just going to remove these without affecting the shape too much. It will affect the inside bump of this, but the high poly will back that back easily. And moving on to the little clip on the side. At the bottom here, we've added quite a complex circle because we wanted to keep it quiet at the bottom. But because there's so little seen, we can just merge all of those together. The cable blocks that from view anyway, so it doesn't really matter how that looks. For the power Box hat, we've already triangled it once up to the top. But because this stays a flat surface and we didn't add any more dents, we can just merge these together in the middle as well. We'll have to keep the cent lines. We don't want to merge the orders because there'll be a double bevel with a triangle. So we'll keep the cent lines to stabilize those vertices. Then for the power box, we're just going to see if there's any lines we can remove. It's mostly a bevel, but these lines coming to the back aren't necessary. Merging them still will keep the same amount of polycun so leaving them maybe safer. So for little flap on front, it's mostly beveled and just corners most across, so we can really optimize. For this piece, because we had to merge the cylinder in the middle, we can't really adjust anything on there. This is just a plain square, so no adjustments needed. The shells were all beveled and just circle pulled across, so they won't need any adjustments. And then the low poly sign is also probably correct because it is just a rounded cube So after all that's complete, we can just pull all the bottles together again just to make sure nothing is missing or nothing went wrong. Well, then also usually wireframe modifier just to see where everything went and how everything's looking. After that, we'll just apply a MT cap before we start with the texturing part. I just been changing the color to seeing this one error, so I just want to merge these here and there as well. And then just want to terminate this line at the bottom, as well. Terminating this line up creates quite a big difference because we're grabbing the shading from the corner. We probably didn't just end up terminating this line to the bottom now we're having a shading error, so this is the thing we want to look out for during this stage, we just want to undo that and just merger downwards. Just merging it down, just make sure that the shading from the hole on the right just flows better downwards. And once we're happy with that, we can start doing the UV tshes applying the weighted normals modified to make sure that shading is correct. And then just confirming with wire frame again. So we're going to say before we start the UVs. So for the UVs, what we're going to do is we're going to make two texts. We're going to use the checker texture at with two different colors so we can see. We use the checker pattern to make sure our text or density is correct. This means that the textures quality is the same all over the model. So how we can define this is if we create the checker texture and the UV ars are applied to it, we can confirm that all the textures have the same quality by seeing how big the squares are all of them. To do this, we'll just add a new shader and then apply the checker texture to it and then just add the UV coordinates to that, and a mapping node. We'll add the UV coordinates to the mapping node and then that's to the vector. This will just allow us to tile the checker pattern quite a bit more. And then removing the previous ill will show us the checker texture. You'll see at this point, it's squashed in the front. It's because the vis aren't correct yet. This is the kind of errors we'll be looking for during this process. So we're looking for nice squares, not rectangles, as that will mean the texture is stretched. So for the UV, what we're going to do is we're going to cut lines to where the seams should be so that the mesh can unfold into flat surfaces. You'll see we will mark the seams on the top and the bottom and then just do a simple unwrap. This will mean that all the edges will unwrap from that point and then just lay flat on the UV. Confirming the texture is correct, just changing a few things around. Seeing that these are still going skew because of the corner not being cut, I'll just cut on both corners to make sure that these measures are laying flat. I'll just do the same for the inside as well just to cut that piece that it doesn't become too long because if it comes too long, you have to scatter it too little and it won't fit inside the UV space. So just straighten these inside faces. We'll make one straightened square, then use the right square bracket to select all and then just say a follow active quads. So to do the same here. We'll scale this down to zero and then on the sides, we'll select it and then select inverse and then just follow active quads. We want these lines to be straight so that we can UV them better. It'll just be easier to not have a lot of squares in the UV space as it's harder to fill a model than it is to position a line in the UV texture. Especially for something like this where we've got so many long different measures. We just want to keep everything straight because the UVs will be quite tightly packed. As I'm scaling these down as well, you'll see I scale them in their width as well to make sure we have squares. After confirming that measure is correct, I'll just move it off to the side. This is just easier to grab later when we're selecting all of the measures. Then we can just go gather them outside of you. For this plate, I'll also make a slight extrusion just so we have a backface for it as well, and then just UV both sides. For the square up top, I'll just use smart UV project as it's just easier. For the bolts, you can just do a simple unwrap because they don't have a backface and they just unwrap fully, not a problem. The checker is a bit smaller than them to see, so I'll just increase that to 24, so we have a smaller grid to see easier on smaller objects. Again, for the square just using a smart map or a smart UV convert. For the brackets, we'll unfold all of the screws. We'll just again move everything off to the side that we're busy doing. Then for the brackets, we'll cut the sides so that the top and bottom can lay flat and the edges can make a rim Then, of course, just repeating this to all of the objects. So you see that they now unfold, but there is still one of the seams that goes with the bottom. It's a very scene piece, so we can try to improve that. Here I'm just doing a t to see if we can straighten this whole piece as well, but it does break because it has a curved edge. So for now, that should be fine. We're just going to move it off to the side. So for these two squares, we're just going to do a smart UV project as well. At this point, don't worry too much about how big the squares are. That's something that we'll do at the end because it is quite a process to make sure everything's the same and it doesn't work very well if you don't have reference of everything at once. So for these sides, I'm just looking for easy cut. What I think I'm going to do is I'm just going to cut this inside that is the most unseen part of this pillar on the side. And it sect this on all of the pillars before I mark them. When I mark them on the inside, then, you'll see that now it unfolds into a flat rectangle and then only has the little bottom piece as a flange at the bottom. For these sides, I'm going to split them down the side and on the inside to make sure that the front and back faces of these are two separate things. And then we're going to start cutting through where needed. So you'll see that the frames have splits on their own, but there are still quite a few faces touching each other. So we're just going to look for the lines to cut between these to separate these faces the most. These will be on these corners that are now folding around and can't lay flat because there's no way to stretch them out to lay them flat. So we'll just made it a select around these corners to unwrap them. We're also going to turn on live unwrapping. This means every line we make will unwrap the mesh automatically, and we don't need to keep clicking the button. This will just allow us to keep barking seams and seeing the improvements on the left hand side as we move. You'll see that the mesh is starting to become a lot more relaxed in the UVs as with every edge we mark. So we're also going to separate these rubbers on the inside as these all need to be their own UV and are going to be their own texture anyway. So we would like these to be straight. So we're just going to separate them from the outside at this point. We're also cutting through them when we make the seams, as that'll be the break in the straight that we need. This we'll just make sure that we don't need to use all of the UV space just for that one texture that runs all the way through. You'll see as we go through this process that it's just busy becoming more and more straight on the left hand side. This means that the UVs are busy just unfolding more and more. I will most likely just do this for all the corners also these long objects. These cuts and making sure that these are very straight is quite important because we don't want any seams in the middle of the poles themselves. So making them in the inside of these corners is much more valuable as it'll just give us natural seams where welds and so on would be as well. Coming to the end of this piece, there are still some U shapes here. And I see that that's from these corners on the inside of being cut. So just to cut these off of the top as well. I wasn't expecting to cut out these middle piece as well, but it does seem necessary to do that, as well. So once these are cut, you'll see that this becomes a short and long shape rather than the ut is making. We don't want any awkward shapes to take up UV space. So as you can see now, after this unwrapping, everything is straight. For these middle squares, I'm just going to do smart UV as they are squares. The smart UV just projects from six different directions and makes a UV from that. Generally, squares you can get away with, with no problem with those. For this sign for the outside, I'm just going to cut the corners Does this mean you should just select the middle line because that's the one that goes all the way around? Or the cut it just on the outside edges and on this inside face. This automatically just give me straight ibis. And for this middle piece, I'm just going to cut the line all the way through. And then just use Yrame to select this line down the middle to just cut that as well. Keeping low UV unwrap left for all of these more complex pieces is quite useful as it's not a high 100 button press thing that I have to keep doing the whole time. It just helps a bit more. I'm also then going to cut in this trough we made here. Go to cut it on two sides because this sudden drop is quite hard for the UVs to unwrap as well. I'm just going to repeat the same step at the top, as well. So those UVs all seem mostly straightened, except for some weird pieces that they do have, but those come inherently from the shape and really seen so we don't need to be too worried about those. For these square sides, I'm just going to make a seam at the bottom at the top and then see if we can cut the middle out easily. So for the middle, I'm again going to cut down the trough, but I'm going to cut it all the way around this time. So once that trough is cut out, you can see that that give you automatically straightens. Doing a quick confirm to see if all the UVs are straight and all the squares are equal. I just move that out the way again. So that'll pretty much do it for texture set one. For texture set two, we're going to do usually same texture, but we're going to change the square color to red. This will just allow us easier see which is from which UV, because the thing that we're also going to have to keep in mind is that these are the same these are not the same texture set, I mean, red will be the same texture set and blue will be the same texture set. This means that the blue squares need to be the same size as the blue squares, and the red squares need to be the same size as the red squares, that they don't need to be the same as each other. This allows us to differentiate that easier and not get confused. For this shelf, it's unwrapping a bit strange with the hole at the back, so we're just going to cut it around the edges and then just grad a loop cut through where the hole at the back is as well. So we don't want this long spindly one on the side. We just want to cut that up and make that short straight as well. See you can achieve this by just cutting both sides of the curve and making sure that face is straightened. For this back piece, it's just the squares, we're going to do a smart UV project and just move that out the way. And for the power box, we're going to hide everything else as this is a bit more of a complex shape. And we're just going to mark most of the corners. So we're taking the inside of the bevel as that's usually the flattest part of the bevel to select. Then for the inside of the door, we're just going to cut that open as well. They're going to cut this bottom bevel. Now those faces are straight, we can just apply the UV. For this cap we can do a simple unwrap, it unwraps nicely enough. It could break the roof off. It might be a bit more straight, but it is quite an easy shape. Just looking at it maybe let's cut all four corners off. I'll just lay easier on the map. It forces some extra seams because this object is going to have to have rust and saltn we want the resolution to be focused there as well. For this sign, we're going to separate it from the inside sign and the outside sign because we want to apply a decal on the inside and we want quite a high resolution to make that sign look good. For this cable, we're going to cut it straight down the middle to create a a linearly unfolded cable. But that'll be too long for the UV, and we won't have enough texture space because this cable also needs ribs. We're just going to cut it into ribbons. That'll just cut the cable shorter and just make it easier in our UVs. For this little door, we can just do a simple UV unra For this phone pod up here, we can just cut it right behind the bevel where it's the least seen and just cuts the straight from the curve at the front. We also then just cut the corners just to make sure it lays down easier. For all of these buttons and doors and things on the front that don't really have a back, unwrap usually is the easiest modifier to apply to them. We're going to do the same with the buttons. All of the buttons will just be the same. They'll unwrap the same. They'll be easy. We're also going to scale these in after. We want some higher resolution on the buttons than the rest, as we want to have quite intricate details on the buttons and some pointed dirt in the corners and so that is quite high resolution. So for something like the flat metal piece, we don't want as much resolution as we do on the buttons. As for the buttons, we'll have to on the inside of the number, have little dirt, which we won't need on the metal pieces. For the phone, we're mostly going to just cut down the machine lines just to get the largest shape we can. And for the curve, we're going to cut it the furthest away from the person. So we're going to cut it on the inside where the person won't be looking. For this inside piece here, we're just going to mark or cut the top ring that we made. I see that it is disconnected. Looking to just solve that problem quickly, I'm just going to merge these vertices in just to make this line easier to get the best course of action will be just merge these vertices up and then get a solid line to make the seam here. So now that seems marked. The upper edge is separated. Now it's going to separate the trough just to make sure that there's not too sharp edges for the YUV. And then we're going to cut the bottom line as well. So with live YUV, we can see that there is still some edges where it doesn't line up and we're just going to cut these off. We're also going to keep cutting just to get the smallest UVs and the straightest we can get it to not have any awkward shapes for the shape at the end. With these corners, we don't want to cut through to make a sliver of a V. We just want to kind of cut to have a kind of a meaty shell on the inside. If you go too thin, it takes up a lot of space and your UV and the packing normally goes around it quite strangely, and you just end up wasting a lot of UV space. One. We'll just do this for all the corners as it seems all of the corners on this object are just going to create weird shells. With that completed, for this face, we can most likely try a UVNrap, but it might pull weird because of the triangles. We're going to start by just cutting out this faces this edge needs to be separated, and the face on the inside needs to be a flat separate object. Cutting this edge a bit shorter. So you see this inside face is a little warped. So I think what's happening is the bevels of the other side are pulling at skew. So to solve that problem, we're just going to cut the upper side of the bevel and just relax the face. Starting with this outside edge, we're just going to cut it off and then just cut it into pieces to be easier to lay out. And then just for the other two holes, we're just going to cut the inside of these bevels as well. So now this face is quite flat, and that'll just make it easier to apply textures and texts and so on. We need to be quite specific with that because the text we're applying in the next step is going to be quite fine. So we need to have quite a lot of control over the UV itself. For this object on the side, we're just going to cut away from where the people can see and just cut down the middle as well. It'll make somewhat of a seam, but it is the most comfortable for this UV to lay, and it only makes one seam rather than three across the side. For this bottom piece, we've got the circle into four different pieces, so it's going to merge all of those together and then just make it one single shell. So after that, it seems that the only thing left is still this phone keypad body. So we'll unwrap that and then we'll start using you'll start packing the UVs. So again, just keep live UV active and just starting to cut into this just to separate all the shapes. The square is easy. We can just cut that the same as all the other squares we've done. For this inside face, we'll just again cut the bevels to separate the inner bevel and the face here. Call this bottom part, we can cut that off completely and then cut this face through here as well. This just separates the front of the machine. Then we'll just cut across the corners just to make smaller shells on the sides. I'll cut across to the well to not have a weird finger on the side one here. The v is still a bit sharp. I would prefer to soften it a bit, but I'll continue the process and see if that'll be necessary afterwards. The shells lay out fine, and most of the others are right on shells, so we'll just move on to packing. For this back piece, it needs to be one of the biggest ones as the grid needs to lay on that. For this exercise, I'm also using UV packmaster to pack all the shells. As you can see here, I'm going through and just scaling things to be the right size. Once you pack, you can still go back and select the things and then repack. UV pacmaster will respect the size something was before you packed it. We'll just go through and just scale everything to make sure that they're correct. So you can see that this bottom one squares are very small and they're taking up a lot of texture space. So what we'll do is we'll just select these individually and scale them down. We'll scale them to match the others as we want a uniform text of density across the entire model. So packing now, you can see that these are much more accurate to the sides, and the back and the sides are high quality, each of them. Here, we're just checking if very small things have taken a large amount. So for example, if the screws have taken 20% of the UV, that is something we'll need to fix. Now going to texture city. I see that there are two pieces we haven't tackled yet, so I'm just going to do these quickly. For this bottom one, just going to cut on the insides of the bevels and around the circle to make sure we have flats and then cutting this back part out, as well. To make sure that doesn't take up too much space in the UV and is laying flat. So for this pack, we can see that the buttons are quite large at this moment. So we'll just select all the buttons and scale these down quite a bit. We don't want to go too crazy with it, but we do want to scale these down. So one of these buttons are much larger, the card collection button. So we'll just scale that much more down and then just make sure all the buttons are uniform. We'll scale these two at appropriate size in the corner. They're going to be higher resolution, but they won't be crazy. For this face, we also want quite a bit of resolution, so we're going to scale that up more than the others. For the flat metal bits like something for the shelf, we're going to have quite lower resolution, but not unusable resolution. We can again see here that these small parts are taking up quite a large amount of YUV with how big their squares are. Sorry, how small the squares are. The smaller the squares are the higher the resolution because it can take more squares in the texture set. Anything that has very small squares, we're just going to scale up to make it have less resolution. Seeing that this part isn't done, I just apply to seams and then just scale it appropriately. So there's a little phase here, we'll just have text on it, but it won't be too complicated, so we can give that more space as well. So once I'm happy with the scale of things, I'm just going to repack again and then just see if the resolution is where I want it to be. So the pack seems good, but the buttons might have lost a bit too much resolution, so I'll just give these some resolution back again. I'll scut everything else down a little bit to make space for that as well, and then it'll just pack a bit more accurately. Just fine tuning things again, making sure that this face fits. It's better to sometimes zoom out as well just to make sure that you're not getting too lost in the little details and missing big things. I want to have more resolution on the phone booth body as well as the face. So just going to scale the outer body up a little bit as well. Then this back face that'll be completely unseen or you'll only see the bottom, but it won't have any effect on forward face in portfolio ranges, we're just going to make a bit smaller. It is lower resolution than the rest of that mesh, but it's not necessary to unseen parts as high resolution. Then this little flap is still problem. Every change we make, we want to repack to make sure that the packed measures are the correct resolution we want them to be m. What's that enable theistic what's the heuristic mode of the UV pack master. This will do an iterative pack to make sure that it finds the best way to pack all the meshes. Is making very sure that these buttons aren't too high quality and take up too much of the space as they take a little bit of screen space, but they were taking up quite a lot of texture space. After I'm happy with that, I can just confirm that both are correct and do a validate UVs with Bmaster. This will show if there's any zero edges or any overlapping faces. I get one on the sign and I just use a repack and just revalidate the UVs to confirm they're correct now. So once I validated that, I'll reveal both sets again. So for the next step, because these are separate textures, we can bake the separate and marmoset as well. So I'm going to export this. I'm export all of these as an FX to bake and Marmoset in the next. Now in Marmo set, we've just created a new scene, and we've just thrown in our low poly export. What we want to do next is we're going to drag in two parts of the high poly. We want to drag in all the parts that we've sculpted, and we want to drag in all the parts that we haven't sculpted. So what you'll need to do is you'll need to select everything you haven't sculpted and import that as a separate group as well. We're going to need this later for substance as well. So firstly, importing the sculpted hi poly. We see that it's much smaller than the model. Because of decimation master in Zebra, it needed to be a lot smaller. It'll usually be by a factor of ten, but this is very small, so it is just 100 for this one. Now that it's the same size, we can import the other pieces as well. Now, importing the unsculpted pieces. These seem to be the correct scale, so we can move on so the hipoly looks like the full machine and nothing is missing. Pick a spot where there is quite obvious sculpting just to make sure that everything worked correctly. Then what we're going to do is we're going to start a new bake project. We're going to drag the low into the low piece and the high into the high piece. We're going to confirm that we're baking at four K and that we're baking with multiple texture sets. This will make two maps rather than one. You'll then set your output maps on this drop down on the top and call it what you want to. We only want to bake the normals to the high or to the low from the high, as everything else will bake in substance. So I want to do a 64 bake. What you also can do is in your low poly, you can set the cage for the bake if there are any artifacting issues or any normals that bake onto each other. I don't seem to have had this issue here, but it is necessary in most cases to do that. What they want to do is on the textures assigned, texture set one and two. You want to drag that normal map you just baked into their normal maps and just apply them in marmoset to confirm that they're working. Then again, go to a spot where you've sculpted a lot and confirm 13. 12 Setting Up Substance Painter And Painting Height Details: In part 12, we're going to be starting the texturing. So to start this, we're just going to import our low polymodel so I'm using a preset scene for template, which you won't have, but you can use any one. I'll show you some of my settings if you do want to match it a bit closer. It's just to keep the model in line with more of the rendering we're busy doing and stuff. So it's not mandatory. It's just a look I prefer on the model. So not important just using the UE four ACS color space. And just the photo studio oh 14k skybox. That should bring it close enough to what we have here. To start this process, they want to go to bake mesh maps. We want to deselect that lass, and we want to deselect the normal on both of our texture sets as we bake this in marmoset, where they want to select the high poly, the sculpted, and the unsculpted parts. So for this part, it's also important to we're going to bake by mesh name. It's not very necessary, but I do prefer it that way. Anything you want to check with this is that all your mesh names are matching. If you click on this block here, you can see which mesh names are matching and which are not. Any ones that aren't matching for me are the glass high and glass low, or just the glass in general. And then everything else is matching. So if this isn't the case because Zbrush might have named it Subtool or so on, the easiest way to do this is to just import that high poly or so into blender, name it high, and then export it. You can also do this without matching by name. It doesn't make a difference really anyway because the high poly doesn't split that way. I'll still back AO and stuff onto the other models. If the AO does have some errors, it's easy to just manually fix it. So we'll then just bake that with super sampling 64 and also having made sure that our cage is tight enough around the model that we're not baking normals onto the sides of objects or where objects are too close to each other, that they're not baking onto each other. This process will take quite a while to bake because it is baking from a very high polymodel to a low polymodel you can obviously see the progress as it goes. If you end up seeing any artifacts or things you don't like in your maps, the easiest thing to do is to export those to Photoshop and edit them there and then just import them back at a later stage. That's just done by exporting the PNG in your photoshop and then importing it back into substance. As you can see slightly on the curvature map here on the inside on the power box, you can see some of the sculpted detail gets baked in the curvature map as well. That'll just give us some more details and make our masks easy at a later stage. Once that's baked, you can return back to painting mode and then just confirm that everything looks correct. So you can also go to your amen occlusion just to see if any bakes. We have a slight line on the right side the power Box here that I do end up fixing later in Photoshop. But it's just because the lighting is were there, and I would just like a more consent, a more consistent flow there. Here, what we're going to do then is we're going to drag in both our normal maps for both sets and just assign that to texture and to current session. For these normal maps, if you go to your texture set settings, you can just drag them into the select normal map here. I'll first drag them into the wrong place and then into the normal next. You just want to drag them into the standard normal channel, not the bend normal channel. If you do it wrong, there just won't be any normal details as you see here. After realizing my mistake, I'll just remove it from the bend normals and just assign it to the actual normals. S So here just tracking it into the normal, and now you'll see that the effects apply immediately. So on this step, just make very sure that the normal detail is carrying over from the other model as well as it can and there are no baking errors or any polys that are sticking out or any weirdness happening. Just to confirm this also, shuffle the light around a bit just to absolutely confirm, because the problem is if you have errors now, fixing those becomes harder and harder every step you go. So here's another little AO piece that I replace later in Photoshop as well, where I just draw some white over that AO and then just re import it back, as well. Yeah, now that everything looks correct, it is time to start. So just start out with the model. We're going to do some global modifiers, as I like to call it. You're just going to make a full layer and just call that global modifiers. And then the first layer you're going to apply here is a blackened layer. Oh, sorry, we're just going to create all the folds. So next we want to create a full layer and then fold that to base color. So we create a full layer just so that the folders create and they don't create into each other. So we're going to go global modifiers, that'll be all of the modifiers that affect everything on the model. Base color will be all the materials, decals will be any stickers on top. So dirt will be any dirt and grime we add afterwards. The height all folder will contain all of the height. That'll be the icons on the screen, that'll be the grid, all of that kind of thing. So this will mostly be our anchor point group. It'll also be where we start with this part of the texturing, as I like to see that as the final stage of the modeling as well. To start with, we're just going to make a color at the bottom here. We're just going to make that a slight bit darker just as the base because the white throws out quite a bit in substance. I just want to make it a bit darker. We're then just going to copy and paste this over to the other texture sets so we keep our ordering the same. I just call this base just to keep track. Naming is going to be one of the most important parts we can do here because getting lost in texture sets or hiding and unhiding 100 things gets really annoying. Then in global modifiers, what we're going to do is we're going to add a slightly dark color. So to check this, I just use the PPR validate tool that's available for free on substance source. This will just validate that I'm not going too dark with my textures and that everything is still in the PPR range of darkness. You'll see when I go too dark, it immediately becomes red. It goes yellow to red. Yellow means it's not great and red just means it's completely unacceptable. So we won't go all the way black. After that, we'll then name this the AO darken channel. This is just to add some more pop in the base color. It's using the amulet usion generator to just add a bit of darkness extra. I feel like substance is sometimes a little too light on this. This gives it a nice feeling that there's still some dirt gathering in all of the crevices. It's a little hard to see just with material, so I prefer to go to base color and then justify where it needs to be just on the base color. We'll also set this to 50 just to get a slightly softer piece. So here what we're going to do as well is we're going to instances across texture sets. This means that this will become an instant texture that will be editable on one side, but will transfer to both texture sets. As I drag it into the other texture set, you can immediately see that that's now also applying the AO. So if I adjust the values on this amulet lusion in this mask, it'll apply on the texture set one as well. So the next layer we're going to create is just called ground dirt. So three assets usually don't look very well grounded unless they become darker towards the bottom because dirt and dust gathers there. So the easiest way to do this is to just add a black mask and then add a position on that. We're also then going to instance that across to texture set one before we start editing the values as the bottom legs are all in texture set one, so it'll be easier to see that way. Inverting the global of this position will let us go from the bottom. We'll then play around the balance, and so just to get the bottom of the model feeling a little bit more grounded. Not giving it too much contrast to not have a line, but still having a slight bit of a fade going to the bottom of the model just makes it feel better. You're going to say this data is slight bit, it's just too dark. I might show up too much on texture. This layer will also be adjusted a lot through the process. It's just for a base, I always prefer to get all the global things done first as well. The next layer we're going to add is skylight. This is going to refer to the bleaching of things in the sun from the top. This is going to refer to slight white dust coming from the top. Just doing the same as the ground dirt but opposite. We're also instancing it across before we do anything with it, really. Then we're just applying a black mask with a position. So this position will start correct, but it'll be much overblown. So we're just going to pull this back. We're just looking to get the absolute most sun bearing down on it in the middle of a day, things that it will be hit. We're not looking to just add a general white across the whole model from the top. So we're quite happy with that, and we'll apply this extremely lightly, 15 25%. It's a very light layer. And this will also be edited quite a lot throughout the process. In the base, what we're also going to do is we're just going to make a general roughness so that we have a solid base for what we're starting that we don't just have a color and everything looks like plastic. So if you just apply a roughness at the bottom, we can rather make the model shiny rather than having to doll down the base color constantly. So that about does it for the global modifiers, I think, checking to see if the model feels grounded. The AO on this bottom piece is a bit dark for me. So what we're going to do is we're going to just make a mask to take the AO bottom away from the bottom. So here I spot the AO on this Power Box first just to see if that's an AO error. I say, This is the kind of thing you want to fix in Photoshop. So it was made a light line where no light would come through. That's just sometimes substance doesn't understand two models too close to each other and how they should interact. So to start off, we're going to be doing the height. So how we want to do this is we want to start with this key panel as we haven't modeled any buttons or any icons or anything onto this panel. Our panel is currently just solid and standard as it should be. Do we have a very good reference from the front here? And we just want to take note of where all the height needs to be. So the key holes at the bottom we're also going to have to do. So there's going to be a whole lot of weight painting height painting. This is going to be shown a few times at the beginning and then sped up later on when we've done it so many times that it's just rinse and repeat. This is going to be the same process over and over again. It's just the fact of for every single thing we need to do, we need to make a height layer and actually carve into the model. Just trying to move the base layer around a bit because it's in the height and it doesn't like to be excluded from all groups and be at the bottom of the stack. So here I'm just going to go ahead and tone down this. The Ao darken that we've made is too harsh on this bottom, and it feels like a bug, even though it might be physically correct, it just feels like a bug. So we're just going to create an Ao pullback group. Gonna add a white mask, and we're just going to tone that down that the Ao darken doesn't affect that at all. This is bring the color more into line with the colors we have up. So to start the height, we're just going to create a full layer. I go to call this back grid, we're going to start with the holes on the back grid. So we're looking to mimic this shape. We do have a solid metal plate behind it now, so we're not going to have the shine through that this one has. We're not going to use opacite map because we want the back to be solid. Interesting. So again, just taking note of what is height and what would just be considered as either texture or detail. So we're going to start with making the holes in this grid. So you want to just alter click on height to just select the height on its own. You want to then add a black mask, and you want to add a fill, sorry, add a paint just to mask out the back. I'm going to use a red color just so I can see better what I'm doing. Noticing we're in texture set two and not texture set one, I'm just going to transfer this over and just paste it into texture set one where it needs to be. Just going to repeat that step. See now we're actually seeing the color where it needs to be. Then again, going to set this height back a bit, name it back grid again. And we're just going to add a white mask. White mask just means we keep everything, but sorry, a black mask. It means we don't keep everything and we only keep what we mark. White mask means the opposite, we keep everything and we take away what we don't want. So to start, we're going to add a fill. On the moss, we're just going to d a full. After this paint layer. So add fill, change this to multiply so that it is only on where the paint layer at the bottom is. We're then going to look up circles. So this could work for a grid or these circle dot lines could work as well. I haven't used these too many times before. We're then going to go to planar projection just to try and project these through. So the shape seems to match the holes of the grid in the reference. Though now we just need to see if we can tie these effectively to make that same shape. Some of this immediately, I'm noticing that the repeat on these circles doesn't at all give you what I'm looking for here. We're just playing around in some settings just to see this is not the one you're going to end up using because its tiling is just not what we're expecting. But if you go to circle, circle styles the exact way we need it to. It's a bit large with the balance, but that's something that's quite easy to adjust. So we're just going to make sure that this is the entire frame at the back before we start messing with its tiling. So we can.it a little bit more and then just scale it up to fit this whole back. So we're going to tie it to not be too small. We are working with a textil density kind of thing, so we shouldn't mark the exact amount of holes that the reference has. We just need to get close to what it had. As if we go too small, we're going to start seeing a lot of artifacts and that kind of thing in our holes. So this size is about fine. What you want to do is just adjust the balance down a little bit. As in the reference, the metal between pieces is quite large. Then sitting the contrast up, just make sure that the lines around the rings are very harsh. So just using the reference to match the middle amount between each hole. So something like this feels about it, We're then going to push the height up a little bit so it's not as deep. We're going to make everything that's red now a solid black, not yet, but it is the second pass we're going to do on this piece. After the grids or holes on our lineup, we can just hide the red colour as it won't be necessary. We won't be adding color to any of the height we're painting now as that's a latest step that's not really necessary right now. I'm playing around to see if we can make these a little bit smaller. Oh. So you'll see when you apply the black color here now, it will show us how the holes are going to look. I just want to confirm that that gives a nice mesh look at the back of it. We can just go ahead and hide the color then because these layers are at the bottom, adding color to them really won't do anything either. So the next thing we're going to do now is we're going to tackle this keypad now that we've had a more simple example of how to get the height to work. These buttons are going to work the same. We're just going to use the font to actually mask out the height. We're again just going to add a fill layer. You're gonna call those keypad buttons. We're going to remove everything, make it a red colour, add some height and take it down a little bit. Definitely there. Just make sure to be in the right texture set. Texture set two is the inside pieces. Add a black mask to this. Then we're going to add a fill. Then on the right, we're going to add a paint to mask out these. It won't be necessary. We'll just add we'll add a red base color. So thinking it might help painting out the buttons, but I end up not staying with this because the mask needs to be the only painted thing, whereas if we apply this with a multiply, the buttons will be completely filled and the height won't matter. So just undoing this paint, then adding a full layer. Then on the full layer in the gray scale, just going to font, we're going to be using Korea prime for this. We do change at a later stage because the numbers look quite funny. So we're going to do the first few of this, but we're going to change the text. So obviously, you can make this any text you prefer. But I think we end up using one of the other ones later on. So we're going to drag this on, and then we're just going to match the keypads orientation after setting this to warp projection. Then we're just going to push this in so we can see the number. If you type in this text box at the bottom one, it'll also I'll change the text on the layer itself. Do you can see here we have the number one with an indent that also then just has the color that's currently assigned to this layer in it as well. Let's make sure that this war projection is the same orientation as the buttons. This will just make it easier to duplicate the numbers as we just want to at them across and down. So you're just checking the reference in what order the numbers are and how they go one, two. So I see that they go one, two across, but I'm going to start going one, four, seven because it is easier to just drag it on one axis and then later move to the second axis again. If we're adding two ones on top of each other, you'll see that the first one disappears. This is because it replaces the layer. The thing you can do to that is just set the mode on the right to linear dodge add. And then after that, if you duplicate that layer, it'll just keep the linear dodge and it'll keep adding to that layer. So for these, we're just going to add all of the buttons. Yes, it's literally just done by entering the number, moving it across, checking what's on the button. Then after the buttons, what we're going to do is we're going to add the ABCs and stuff, and we're going to do the lines on the side. We're going to speed up a few parts from here as this is a lot of tedious continuous work. So it's just easier to explain the general concept rather than explaining every button. So here you can see that the seven is quite a strange shape. I initially think it's a shading mistake because it feels cut off. But then when I apply this two here, again, just make sure it's linear Dodge ad, when I make this number two, you'll see that it does the same where it cuts off on this right hand side. So these make quite bad text buttons. I'm just trying to figure out if it's a shading mistake or not. So that being the case, we're going to change this to the Baker's font. Oh, sorry, no, the gira font. Sorry. Nos Obion Obiton looks better. Well, stay with Obiton as it's a bit more machine looking. And we're just gonna make sure to change all of the other texts to orbiton. To from uron, we're just going to speed it up. The only thing that's going to happen now is we're going to change the text, make things look a bit better, and then just make sure that everything looks fine. Also scaling all the text up uniformly a little bit, just to make sure that they fit in the buttons better as this text is a different scale than the previous one that was used. Just to confirm these do look quite a bit better than the other ones. Now that we've just changed the text or everything we've done, we can now go ahead and just finish off this keypad with everything we have. Just do make sure to name all the layers even in the fill as well as this will just allow you to much easier identify what is what later on. Do just confirm which buttons go away as the buttons on the far right hand side are arrows and not actually numbers, so just keep referring back to the reference, check where all the buttons and so on are. H. So they're all about dirt for the numbers. The only thing we still need to add is the zero in the bottom on the middle. We'll just duplicate the eight to get to that. And then the hashtag on the other side. These are just the same as the numbers, changing the test to the hashtag. If they are too big, just scale them down uniformly. U After this we're going to start doing the ABCs. We're just going to duplicate the sorry, let's see the arrows. We're going to just duplicate the hashtag so that it just stays in the same orientation. You can then live replace this with a triangle and we'll just scale this down and just make sure its width isn't as much. It's got a fat triangle and the triangles on the reference is quite skinny triangles in the width Sometimes the scale doesn't work particularly well, so when that happens, just mess with the tiling and then just say U Vap repeats zero or none. I want you per that arrow to scale it to how you want it and then duplicate this layer up. That's naming an arrow for naming sake. Sometimes the alignment also doesn't line them completely, so just always make sure that the full arrow stamp is showing and that you haven't gone too far into a button and are getting kind of a gradient on the button because it's projecting weirdly. After the side arrows are done, we can then duplicate one of these arrows and take it to the top as well. You'll see that these arrows are quite small in the button, so we just want to mimic that look as well. I also keep pressing F when I move one of these decals, as it just focuses better. It does take you quite far away from them, but it does allow you to zoom in exactly where it is just to see better. We're just going to call these top arrow one or top arrow. And then we're just going to move this interposition up here. Scale these down a bit more. They're quite small in the buttons, and you still need to have that light metal rim around them, as well. Just correcting their names. Now that those are done, we're just going to play around the height a bit just to see if we can make it a bit stronger. It's not very relevant now, but it's just a good thing to just get to look at them better. We're also then going to add an anchor point to be able to use these later. We'll do the same for the back. Every time we create a group of heights, the last thing that needs to be added is anchor point. The anchor point allows us to refer back to that height mask at a later stage with color or with dirt or anything like that. So looking at what we need still on the keypad buttons, what we're going to do is we're going to duplicate the keypad text. We're going to delete everything except one top arrow. I'd like to keep these groups separate as they'll be treated differently. But if we duplicate it and just duplicate an arrow, we copy over the work from the previous one and we can change the shape out a lot easier. The resolution isn't as high as the buttons on these sides, so you might see some stepping in these lines. If you do see stepping in these lines, it's always good to add a bit of a blur or to perhaps just follow a bit of a different orientation because the pixels are laid out in a weird way and they might not always be straight. So it might just be cutting your edge up a little bit too much. Let's having that scaling issue again, displaying around a bit with the line. This is just a scale down rectangle and then I just squashed it down to be a thin machine line. It might work better with linear projection. With planar projection, always just watch out to dart projected onto anything in the back because we know that this part has an empty back and there's nothing we can project on ti back. They're part of this texture set. It's not really an issue. It's just it can become an issue with some models. Here you see that stepping I was talking about where I need to rotate this line to be with the pixels rather than against it. So this is just one or two degrees up or down. So confirming where these lines are and where the text comes from, I'll just move these rectangles into place. And once we've done one, we can just tone the height down a bit. These aren't as deep as the top ones as these are just information text on the face and not buttons that need to be felt or so on. Also, keep rotating the skybox around just to confirm the height is to a level that you do prefer it. So just duplicating this line constantly. There's four of them that lead to text on the side here. Looking at the reference, they do come more. It's almost like the arrow points towards the line, so we're just going to move the previous ones up as well. Just in a comfortable position where we don't see that stepping as much. Other than we've done these four, we can just name them in sequence. And we can start with the text on the right hand side as well. To do this text, we're just going to duplicate one of the lines. It'll be the same for the font here as well. So let's do the ABCs on top here first. So looking at the reference, we can just see what needs to be on this panel here.'s resetting the scale to one after we did the rectangle. So for these, they're going to look very blurry when you are totlos them. We are going to use a sharpen to just make them look a bit better. So for now, we'll just input them and make sure that we're able to see them from a better way. Strong with a contrast, I end up settling with sharpen to sharpen these letters. So don't worry too much about that. Just add the letters, and then afterwards, we can add a sharpen to sharpen the edges of these. I'm also going to make these Obiton and bold. We can scale these up a little bit. It is an asset. It can't be that small too much text or density. So we can scale them up a little bit. Doesn't have to be anything crazy. It's just to make it stand out a bit more. Also make sure to name these because these are quite an initiative find if everything is named Line 12000. Then we're going to go through and copy all of the text that needs to be on these buttons. I also just want to make sure that the alignment of this text stays consistent with the middle of the text. Sometimes when you type the letters look a bit off center, so just sent to them that they just look a bit better as well. After the text, we're going to then copy the text over. It's actually to make it look better first. So what we're going to do is we're just going to copy over one of it doesn't matter which one of the texts and then just mimic the text on the side here. So you're starting with next call, just looking at the reference. This will be the same depth as the other side. It's a little bit like quality because we haven't applied the sharpen yet, but we will do that. Then just move on to the next. So for some reason, my Gimble decided to dislocate from local, so you can just set that back by using a button on top. So this is going to be lost number. If it does go out of the box you're typing in, you just need to set the scale down that it fits in the box and then scale the box up. I like to just compare it with the top one to just get the scale correct on both of these. Well, that seems to match Sami well. I was just going to move this to planar projection just to have a wider projection range here. I'm just going to keep it scened just so I can make sure the whole word fits in. They're just moving this down to last number redial. Naming the layer. Then just duplicating that again. This will be language selection. Again, the text is getting cut off, so we just need to move it over a little bit, just moving it in the X to get it in the square. Then duplicating the language selection again. And this will just be volume control. That's looking quite good. Still not as sharp as you want it to be. Fix it now just checking with the lighting. What we're going to do is we're going to add a filter and we're just going to add a sharp in here. You'll see that sharpen makes this edge much, much sharper, it seems more cut into metal. Now that that's on, you can see this from quite far away and you can see how this is starting to find the actual face itself. You're looking for more text on this front face. We see this card change up top by this button. So we're just going to move this deposition and just make this card change. Referring back to the reference to see if there's any other text we can see. We're going to duplicate this across again to make the text on the button on the right. It's going to be called coin return. We're going to do this in two separate lines so we have it on top of each other like the reference. This text might be a bit thin for it, so we'll play around with it a little bit. I think we end up settling with the same text again. O, The text we are using does give the base letters, so we're just going to stick with that. We just need to re type coin return every time we change the text, so just keep it the same and just scale it correctly to the block. As just look at it from different angles to make sure that its deepness is something you're happy with and that it's in the center. About then also just going to duplicate this line across. There's a few lines across this top button. So we're going to use one of the lines we use next to the keypad to make those lines on this button as well. Swiveling them at five to ten degree angle. It's a very shallow angle for these. Once that one's in place, we're just going to duplicate it up and then set the scale on X to just make it a bit of a wider line. Just naming these correctly so we will be able to find them again later. Then looking for what text we still have left, we see that we have this whole block on the side with a lot of icons and so on. So I think what the best plan is going to be is to start with the square and then go for the icons on the inside. So for this part, what we want to do is we want to go and we want to copy this whole layer and then delete everything except the lines just so we can have something that we can track over that's aligned to the screen. We're also going to apply an anchor to the bottom layer to make sure that we can reference it later. For the new layer, we're then going to make a square that is the size that we wanted of the entire frame on the side. We'll then negatively cut into this to make the actual frames. So this will be the entire extrusion and then we'll cut out all of the machine lines into this block. So with this block, we're also going to see some stepping issues, but we're going to smooth them out as we go and then just make sure it looks as good as we can get it for the resolution we have here. So just testing out a few things with different sorts of squares because I want rounded corners. There's not really an easy way to do this. So how I end up doing this is just starting with the square and then moving from there. Even if we use this square, the scaling is quite off and cutting into it because it is only a white line around, it's quite difficult. So the easiest solution is just apply a square rectangle. Then you want to duplicate that rectangle and set it to subtract. This will then take away from the dip from the previous square you put in. So these lines will then become the lines between the blocks of that piece on the side. Just moving those in deposition, there's two lines. So it's a thin top section, thick middle section, thin bottom section. Just playing around the summer rotation to see if that'll help the stepping or not. It doesn't really, so we're just going to leave it as. What we are going to do then is we're going to take the square round border, and we're going to set this to subtract. You can see if we scale this up to the square, we can set its roundness to cut into these corners. We're just going to cut these corners as they need to be as the middle one is square as we go. You can see when you go to mask, you can see the shape we're creating with all the subtracts being black and the main square being white. What we're then going to do is we're going to add a mask outline on top of everything to have the white shapes we have now, take their edges and then make a thin line around them. This will give us that machine line we're looking for around the edges. You can play around with this. You can play around with some sharpening to make this line look as good as possible. Again, testing with some rotation, not really happy with it. Transform doesn't really help. It's going to have to deal with a little bit of stepping we have here. You're setting the height a little bit more shallow as these are very, very thin machine lines. What we're going to do then is we're going to start creating these little insets here. What we're going to do for those is we're going to take the square and we're going to put it on linear add So I think we leave these on normal. So you'll create the square on normal and that'll that'll add a square with a thin line around it. So then all you need to do is to scale this to the appropriate size of the blocks on the reference. So getting three of them in a row is a little tedious because the distance is define you want them to be the same. So just keep moving them and seeing when the distance feels right and so on. So here I kind of place them further apart, but then I scale them up and I move them closer together. And I just pick a size that's easy to copy across so they're still a little bit long. I'll make them a little shorter because the text still needs to come on top. So I'll just copy the value over. Also making sure to drag the bottom machine line onto the machine that's already going across. Then duplicate the square on the inside and make it a rounded rectangle. I struggle a bit to get the border thickness I want here. It doesn't want to play along too much if I scale it. What I end up doing is I just apply the rounded rectangle and then duplicating the square, applying the rounded rectangle, and then just scaling that up a slight bit. That then creates the machine line around them. You see, we have some bad stepping here. That's just a cause of the sharpen effect. Later on, we take that sharpen down a slight bit and those lines do solidify a bit more. So here, you'll see we apply the rounded rectangle, apply it as a subtract, and if we scale it correctly, it'll just fit into these lines easily and just continue that line as a rounded quarter. We're then just going to repeat this for all the rounded quarters that need to be here. This is the shape we're looking for for the site puddle. We're then going to look in just the mask to see what's causing those sharp lines. Try to play around some contrast, try to play around with how to get those looking more solid. Problem with contrast is it completely deletes those lines, so we're just going to turn the sharpness down a little bit to just get those lines back. What we're going to do next is we're going to start copying this text and creating the numbers and then the text for each of these blocks. So same as we've done before. Duplicate the text, create a number, and then just duplicate that down. Um, we're not worried about the icons just yet. The icons will do a separate pass for and we'll make sure that all of those are the icons used on the actual machine. So here we're just mimicking the text from the reference and then just scaling it down to fit more appropriately. Just making sure to do this for all three. So for the longer text, make the text size a bi 14. 13 Defining The Base Colors: In Part 13, we're going to start adding the base colors to all of the meshes. There are some height things we'll add as well that we'll see when we start adding the colors. Sorting a texture set two and looking at the reference, we can see that this keypad box is a different color in the front and the back. There's a machine line separating these two. So what we're going to do is we're just going to make that machine line here. We're going to grab we're going to just make a new layer, and we're just going to call this machine line. Add a black mask, add a fill, add a square. It's almost like we've done this before. And then we're just going to set this to project said the height down, and we're then just going to set this to plane a projection. Because this is set to texture set two, we don't really have to worry about heating anything. Generally, we want to use war projection, but for going through objects, it's not the most efficient. So a planar projection just sometimes works but after that. We're then just going to squash down the rectangle to fit the scale of this. We're going to squash it down further to look more like a machine line, just like two piece of plastic that I clipped together rather than just a solid lump like it looks now. Watching the bottom that we don't nick the hat of the power box here, just lifting it up a slight bit and then scaling it in. Once you scale it in, we just want to move that into position where the gray ends and the white starts. So don't like that. So seeing that it doesn't go through all the way to the other side, we're just going to scale it up a bit to make sure it does. We're then going to the colors. For the, we're just going to add the machine line to the half black full mask as well, just to make sure that we get some color in there as well. Just remember to add an anchor point before you do this. And then just going in to the gray scale, adding the anchor point and then just adding this color into the machine line. Remembering to add it to linear Dodge as well, so it adds on top of the other two and doesn't remove them. What are the hers? We're then going to go to base color, create a fill layer, create a folder and call this phone keypad body. On the full lay we're just going to call it white base. This will just let us know where the white base paint goes. They're going to add a black mask, fill by object, and then just fill to the keypad body that we want to match. If I'm here with this, then just going to duplicate that and call this gray base. Well, then just going to make it affect on the color and make sure that it's just a slight bit darker and add a little bit of blue just for some interest on this layer. I'm going to go more of a darkish blue as it's kind of a worn gray rather than a playful gray. So that's a little bit blue. We're just going to go to. It just has to be slight. It just has to not look like it's not has no saturation at all. We're then go to add a black mask and a fill with a square set to planar projection. We're going to scale this down. If you do get this blurring on the side of the square, it means that you're projecting in the wrong axis. Then just rotate it around just to project on the correct axis. You should be getting a sharp line here, and then we need to line that up with halfway through the machine line that it fits on the right hand side, that it looks like plastic going through rather than having it all the way across, making it look like the whole line belongs to the gray plastic. Seeing I didn't add the selinear dodge, I'm just going to do that now. So for this square, just make sure it goes all the way through. And that it doesn't overextend too far over the machine line. For the front, the white is a bit stark now, so we're just going to make that a bit more gray, and we're just going to apply a slight blue color to this. This step is going to be a lot more about masking and just finalizing where things need to go so that in the next step, we can have much better control, and we have to mask a lot less when we're creating the final materials. We'll also then have context or everything around what we're creating rather than just working on a white box in a white space. So you can see me just dragging back the gray to fit only the back body, but not the front. So we're then gonna start assigning the next material, which will be this black metal here. Create a fill. Call this you should call this base and then call the folder black metal. You always want to call the folder what it is and not the base color. The base color is just the absolute base color you're using. There'll be a big stack on top of it. So the reference you're looking for is the folder and not the color. So it's always better, in my opinion, to just call the absolute base color just base because it's easier to just find which one you need to change for that. We're then just going to mask it out to be all of the black metal pieces on the inside. We're again going to go black but not fully black and confirm with PBO validate. When ever doing something fully black or fully white, always validate with PBO validate. You would have seen that when we did that, it showed that the key holes and so were red, but we are taking them outside of realism because they need to be dark enough to look like holes. After adding that black metal, we're then going to add another black layer or another layer that's also slightly black. That'll be the frame of the information sign on the top right. We're going to mask out the whole thing and then just cut a hole in it by using the UV fill and then just go black mask. The hole in the power box looks a bit funny, so it's because the gray isn't stacking correctly, so we'll just have to fix that as well. But for now, we're just going to create a base and just call it shiny metal just to mark all the shiny metals as well. So over this, we're just going to go full metallic and a whitish base color. Sometimes, you just want to make this a bit darker just to be able to see because everything else doesn't have the dirt and so on on them yet, it's hard to see when the color is so close to white, what still needs to be done. Once your shiny metal is defined, you can then start marking out which pieces all need to be shiny metal. I so just referring to the reference. So this grayish, this brownish plastic on the inside. Not sure if it's full brown or if it's just the light shining on it, so just keep that in mind for the next one. So for the shiny metal, we're just going to still mark this top piece, I saw that that needs to be done as well. Now I'm moving on to that brown. Add a fill there, call it base, create a group, call it brown inside or card change inside, whatever suits you. I'm going to go to color, try to find the color manually, but then I end up just referencing the photo. You can just click on the color picker and then on your reference. Just make sure that your reference is open somewhere where you can see it. Substance can pick colors on different screens as well. We're then just going to saturate that a bit more and then just look for a darker gray as the gray we sample is in the direct sunlight. We then going to add a black mask to the group. Then just mask out where that brown needs to be. I want you to find that it is very saturated, so we're just going to move the saturation slide over just till it feels more realistic. This is a soft dish plastic that would have been warm by the sun, so we're still going to pull back a lot more, just not necessary for this moment. We're then going to add another base. And we're going to call this black plastic. We're going to set the rufers down a little bit. We're going to add a black color. And then we're just going to add a black mask, and we're going to mask out the phone and the thing at the bottom. While masking the phone, I also see that we still need to do the height for the cable. So we'll define the cable as shiny metal first, and then just this bottom as black plastic. They're going to add a new fill layer called base. And what is gonna call this side clip? This is for the clip that holds the cable. This is a bit of a darker gray and is going to add a black mask and mark it out. These colors don't need to be exact. We just need to have a kind of reference of where we're going with everything so that later when you come back, we have the group set up. We can just start picking pieces one by one and we don't have to do all of this in between everything else. So quickly defining this hole at the bottom in the power box, I'm going to rather assign the full black height fill to it rather than just assigning the half gray. The half gray on a black metal box just looks weird because it doesn't really give us anything. That's going to name a power Box tophle, send it to linear and. Just checking out, looks the line around it is way too thick at the moment. So what we're going to do is we're just going to scale up the inner circle. Just to have that slight machine line around it. We'll define this a lot more as we go on. It's just a hight placeholder essentially for now. So for the cable, we did UV it to be all straight. So what we're going to do for that is we're just going to duplicate the machine nine. Oh, we're going to do a similar thing to the machine nine. So we're going to add the phone cord height here. Now, we're just going to set that to height and a bit down. We're then going to add a black mask, add a fill, add a square. So for this, we wanted to repeat across as we're trying to make the ribs on the cable. So we're just going to put that into position. You can see it's already starting to til a little bit over. You see that it makes some lines in between, but those will take away by just scaling up the actual shape. So just confirming that there's no weird seams because we did cut the cable. It won't be very visible with what we're doing now, but it's always good to just give a check to it, as well. Just trying to adjust the balance in so to see if we can get this line smaller, I do end up just scaling it larger at the end to make it fit. We're then going to add a filter and bevel to get some more height on the side of these pieces as well. So with the bevel in place, we can just play around with it until it feels more dug in rather than just lines going all the way across. So that feels quite good. We'll still fill in the inside, and we'll still skew it as well. Now that we're happy with the width of this cable, what we're going to do is we're going to try and make it fit all the way across all the cables here. I see if we move over, there's a line that we can't really get rid of. This is because the lines are tiling as they go to that side. So what's going to be the easiest solution to this is just to make sure that we scale it up to be as long as all of these shells on this side. And, just scaling it in one axis, making sure it reaches over all of them. After we've done this, we see the cable in the back here, also being strange. This is because one of the shells is rotated wrong on top. So if you have the same issue, how we'll end up fixing this is we're just going to add a paint on we're going to add a paint on the bottom on subtracting the top shell away with painting white and just making it subtract. Then for the top one, we're just going to make sure that it doesn't tile horizontally, that it doesn't tile over the bottom ones. And then we're just going to make the shell or the lines as big as the shell. So we do some tests initially just to see how to most conveniently mask it out. The problems I was having in this piece here was just that if I subtract anything from the top, trying to subtract both of them away, what would end up happening is I would just subtract the whole cable away and not just the piece I wanted to. So there are some val solutions here, but we do get there in the end. So to set up these lines, obviously, just duplicate the rectangles at the bottom, rotate them by 90 degrees, and then just move them to the top. So here I'm just trying with the subtraction method at the bottom, subtracting the bottom from the top to see if I can get both to work. When I set the selineartAd, you can see what happens at this point. The top lines are cutting into the lines at the bottom, creating this grid pattern. This is just because that line is still tiling over this way. So this is just figuring out the layers. So hiding the top ones. What I'm going to do then is I'm going to make the paint layer on top of the bottom rectangles. I'm just going to make this subtract. And then just use the white color to subtract this top shelf from the bottom shell. Then for the top shell, I'm going to reveal the square rectangles again. You can see they're still cutting through. But the solution for this then is to just make sure that they don't tile that way. So here I just try to subtract it. This is the part that didn't work. A, So I then just delete this top layer, go to the squares rectangle. Then under UV wrap, I just repeat vertically and not horizontally, so just the axis that it needs to be. So right now it's making a straight line across, but I just want it to duplicate only from left to right and not up and down. So this will cause it to just be in the band where the top shell is and not go to the bottom shell as well. So that looks correct. It looks the same width as the front cable. So we're just going to play with the height a little bit just to make the cable feel better. We also then just want to add an anchor point. So trying to add it to the half black height fill here, we're adding a full layer anchor point, phone cord height mask. The problem with this is it'll pull across the whole model. So what we're going to have to do is we're going to have to create a separate full layer purely for the phone cord that we can mask out as we can't mask this height out to the phone cord and we'll lose a lot of data on the other things as well. So what we're going to do is we're just going to create a new fill in the global modifiers. We're going to call this phone cord height fill. We're just going to make this a black color. Add a black mask, add a fill, go to anchor points, and add the phone cord height mask. We also want to invert this mask as currently it's taking the high points of the mask and not the low points. So we'll just add a filter. Invert. This will just make sure it's in the dips of the cable and not the highs. You'll see that it does make some bands of black that are darker. So to solve this, we're first just going to mask out the cable itself. So it just objects select on it with lack mask. And then we're just going to pull back the black just so it's not as strong and you can't see it. It looks more like finger dirt than it does an actual bug with the four black. Once we've done that, the cable also coils around. So now that we've got two separate rectangles for these cables, we can start looking at how to do that. So how we're going to do that is we're just going to rotate the rectangles that are duplicating across. We're just going to duplicate these at a slight angle the whole time. Over these, we're just going to rotate it and scal up a bit to make the cable a bit more smooth. Then for the top one, when we rotate this one, we just want to make sure that it does still match the cable coming in from the top and going out the bottom. Also, when you do this, just make sure that the rectangle doesn't over rotate and make a slide a slice on top of the cable as it does here on this top left corner. Then when you've scaled it and moved it to the right place, just scale the width to be the same as the cable at the back as well, using the viewport as reference, obviously. I There you can see the angles match, but the width doesn't and something like that looks perfect. Maybe a little bit more to just fit this front cable where it comes in because they're so close to each other. So now that looks like the phone cord and we have assigned the metal to it. Looking around to see what else we need to add still with color, the screen still has a black square we need to add. The buttons still need to be added as well. We're just going to add this phone hook to the main body of the phone as well. I confirming what I want to add next. So on the shiny metal, we're just going to make sure that this return coins flap is also done. Then we're just going to collapse some of these groups just to give us some more working space. We're going to add a new base. We're just going to call this screen. We're going to just make it color and make this screen. There's some green glass on the inside of the screen, so we're just going to have to play around with that. To what is called the space. We see that the light mask isn't showing very well over the green. What we expect to happen is that this green should be darker because of that slight mask there, but that's not the effect we're getting. So just looking at how to do that, playing around with some layer styles and so on. But the best solution here is going to be to leave it at normal, make it slightly darker, and then just change the opactia slight bit. You're just gonna say it to normal, and we're just going to change the opacity to a slight bit less. But you also want to make it darker. Otherwise, it's just going to lighten whatever we put in it. So now you can see it's darker. And then we're just going to put it to normal and adjust the opacity as well. Now you can see we're getting a darker green where that is specified to be darker. So what we're going to then do is we're going to go back to the screen. After we get a darkness, what we like here, go back to screen, add a black mask, add a full, go to anchor points, and then just add the screen mask we defined earlier. Here you can see the screen is very oversaturated, so we're just going to pull that saturation back a little bit. So just something like that and make it a lighter green as well. We then also going to make the shiny metal a bit darker, just because it's very much the same white as the background, and we can't really see it. So just making it a slight bit darker, it just allows us better reference there. We then to create another base. And we're just going to call this face metal. This will just define the phone booths face material as well. So for this one, we're also just going to go base color and metallic. Metallic is going to be full. And the bisclor we're probably going to drag down a little bit just to make it a bit of a darker metal. We also then want to reorder this to be below screen. But before we do that, we add another base. We're going to add a folder, just call this screen dark inside or screen inside, whichever. Add a black mask, add all filled by UV, fill this inside face. Then just change the base of this to be darker. So we're just going to reorder this it's the metal at the bottom, then the screen black, and then the screen on top of that. Once you reorder it, you'll see that it just pops immediately. O. So just checking how those colors look if all the height kept, if all the darkness kept. So just looking around what to add next. Well, then you're going to create another base. We're just going to name this one buttons, add a black mask, make this color metallic, make it a bit of a darker metal so we can see when we've assigned these buttons. These buttons won't beat this dark. It's just for reference for D Well let's just make sure to grab this button up top, as well. That should be almost it for texta set one. Oh, for textua set two, sorry. As you can see, we've just assigned very basic colors to everything and then just created the groups to everything. But we try to do here is to add the screws to texture set two forgetting that texture set two doesn't have screws. So I just do the same as this, but just apply it to texture set one. So we're just going to assign a red color to it. Or then just going to add a black mask. We're going to fill the screws in, which won't fill because it's on the wrong texture set. So, you just want to create a group that fills all of the screws in. So I try to instance it across thinking that there are screws on both sets, but there are only screws on set two. So the instance isn't really important here because they're all on set one. All of them at the back and then even the front screws on the interior are also set one. So you can just create a screw group on set one, make it a red color and then mask on all the screws. So here I'm just leting the other instance and then just moving it to texture set one. Still try to instance it across as a group. Um, I could have done it this way where we duplicate one material across and then just use the group to mask them out. The problem with that is it's a lot of computing power to instance a material across when it's just in a different texture set, and it makes editability much worse. So this is just a step that you would just do in texture set two and then just assign just mark your screws out with So here I see that all the screws are set one, so I'll just delete all the screw masks in set one and set two because I just want to remask them as well. And then just going into texture set one and recreating the group. We're just naming it screws, creating a base, making the base red because we want to see where all the screws are to mask out. They're quite hard to see if they're just a slightly different color, so we want them to be quite extreme to make sure we've marked all of them. We then want to add a black mask and paint with white to define what screws we want to keep. And then we'll just go around marking the screws, going from the front to the back. Us making sure to grab all the screeze and then just confirm it afterwards as well. So that should be all the scree, doing a confirmation check. And then just changing the color to a slightly darker color. These colors will all be toned in later, but just it has to match the metal sort of. So then we're going to start approaching the side frames. We're fully on texture set one now. Texture set two should be done. So we'll add a full, we'll just call this base. I call it dark metal as these frames are quite a dark metal. So this will define where this grayish metal around the borders are on the telephone booth. Blue is gonna go color, a bit darker. Something like that, like a mate gray, go to add a black mask, go to add a fill. Oh, we're just going to fill. We're just going to paint out all of these borders here. We'll change some of these pillars to a bit of a lighter one. We'll change the ground pillars to a lighter one. We also need to remember that the rubbers for the windows are on the inside, so we just need to not paint those. So we're going to mask them because we're object mask. But we're going to do then is just going to go to UV shell and then just map these out, just making sure we get all the corners of them. These will be split into four corners because of the way we UV them, so we just need to make sure. So doing it this way of just saying that that shouldn't fill here would be the most effective here. Just using a UV shell fill as we kept this in one piece. And they're just doing the other side as well. Just make sure not to click on the side and leave it that way because we'll have rubber on the side rather than the metal. So I just make that mistake and I just revert that. And then just need to mask this bottom rubber as well. We'll also check with the mask overlay if all of these are correct. It'll be quite obvious because we'll see if there is a gap in the line. But just checking with mask, we can see that there's a black line all the way around, and the white is only the metal around it. A then going to create a new base. Make a group, call this lighter metal. So just checking where we're going to add that checking what still needs to be dark metal, just to define some color variants here. We're going to make the color a lighter gray than the mid gray we've used in the other ones. We're going to add a black mask, and we're just going to fill in all the pieces we want to be lighter gray. That'll then be these bottom pieces, the roof, and then the support at the bottom as well. So it's just these two Well, then define the back as dark metal as well, because it will look weird if that's light metal. So we'll just define that. Just using UV fill because you don't want to fall the front grid to be dark metal and making sure to grab this edge that's extruded here as well. Then with the light metal, we're just going to mask out the roof and the bottom support as well. The stop support might look better as dark metal, so just changing that. Then making the roof dark metal as well, rather than light. It just fits a bit better. So looking at the reference, I see that we'll need another darker metal, so we'll just move these one down. So we'll call the light one shiny metal and the dark one light metal. We'll then create a new dark metal group. This's called base, and then the group called dark metal. This will be for the black metal all the way around. Is going to make this color and make it quite a dark black. We're then going to add a black mask and we're just going to mask out where this needs to go. So this will be most of the way around the sign in the front here. The interior will be rubber, but the outside will be metal. Just making sure not to fault the frame on the inside. Or then make a new layer with the base, make a group or call this rubber. Well then get a color, make it a mid black, and then just add a black mask and fill in the interior frame of the sign. About do it for the black miss mask there. Then we're also going to mask out the window rubbers on the inside of these frames. This again, making sure to get all four corners of these. And then just doing the same on the other side as well. And then we're again just going to confirm that everything is correct there. The next one we're going to do then is we're just going to add a base just to define where the sign is on top as well, create a group. Call a sign. This will just be color. Make it slightly darker just to get it off of the gray box look. Add a black mask, do a UV fill on the front face here. We're then also just going to do the same for the sign on texture set two. But I see that there's a piece at the bottom here we've missed. So we're just going to go to the light metal and just fill this piece in to fit the frame. To finish off, then we're going to go to texture set two. H, I'm just going to create a new base color group here, create a fill, call it base. Make a group. It's called the sign face or information sign, whatever you want to call it. Just take the color off white a little bit, add a black mask, and then just fill out what we want to fill. That'll do it for P 13. In part 14, we'll then start defining how the materials look with roughness, with color variation, with saturation all that. This will just give us a solid guide to move into that chapter next. To 15. 14 Material Refinement Part1: In Part 14, we're going to start defining the materials that were used. So we've got very basic colors now. We're then just going to start adding quite a lot of the actual feelings and materials of things. So looking at this black metal, you can see that there's some rust. There's some pain splotches. There's this kind of dust rust on top here. So we're just going to start getting closer to what that should actually look like. So you're starting off going to set the light to be aligned to camera or the environment to be aligned to camera. This just means that whatever way we're looking at the asset, the skybox will rotate towards the camera and not just be static where we want to look at it. This will just allow us to see things a bit better. So then in texture s two. We're going to probably start off with this black metal in the middle. This is quite a complex thing. But we're just going to call this start here. For every asset, there's a few things you want to do. Color variation is one of those. We want to add a grunge that fits somehow the colors in the material would change. So for this black metal, we want something that's just a bit grungy, a bit painterly. It's a wearing metal, so we want it to just be something that really stands out as there's different colors and different thicknesses of paint in it. For the base, we're just going to create a bit more of a bluish metal. Then in the variation, we're going to use this quite intense variation that has quite a lot of blacken in it. We're just going to add a filter to this, and we're just going to add the filter gradient to it. You're going to pick three colors that are going to be the dark, mid and high tones of the grunge. You're going to pick three random colors. P pick them as they make sense. Green, pink, blue is how metal wears or how paint wears. And you're going to change this to overlay with a very, very light color. So it's something like a ten or a five. On Blacks, five works on white, ten generally works. But you just see that it makes a tiny, tiny difference on the actual color, but it's visually interesting enough that it doesn't just feel like a one color. But on top of this, so the next step is saturation variation. How did this material wear in terms of where the light fell, where the dark fell? So sun damage, essentially, is how you can think of it. So for this one, we're going to look for something with nice streaks, and we can kind of see that on this reference as well. You can see that there's quite a lot of sun damage on the top left, and it's kind of a wipi grunge. So we're just going to look for the same sort of thing. I was just going through the grunges. So this looks quite good. The grunge fingerprints are smeared. Looks quite good. So this could be something we can work with. So you're going to send that to soft light and add a 15. It might still be a little much. We would want to add this to be a very heavy kind of feeling. We just want it to be there. So it has to change the silhouette of the color, but it shouldn't be a paint on top. So we can add this very lightly. We can pull this back and forth as we go, but we want a base feeling for the material. Then as we develop the material, we can start shifting things back and forth. Oh so then also look for a tiling that feels good, something that gives us the right kind of direction for where we want this variation. So this variation is quite nice. It sits high in top left, which is pretty cool. But we'll just soften out a few places using a white mask and then just using a black brush to soften some of these edges away from the actual mask here. We don't want to have too much of the white, but because we want it quite intense, we want to actually tone it down where we can. We're going to add another layer, which is called roughness variation. So roughness variation refers to how does the material feel? Is it a smooth metal or is it a rough metal? So the roughness variation just says that some of it is smooth and some of it is rough. It's another visual interesting that we don't have just one roughness across the whole thing, but we have a whole lot of different roughness across a surface. So we're looking for something pretty intense, but we're going to tone that down to, like, a 15 or 16, a very, very light amount. To go to the roughness, you're just going to on the top left below layers, there's a box where you can select roughness and tone down only the roughness. So to bring a little more roughness onto it, we're going to add this white noise in a separated layer. This white noise will just give us a graining across the whole surface. It gives it a bit of a better, feeling. It catches the light in a lot of different dots. So we're going to add that on top as almost diffuse layer of just adding some es to the light. We're going to make this overlay in the roughness section. And then just make sure it stacks on top of the other variation. We're also then going to just adjust the base roughness for this black metal as well. Then just tone down the saturation variation, just a slight duplicate the saturation variation, and we're just going to tie it differently. So we're going to add a different saturation variation. That'll just be a little bit more intense. So we'll rotate this by 90 just to get a different way that this looks and to get more leaky streaks using this grunge cobweb We're then going to make this extremely light. We just want a light dusting of this grunge just to get some variation. Maybe something like a three, five ish, just enough that it's visually there, but it's not so in your face that you feel like it's a mistake. This something like that, looks pretty good. We're then going to add an edge highlight just to make the edges feel a bit softer and just feel like they're a bit worn and maybe the paint is a bit thinner there. We're going to use this metal edgeway but to a very light extent, we don't want to just go overboard and make it feel like it's been grated on the edges. We just want to make it feel like there's a general dirt around the whole thing. So we're just going to take away the grunge amount so that we just get a solid line as we're not looking for the actual edge way. We're just looking for the edge highlight. We're going to then just change this to a tin to get a bit of a lighter line. We're going from a black to a gray. Here you can see it just pops out that line in the texture a little bit more. So here's four stencils that you will be provided with that you can import. These will be useful for a myriad of things. It'll be used for the rust. I'll be used for some scratches, some dents and all that kind of things later on. So you can just drag these in and assign them as a texture in your current session. So then you can see how the rust falls here. So there's a lot of dents in well, not dense, but scratches in. We're just going to mimic that. So under your black medal, you're going to add a paint and you're just going to throw the stencil in. So what should happen is if you paint with black in the mask, it should erase the stencils color or the stencils view from your actual model. So to control the stencil, you just use the Ski. So S, right lick, S, middle lick, S, rotate, that kind of stuff to control that. You can make it any size you want. So with this, you'll just kind of paint through the stencil, so you can hold it over what you want to paint, and it'll just paint straight through. And you can see that you can just grab some of these edges of the rust and just paint it out of the paint. So these plots that you're painting here is where the rust would be. So these will be carved through all the way to rust. So just be liberal with painting. These. Don't go overboard and paint all the edges, add enough damage that there'll be some red on the edges, and that it's somewhat rusty, not all the way rusted. You also want to add some to the edges of the door where it is assumed to close because there'll be metal damage on those edges, and you want some rust on the inside there. So we just want to paint that rust on the inside. Wearing for autosave. Then this long piece we can use to kind of get a nice long run of rust on top here, we can also add a layer on top of this to clean it up afterwards, but we just want to paint in kind of the biggest amount of rust we want in here. Then we just want to tuck these edges at the bottom here, add a nice big splotch of rust here because this edge would be damaged, it's sticking out. So someone leaned against it or played with the paint while they were on the phone or something like that. It makes sense for rust to be on an edge that's sticking out. We'll just do the same on the other side as well. Just trying to keep it somewhat intact and not to go too overboard here. You can also rotate the rust to make it fall in a shape that you more want. So for the top here, in the reference, there's quite a large tear out here of rust that then becomes kind of dust. So we're going to make a nice big piece here. We're then also going to attack this edge that stands out here on the top with just some smaller detou rust, as well. And this whole kind of door pillar, we also just want to add some damage to as well. So I'm just going to use this line. I just paint it all the way down. This is going to be too much, but we'll clean that up afterwards. So here against this door, we're painting it in from the door and then just erasing all the pieces we don't want. And on the top, we're just going to add some damage here as well. This will just be some damage leaking from the top. We're then going to move to the second stencil. It has these nice kind of screw rusts on it. So we just want to position that over to where this screw is going to be. It looks like nothing right now, but we know what we're going to put there. It's going to be like a silver screw. So we can just assume that that difference in metal and difference in the hardness has kind of eroded this metal away and that there's some rust here. We also want to make sure that there's no rust on the bolt itself because that wouldn't make sense. The bolt would probably be a stainless steel kind of thing, what they make locks of and so on. So we just want to make sure that the bolt itself is clean. Ros, they're going to add a nice big kind of area here at the top left corner just to add some interest that's not just all focused towards the bottom, but there are some at the top as well. Going back to the other stencil, were then just going to paint some details on the shelf, as well as the shelf would erode the same as the box. As in all the references, they are the exact same material. So just making sure to give them the same treatment on both sides. Here, we're also just taking this top left corner, making sure that there's some rust over there, as well. I'm adding very slight damage to this top right corner. But in this front here, we want to add quite a nice chunk of damage because there's a lot of visual interest here. It's a part we really want to see from the front to the asset. So adding some more damage in this part here is quite good. So just switching to the other one just to tack the bolt the same as we did on the other side. I so just around these screws, we're just going to add some rust as well, zooming in a lot into this atlas here, and we're just going to paint this down. We don't want to do it on all four of the bolts. That'll look very repetitive, but we can do it on the top and the bottom one where it will kind of leak through and you can see essentially both sides. Well, one, you can use the top and one you can use the top and the bottom. Then we just want to use this kind of indented rust stamped one. We want to use that on the two remaining bolts. We also then want to just call this paint layer rust just to know what we're looking at. So this is the general place where we want it. But now we can start either adding a little bit more, maybe on this edge. But we also can then after this start going into it and removing any rust we don't feel is necessary. But we just want to now make sure that we've hit all the sides of the asset. Even this unseen corner here, it'll still be visually interesting and you don't want to neglect the back part of your model just because you don't think people will see it in renders. We'll also then add some rust to the bottom here where these two metals combine. There's a lot of water laying there. There's a lot of paint bubbles that will come from that. So we just want to add that in as well. Then we just want to add another paint, and we want to set this to subtract so that we can remove anything we've added. Subtract isn't working maybe a multiply maybe an inverse linear ad could work here. Multiply doesn't seem to work. Subtract just doesn't work either. Just make sure what layers I want to use here. We were painting inverted mask. If we just use normal, it seems to work quite well. Set this layer to normal. There's no need to do anything fancy. We're just painting white onto the black so that we can bring the paint back and let the rust go away because the rust will be black and the asset mask itself will be white. Leave this layer normal and just paint out any unwanted rust you want. Going to go over. You can do this with a cement brush as well. But just because I want to take out large chunks and I want to take it out, I'm just chopping corners and just using the normal brush to just take out what I want to take out. You be quite aggressive with this. Just clean it up a little bit, make sure that there's no obvious stretching, make sure that there's no damage you don't want there. Just sculpt it and just make it feel the way you want it to feel. It's like this is looking a lot better. Then just define the little rust pieces here as well. We don't want too many little little pieces because they'll just look quite bad. They don't show very well in the way we're going to do it. This top piece also just tear out with 100% hardness brush just so we can go into these and just have that same hard corner that they have on them. We'll just do it for the top here as well. It's a little fuzzy. But I just want to make sure we sharpen up some of the edges of the rust, but we don't want to go too far. We don't want to make it look like hand painted rust. We still want the imperfections and the little fadeaways that the rust has on the sencil itself, because the stencil is actual scanned rust, so we don't want to stray too far away from what that looks like. We just want to sculpt it a bit more artistic and just make it look a bit better. Well, then the stoppis we just want to make sure that it fills the corner rather than just looking like a spray from the corner. And then here we also just want to maybe not have this going all the way across this one single piece. We just want to make it that it's two long pieces that kind of connect, but there is still a layer of paint in the middle. This will give us a nice kind of interpolation between the two heights. So here, there'll be two textures from textis.com. These are Rust one and Rust two. We're going to just import them as textures into our current section. Once they've imported, we'll then create two materials called Rust one and Rust T. And we'll just call a pair and fold the black metal rust because we want a folder that we can use with our anchor point to define where this rust goes. So we're going to create the first material and just assign all of the maps it needs. Base color, height, normal, and roughness. So once we've assigned that, we can just remove the unneeded kind of things. You can call this Rust one. We can tie it a little bit more. We can then make a second one, call this Rust two. We're not sure yet which one we want to use, but we'll use either of them. Maybe we use a combination of them, but I think that Rust two is a bit too harsh. So we might stick with Rust one, but it's up to how you want yours to look as well. I just prefer the interesting kind of color variation in Rust one. So I'm going to stick with this for now. So going back to our black paint, where they're going to add a mask, well, an anchor point to what we painted. So it's going to be called black metal rust mask. We're then going to add a fill to the rust, and we're going to add that onto the we're going to add the anchor point on. The issue of this is it's the wrong way around. So we're going to add a filter invert that will now put the rust on the right place. It puts it where we needed to be. But if we need to define it on top as well, we at a levels invert here, it might work a bit better. Well then make a folder called rust spreading. At Rust geometry mask might work. B we just want to mask out the geometry the rust needs to be on. So to prevent it to go to the other bottles, let's just make a geometry mask and just make sure that we keep this intact. So this rust looks pretty good, but it's still far from what it needs to be. So we'll go to the base here. We'll add some height to the black metal here. So I see that kind of height lifts the paint off the rust. It makes the rust feel like it's on the bottom layer. Then in the rust, we're just going to grab this rust course from substance materials. It's a bit of a bright rust, but we're going to use this for the glow. So we want this to be quite a nice orange. So we want this a sharp orange, not a yellow, nor a bright orange. This is going to be the rust that comes off of the tase. We're going to add a black mass to this, and add a fill, add the anchor point. Again, we're the wrong way around. We're going to add a levels. We're going to invert this. But that's just over the other. What we're going to do is we're going to add a filter, we'll add a blow. And this blurin density will determine how far this low spread will go. You see you lose a lot of density when you do that. So to bring that backward, it's going to add a levels. And this levels is just going to determine how much of this rust glow that we see. So we're going to add a fill. That's the black mask, and we're just going to set this to maybe subtract because we want to subtract where the rust is and only keep it low. Subtract subtract does work, but it still adds some of the inside. So now we can push the levels up. So that does look right. It's not interfering with the rust on the inside. We can up this tilene quite a lot. You can make it like a 30, maybe a 90 ish, 24, maybe it's a bit coarse. What we're going to do is we're just going to set this blow down. It needs to be closer to the actual rust tase. So then we will also add a fill and a subtract here. This is to subtract the rust to not be as uniform around the grunge, around the tears. So we're just going to add a grunge on subtract that we can pull away from this rust here. So just changing the color of the box to be a bit blacker, color balancing as we go. It's a general thing, so we're just going to make that a bit darker and then just plan our next step. We're then going to set the rust glow to only be color. So we're going to duplicate the rust low. We're going to set that to only be color. This is where the height will come from. This is where the paint will lift. So we're going to set some height on this, and you can see that it's already because of the low, it's spreading away from the tee and just lifting the paint there. So if you play around with the blur intensity here, you'll see that it starts lifting the paint further and further away. So we want something that just looks kind of realistic where it just starts lifting the paint away from the rust as the rust is crawling under the paint. You're going to add a filter to the rust color and just do HSL. We want it to be a little less saturated. It shouldn't be as punchy bright. It should be more of a fade into black paint as the paint color. We then want to add a filter to, sorry, I just want to add that filter to the rust color, not to the rust mask. That's correct. Then we just want to drop the saturation here a little bit. Add a filter to the base rust as well, add an HSL here. Now, we just want to drop that saturation quite nice and low. We want it to be red, but we don't want it to be cartoonish color. So we just want to pull that a little back to a more photorealistic color for rust to be we also going to adjust the lightness a little bit. We're just going to make it a bit darker. Just see what that looks like. Look at it at a distance. Now you can see we're getting those nice shots, we're getting it into the rust and there's a tiny bit of glow on the outside. Just looking to see if I can make any improvements. In the base to make it darker again. I one day a nice strong contrast and a nice dark black paint. So then here we can add a roughness. So we're going to add a bit more roughness variation to the paint itself. So this is going to be we're going to use grunge wipe because this is going to be as if someone wanted to clean it and it's left some rug marks or some cloth marks on the acid itself. We're going to change this roughness to overlay, we're going to make it like a 20 30%. You just want to have some streaks that look human made that are just scratched across it. In the HSL for the rust, as well, which's going to make that a little darker again. This is just a balancing game. You just need to find something you're happy with. So looking at it. That's looking quite good. It's need a lot of fade around it and so on, but we're just trying to define what materials are at this point. So we're going to add another layer. Let's call this rust dirt. This will be a more loose rust. It'll be rust that's come off or rust that's fallen, rust that's mixed with dirt, that kind of thing. So for this, we're just going to make a group with a fill in. We're then going to paint a mask for the group. That's just generally where we would like this kind of dirty rust to be. Look at the reference, you can see quite a lot of it under the keypad's body. Under this white asset, we can just see that there's a lot of it here. So just using cement too just to get a broken up brush. I'm just going to start painting some into this. I'll paint it with the white color for first just to see what I'm doing. So just painting a three. And then if I want to go back, I can just press X just to get a black color that's near eraser. I'm also painting over the other rust because I'm either going to subtract it or we're just going to have some details in there. I'm also painting over the edges as if the dust or the rust dirt kind of rolled over the edges and just made a few pock marks going down. So I just adding some to the shelf, as well. The shelf will laugh quite a lot because things fall on the shelf and all that kind of stuff. Then here just in this bottom, also just where things will fall and where some of this dust would just lie naturally. Here, then just using the black brush to pull back anything that is too intense here. And then just adding some to the bottom here as well that have kind of fallen down and pulled around this bottom edge here. Also just painting on the sides. Thinking of it as almost a fountain coming out of the rust because the rust itself will scrape off and it'll drop some dirt. So that's kind of what we're trying to mimic here. We'll go kind of softly at a first iteration. But later on when we really start defining the colors, we'll add a rougher variation of this as well. We're going to add a color. We're going to add a height here, which we're just going to isolate the height. Just clicking on height, we'll just isolate that. We're going to add a white noise to this just to get some feeling of how this dirt should look. We're just going to set this to a high tiling to get some smaller dots. So something like that, something that you can obviously see, but there's no real space where it ends. That's generally the best to do. Well, then just going to play around the balance just to see where it feels good, where it feels like quite irregular, where it feels like small little dots that dropped. A better way to do this actually might be to make the height one height and just add a black mask that you apply a white noise to as a fill. This will just allow us to have more control over the actual height of them and not have to rely on the balance. So let's rather do that. Let's add the white noise as a mask as a fill into the mask. So these dots are feeling quite good slowly adjusting the height just to see what feels the best over here. We then going to add another filler. It's going to call this height drops. So maybe this was repainted or maybe there were some things that got stuck in the paint or in the dirt. So we want bigger lumps as well. So for these lumps, we're just going to use the grunge, like the pebbles. And you can see that these make quite nice little spltches and we just want this extremely likely. We just want this to break up the monotony of the actual noise. So we're just going to add this very lightly. There is again going to do a height with a mask, and in the mask, we're going to have the fill of these pebbles. We're going to add a very tiny amount of height to these. Something like that looks fine. I want to make sure that these two mix well and read well from a distance, as well. We're going to add a fill to the rust dirt itself. We then going to use the anchor point of the rust itself, and we're just going to set this to a subtract. So we want to remove this from where the actual dirt is so that we're not painting over the actual rust. It's a consequence of the rust, but it shouldn't influence the rust itself. So then here we're going to do a nice hard opacity. It it might be a bit much, but we're going to add a thicker line around the actual rust to make it feel like it's spreading out from there. I also want to go a bit more harsh on this top shelf here. So we're just playing around the height and just playing around with where we should paint these. So we're setting the stroke down a bit, just to carve back that 100% we painted there, and then just to paint a harsher feeling on the rest as well. You see the color isn't really pulling through. We're just going for the height. The color will adjust with how much we've painted. So we're just going to need a strong color to bring that through as like a nice orange type of color. So I just painting this everywhere where it makes sense. This color is way too dark at the moment. But you can see those little splotches. They might be a little much. In the color, we can just make this lighter and see immediately as we make it lighter, it shows so much cleaner. We're just going to carve back what seems too much now with a new color. It's all a back and forth add and then remove because it looks too human if you just add once and never remove. So just keep going back and forth and you'll get a much more natural feeling. And also using a brush like cementa has quite soft edges just gives you a more natural feeling in the first place as well. We're then also going to add this dirt to some of the bottom pieces in a bit more intensity than we did earlier as well. So just painting around these pieces, just making sure we get a nice dripping rust feeling from all of these pieces of rust at the bottom as well. Also making it pool where rust would pull. So in the door where water would carry the rust through or out of the lock where water might have come into the box, and as I seeping out, just thinking of the location where water would have dripped down the most, is generally a good way to think of where the rush should go. The rust leak should go. Here we're just toning down the pebbles a little bit. They were quite intense and that height might read quite badly in the roughness in the marmoset scene. So we want to make sure we keep those intact. We're going to add a roughness to this and just keep an eye on it in the roughness channel. So we want this fade to be quite rough because the box itself has to be quite shiny and it's just at a nice contrast. So we're going to add some of this dirt on the side of the atnet as well. And then just on the shelf as well. Just making sure to reach every kind of piece of rust and making sure that we add a lot of this dust on the shelf, as they will be quite a lot here. So dri going to play with these pebbles. This is a hard thing to get right, so just adding some on the top. And then from these screws, it'll also pull up around the screw and then pull the rust out of the screw and then pull it down. So we can also then adjust the color to be a little darker. And then we'll just do the same for this lock screw in the middle as well. Then going to this shape here, it's a little the line around it is too thick, so we're just going to scale up the inner piece and then just give it a slight bevel so that it feels more indented and not just like two lines. Now with the rust, we can see we might need to just change this height a bit. So we'll just play around it for a bit. We'll then paint shiny middle over this as this is a stainless steel lock kind of thing in the middle here. Is going to paint this with the standard shape, not with the cement so that we can get a 100% round stamp rather than having to kind of paint it in. So here we're just going to adjust the thickness for the position jitters too much. So if that happens, just change all the jitters, pull them down, and now we can just paint over only the lock piece in the middle. And so once we've done that, now when we change the shiny middle, that part will change as well. So this inside feels a bit dark. I want it to be like a 50% darkness, but I also want the bottom to be 100% dark. So I think what we're going to do is we're just going to create a new one. So we'll create a new overlay and only include the lock height. And we'll make that like a 50% darkness. Now it doesn't feel like there's a hole there. It just feels like a screw with a head. So it just looks better. It has some rust around it. It has some color to it. And now we're just looking around to see what else we can see that we can do next. So there's rust in the corner, we can adjust a little bit. Just want to see maybe we can make this paint height go out a little further. Just the height of the actual paint a very tiny bit. Overall, this is looking quite good. Quite happy with it. So now just looking at what we're going to do next. So I'm just going to isolate texture, say two so that I can see a bit better. So looking at this bottom piece, we have quite a stainless steel kind of metal. We have some dust and dirt on it. We have some scratches on the top. So I think maybe let's do the group called shiny metal next because it does fall under that. It's going to be quite similar to what we just did except for the rust. So we have a texture machine that we follow, whereas it's always color variation, saturation variation, and roughness variation on every acid because those three things make the base color feel different. So you choose a material to start with. So on rough might be good. It's nice and shiny. We're going to pull back the shiny quite a bit, but it feels good. It looks kind of like what we want. We just want it to be a bit rougher. So we're just going to apply that over the base. We're going to change this to trilinear projection, or triplanar projection so that we don't have to worry about which ways our UVs are facing. We're then going to add our color variation. So for the color variation on this one, we're just going to do the same. We're going to pick an interesting grunge. Just in your base color, just pick a grunge. Grunge concrete could be cool because we want very light feeling variation here. And then we will just want to change the three colors again. When you're doing metal, always include blue because metal or chromium always has kind of a blue undertinge and then we just want to add some red. Maybe there's some rust. Maybe there's some organic matter on it, so red, green, always a good choice. We want to change this to overlay. Well, let's try like a one, maybe like a 15, but we want to add this very, very lightly. So at ten, we can barely see it. So 15 might be what we stick with. You can see that there's some splotches on the side. It makes some difference. But let's see what it looks like when we up the roughness. So this is kind of a roughened, like, brushed aluminum feeling brushed iron. So we just want to make it a bit rougher. Not to abo with the roughness. We can then add a saturation variation layer as well. So they like grunge coboms could work well. There's standing leaked water on it. There's kind of sun shining it in patterns because of the sides. So I think this grunge could work quite well. It's a nice directional, big grunge. So it might just give us some nice streaks over the actual asset. So I love these white streaks. So if we just pull them back a little bit, maybe to 15, it doesn't do much, but it does add some interest. If we then add a roughness variation, let's go to roughness instead to overlaying. So for the roughness, we'll probably go with something like concrete as well. We're looking for a uniform yet ununiform texture, well, roughness. So we just want to make sure that we get that kind of feeling in there. So we're going to make a roughness layer, then add a mask, then include the roughness there so that we're pulling it out rather than anything else. We're also going to then set this to triplanar. We're using grunge cobwebs again just to get the same variation. But we're using triplanar, we can drag it around and just get it in the place we want it to be. This is quite intense, but we are going to set it down. So if we go something like 25, it doesn't make a massive difference. But if we then duplicate it and we add a second roughness variation, again with the wipes as we did in the black metal, just to make it feel like someone wiped this down because we want the same amount of cleaning that happened on the top acid as we want on the bottom. So we're just going to add a grunge wiped again. It gives us some roughness variation. Just setting the environment to world and to camera just to make sure that we're getting these reflections right because we are relying quite a lot on the reflections to tell us what's going on. We just want to actually be able to tell rather than having the light just from one side, and maybe that's messing up our reflections. So once I'm happy with that, I'm going to stop playing around with this base color. Maybe if we make it slight bit darker, it'll feel more metallic. I think our environment is currently too bright for this and we might bring the base color up again later. But for now, we'll just make it look good in substance, and later when we go to marmoset, we'll then kind of balance there again as well. But for now, we just want to get a good looking iron or a good looking metal for this piece in substance. So we're just going to make sure that the roughness and saturation variation is balanced. Pulling making this roughness wipe a bit more just to make it more prevalent, just to add some interest. We're going to then add another layer just under colour. We'll call this ground lighten. So this will just be white dirt from the floor. Generally acids when they stand, get some ground dirt, they get sorry. Generally, when real objects stand, they get ground on the floor and so on. So it's always good to add a grounding element that it doesn't just feel like it goes to the floor and just ends. So what we're going to do is we're just going to use a fill with a mask and a position generator. In the position generator, we can play around the balance and the contrast to get this white line where we want it to be I kind of just wanted to be a nice thin line around the bottom just where the dirt would have been kicked up or so. We're then going to add a fill that we're going to set to subtract. This will carve into that line and just make it a non uniform line. 16. 14-1 Material Refinement Part1: But less you're seeing. To you're just going to close the shiny metal. Look for the keypad body. That's the correct one. Then going to just paste the color variation, saturation variation and the roughness variation from the metal into we're going to paste the whole metal material into the into the material into a sub layer of the paint here. The thing I seeing if you go back to shiny metal and we just remove the top specs from the top assets here, this little flap and the one up top needs to have the top specs removed. Otherwise, you'll just have white specks on them. Removing those quick while I see it. Then back to the keypad body. We've now pasted in the metal from the bottom piece. This has all of the same modifiers we had there. Andrews is then going to add a white paint as well. That'll be the paint of the actual phone booth. Andrews is called that white paint. We'll give it a bit of roughness. We don't want it to be metallic. We just want it to be nice. We'll have to apply metallic to it to say that it is metallic zero because it is now on top of a metal, and if they mix, it takes the one that has value. So if we apply zero metallic to it, it'll be non metallic completely. But then it will then add a white mask to it. So now you can see if we paint on it, we're going to see some of the metal poking through. We're then going to add a little bit of height to it, as well. I'm going to say the hardness of this brush to fall just before we add some height because we want it to be feel like paint sitting on top of metal. So we'll add a very tiny bit of height to this. Now you can see it feels like there's a chip in the metal and a chip in the paint that goes through to the metal. So I'm more happier with this. So we're then going to again use our Sentil we're just going to start making some chips in this white paint that go all the way through to the middle. I start with quite an aggressive line at the bottom here because I can always I can always pull it back. So I just starting with a bit of an aggressive line here and then just painting bigger pieces in and then I'll go pull it back again later. It's also just adding these big shapes in around the corners, making sure that there's an interesting finish that it's not just all a noise that leads to metal, but there's a general thought of where the paint cracks, it could tear off and go to the metal. So these big pieces just give a nicer feeling of an actual piece of paint that's fallen out, where the smaller pieces just give the feeling of there is damage. So here you can see, kind of what I mean. It's a thin line of chips that goes all the way through and then becomes a thick line where it's kind of been torn off or hit off or whatever. Using this big long one, I'm just going to add a big chip on the left here. So it's still lacking a bit on the right hand side. I think we're going to add some big pieces to the right still seeing which shape feels the best for this. We're just going to use this shape and just paint it in making sure that our brush is at 100% in full here. Se it's painting gray here, but if we just push the gray scale up, it'll be fine. We'll then get 100% removal where that's just slight removal. We'll fix that later with the levels, but just as a note, don't make that mistake. Just make sure your gray scale is full. So here I did realize and I just set that full. Then I just repaint the other side as well. Just making sure that I've got all of those pieces covered. The wear on this end is getting a bit much now, but as I said, we're just going to pull this back. Make sure that we don't go overboard with having the paint ward off completely. I then go to get rid of the paint on this little edge because if the paint chipped off there, it wouldn't lay on the edge still as well. So it just may show that we do that. So adding some bigger details to the left side as well. So then that looks cool. The shape of the bottom right is a little wrong. It's two things pointing to each other, where it should be one pointing way, one pointing to. But it's fine. We're just leaning up a little bit. So to clean up, we're just going to use the same mask to clean up as well. This just allows us to keep the same look and the same damaged state rather than cleaning it with a flat brush like we did with the rust. For this, it's a bit more smaller details, we'll just do it this way. Then also when you erase a part, just make sure that the small dots don't get left behind. They'll make if we're going to do the paint peeling, they're going to make little dots that peel quite far. So it's better to eliminate the white dots or the little dots as soon as you see them rather than letting them just go. We're then going to add a fill to the white paint. I'm just going to add a generator, add a middle edgeway. So here I'm just trying to get the little line that goes around the little crease line that goes though around this face. The middle edgeway doesn't play very nicely here. I get too much wear on the corners. I can mask this out, but I tried to find a solution for that and don't really end up finding a good one. The middle edgewy gives us an interesting kind of chip on the side here. It gives us a little bit of damage. It looks cool, so we achieve something with it. But the intention was to make the little line crease. Here, I'm just playing around with the weights just to see if I can reach that line. So the curvature map is too too smooth for this method of doing it. Well, I just keep trying. Start looking under mask. AO also doesn't have that line. I don't really have a good way to get this inner line rather than using a curvature and masking it out. But even then it will just look unintentional. Going to add a filter. An Ay generator. We're just going to try the metal edgeway here just to see if we can find something that looks decent. Go to set the grunge amount to zero. We set the contrast up to see if we can get a line that we can extract around that corner. So playing around the Amenilusion masking just to see if we can get a bit closer to that edge. You see, we kind of get a partial on this edge, but we don't really get a full one. The moment we said the curvature weight up, we just get too many things. So this doesn't end up working at the end. It's just a way that I did try to do it. I could have painted this in manually, but it would have just looked too generic. So it's not I didn't work out great to try this metal edgeway, but we do end up keeping the damage on the corner from the metal edgeway as that does add some damage character. So then under the white paint, we add another paint layer. We're looking for this kind of half chipped paint. So we're going a lower opacity on our brush to try and get this piece of paint at the bottom here that's damaged, but it hasn't fallen off yet. So it's more stamped or damaged. So just painting in with a very small brush that we get different layer heights here. Just continuously clicking because it's a low opacity, and we're building in and taking away little pieces of it to make it feel like it's stamped into the metal rather than actually, completely out. The paint back some white just to pull it up in layers. This just makes it that there's still paint below it and not just metal. So it's going to build up the edge around it. So something like that just looks damaged paint and not exactly into metal. So it looks quite nice. Just making sure that it doesn't fade up to the edges. We're then also going to add some damage around this returned coins piece at the bottom. This is going to be very, very slight damage. This is just someone misplaced a coin or maybe the mechanics took this out and did some damage to the paint as they took it out or just somewhere like that. So it won't be damage per se. It'll just be wear. So it's just something we need to do a little less than a damage piece. So just be light on this. Going back to the painter, we're just going to adjust the height a tiny bit. We're also going to add a filter. I'm just going to add sharpen. This will sharpen the edge quite a bit and really make that edge feel like sharper. So then add another filter contrast. So this is just to make sure that all of the paint that was knocked out is 100% opacity rather than a variation of that we don't get somewhat height and where it's completely through. So here you can see it's a case of that there's halfway out of the paint not fully out of the paint. We're just going to add a fill, call this paint normal. And we're going to add anchor point to the white paint itself. This is so that we can use it for having the normal not there. So with the normal, I'm just going to use a red color. I just want to make sure that it is not in the metal. We're then going to add a fill with the white paint mask, and we're just going to invert it until you have everything that's not those pieces. So doing that, I can see that there's still some red in there, and these spain specs still go into the metal. So we're going to make that a bit cleaner now. But for now, we're just going to add a white noise that has a we're going to add a layer with a mask with white noise that's just going to give us a bit of a taser on the paint itself. So we have the fill that has the mask, and then we have the white noise on top the other around a height of the white noise, and it will subtract the mask. Let's see. Why is it not carrying over. So we're going to do a red color again. Gonna add a black mask, add a fill. Then go into anchor points. We're going to add the white paint mask anchor point. See, there is still some red carrying over, so that means that the opacity of the damage in the white paint isn't 100% because the mask isn't pulling those out, it's only pulling out a certain amount. So in the contrast and luminosity, we can just keep playing with this again. If we set this to full, you can see it attempts to then pull that out completely. But it doesn't pull out the shape I want it to. So this is going back to this paint, we need to keep it on 100% contrast so that we get that damage, but we're just going to need to readjust some of this damage here. So just going back to quickly readjust this. This was just because of the mistake I mentioned earlier, where I didn't have the 100% opacity on my brush. And now I'm just in a situation where some of them is halved and some of them is full. So I'm just looking for a solution to quickly remedy them. We're then just going to add a paint on top of the colour luminosity. And this one we're going to make sure is 100% white so that it pulls all the way through, we're just going to use this as an eraser to erase back into the shape we want. Essentially, just repainting it, but just making sure that everything is 100% opacity so that we can use it as a cutout mask later. And then we'll just add some damage to the left as well, because we lost quite a bit of damage with the colour luminosity mask now, so we're just going to paint anything that we felt we've lost. And then we're just going to make a paint layer that's subtract to subtract these little specks of paint in the metal on top here. So we're just going to that subtract with a white brush, paint those in. And just doing the same for these big splotches on this side as well. We have a bit of an edge line here. So it's going to make sure that this edge line is a little broken up as well. So it just painting in the normal paint layer. We can just paint over this one just to tone it down a bit. We'll do it with cement just to make sure we don't do it as abrupt, that it doesn't look as hand painted that we just get kind of a grungy feeling on how it's worm. So it just looks a bit nicer. This will I'll just let up the whole kind of paint two metal thing quickly. They're just everywhere using the cement brush to make sure that we're having a soft fade from paint to metal in some places. This kind of it's worn, but it hasn't worn all the way through or it's just slightly damaged. Or we just remove it completely. It's just a bit of storytelling to show that there is a use on this machine and not just it hasn't just been here in preceded condition. M. Then we're going to go back to the paint normal inrozma we were. So now you can see that this kind of white well, the specs are only on the white paint and not on the metal. So that just shows us our mask is actually working now. So I tried to just pull in the levels. But obviously, it won't work. It's on base color. If we go to your height with levels, it might work, but we'll also pull the paint with. So it's going to make the I don't really work doing it this way. We need to make the layer, a fill with height. Then just add a black mask that is the noise color. Here I'm trying to fix it in a different way, but we're going to just create a paint layer with a height and then a black mask that's then a fill. So here I just change it. So here I make a mask on the group rather than on the layer itself. So I'm going to add a fill anchor points, the white paint mask. So instead of the layer, but just do it on the group so that we can have multiple things inside here that we can use. So now you can see we have this paint normal on only where we want it to be and now we can add a bumps height. But anything we add in this group will just carry over to be where we have it in the mask. So under now the bumps height, we're going to make a layer with a fill with a black mask, and then a fill that is the bumps. We're also then going to add a paint color in the same layer. So in the bumps height, we're going to set the height up a little bit. We just want to get this nice noisy texture on the actual body. We're going to change their paint color to white as we want it to be? We're then going to adjust the height of these adjust the balance or the height of the bumps to be a little less. We just want a kind of a stucco finish on the actual paint for this. So it's something like that. Barely visible, but it'll just catch the light well. So then just looking at it from far away, just making sure everything looks fine. So just adjusting the height ever so slightly. Something like that looks good. We want to be able to see it, but also not see it from far away. It's more of when you're close to asset, you just want to see what it feels like rather than it is a case of you want to be able to render it from far away. We're then going to add a paint color variation here. I was going to say this to triplanar. So I was going to find a nice crunch that fits this well. Add a filter gradient. So we're going to make this red, blue, and greenish, just to make the white a bit whiter and just to bring kind of the blue and the green will stand out to the pink will kind of sit back, but it'll just help a little bit. Then just going to set this to overlay and make it very light. So, something like that, you can just barely see it, but it is diffinitly there. Then we're going to add another fill. Sorry, not here, we're going to add another full layer. We're then going to call saturation variation. Remove the fill in this layer. We're going to add a new layer and then just call the saturation variation. We're going to do this 100 times, apply the same thing. Every time we go to a new material, it's always color variation, saturation variation and roughness variation just to make the base color feel a bit more interesting. For the saturation variation, we can use the grunge cobwebs again. On white, it is quite difficult to get the saturation variation to look interesting. So what we are going to do with this is we're just going to keep it on normal but set it to something like five. You can see that there is some variation, but if you go any higher, you get very dark grays and very, very dark grays and whites, so it makes the acid feel a little dirty. So I found that sticking to just a saturation variation with a very light one is quite nice. Then under the roughness variation, we're looking for a roughness that has quite a concrete feeling. It has to be rough, but it doesn't need to be the most shiny or the most diverse acid there is. It's kind of a boring paint. It absorbs roughness. So we'll just go over this grunge concrete. Looking at it from a lancing angle, we can see that there's some difference, but it's not a lot. We'll probably end up making this paint shinier depending on what our balance looks like in Marmo. But for now, we're just going to keep this and probably add another variation. So you can see playing around with the balance, how we can determine what the feeding here looks like. I was going to make it a bit more intense and then set this to overlay that we're overlaying this on top of the roughness of the paint already that we can adjust both of them at the same time. So something like that will be good. We're also then going to duplicate the bumps. We're going to call these bumps large, so that the paint isn't always extremely uniform. So with the bumps large, we're just going to have an interpolation between the two, which means that we'll have some of the small, some of the large. And it's just to add some visual interest to how things look as well. Supposedly I said this to a tiling of four and then just use the purple spots as the mask for this so that there are little islands of bigger splotches of the actual paint. You can see now that there are little areas where it feels like there's raised paint as if the white paint was raised to begin with. So then just going into this paint into the white paint. Just want to make sure that the damage on the bottom right here just feels a little better. Just don't want that kind of sharp point. It looks a little better if it is a smooth point there. We're just waiting for substance to load again. On the keyboard body, we have an unnamed folder, so we're just going to haul the bumps so we have a place to manage all our bumps. We're going to add another fill there and just call the saturation variation again. This is just so we have another saturation variation. The first one we have is very light. We just want to have something that paints that saturation in a little more. So for this, we're going to use a dirt scratchy or like a fingerprint scrunch. Both work really well. Cobwebs could work as well. This is the same one you used earlier, but let's try a different tiling on it and just see what works on it. Well, let's say this to normal to five, maybe to three. It's just a different tiling, it adds a bit of a different saturation variation. I just makes the paint a bit more interesting. It is white, so we don't want pure white. Pure white is quite abrasive color because it's just plain. So we're just looking to make it a little bit more interesting this way. Then we're going to add ambient dirt and a generator. Well, we're going to add a black mask, we're going to add a generator, and we're just going to invert the ambient ilusion. This is just so that we can get this black dirt into all of the spots we want it to be. Is going to have to be careful with the balance here because there is quite a lot of ambient illusion on the left ear because the texture set one is also influencing these. We just want to make sure that we don't get a overflow of air from the left hand side as well. We're then going to add a full and just add a white noise and subtract so that the AO isn't as machine accurate, but it's just torn up a bit. It feels more like ambient dirt than it does just feel like ambient elusion. So it's just something I like to do just to break up the Ao if there's quite big pieces because on the left hand side, we have quite big pieces. So we just to make sure that they're dithered away and not as rigid. Also on this paint, the normal subtract does make it feel like the paint is subtracting from it, as well, which is also quite a nice look. I want to make sure we have some A around this returned coins piece here at the bottom as well. Then we're going to add another fill layer. We're just going to call it this edge height. Highlight sorry. Gonna make this black add a generator, add a curvature. This will just be to make the edges a bit more interesting, just to make the bottle look a bit more interesting. Maybe edge way because it's not going to be white. We're going to make it a bit black. So we're going to add a very, very slight black line that has just a curvature mask. So you'll see that this makes the edges just ever so slightly darker. This just adds some visual interest and just tells your brain how to read the bottle. So you read light first, then dark. So it just pulls out the edges of the bottle quite bit. So I'm happy with how that looks like. Just taking what steps should be next. So I see here the metal edge where we had earlier is wearing this piece quite a lot. But in the first place, this piece shouldn't be white painted metal or white painted. This should just be the steel from the bottom. So this should be shiny metal. So this needs to be actually removed from the bask. Now, we're just going to paint out the edge here. Later, we might change this shiny metal. We'll just see how it feels. We'll just use a cement again to bring this in. We might leave this white painted, but I think we will change this to Sinus. I just want to make sure that whatever we pick is right. I think the reference is stands, but I just want to make sure that we clean the paint up on this side because I haven't focused this. Just looking at the reference. So look at the reference. We can see that this is a stands piece, looking at the phone, seeing what the roughness of the phone feels like and so on. We're going to go to the black plastic because that's where that only applies to the phone as far as I'm aware. So on the phone. Here we're going to make the roughness a bit more shiny. It's quite a reflective phone. We can kind of compare our skybox to what the references looks like to see how dithered the light is that comes in. So we're going to make it a bit shinier, we're going to make it a bit blacker. We're going to add a full layer called color variation. Going to grab a grunge. It's quite an intense scrunge, but wood would work. It's plastic, so it's kind of a little inconsistent. So we're just going to make it a bit blue, a bit reddish, bit greenish, maybe. Something like that. That looks cool. Then we can just change this to overlaying. On black, it's very hard to see. So we're going to make this like a 15. We want a bit more extreme color variation here because on a black acid, it's really hard to see. So we're just making a bit more intense than on the white ones where it's very, very easy to see that color. We're then going to make a different layer called saturation variation again. Then in the color, we're going to add a grunge. Grunge fingerprints could work quite well for this or grunge wipe could work well. Something that's a little dusty. So this feels very people have touched this and that's fingerprint dirt that's over it. Just looking for a layer that fits. I said, it's hard to do this on a pure black as well. But something like this, subtract works quite nicely. We'll then do this at a 40 percentage, 50 maybe. We just wanted to read that there is a variation from a distance. We're going to add a roughness variation as well. In the roughness variation, we want something like this concrete. This does make it feel very much like a rubber phone. So the difference between black plastic and rubber is just how the variation reads. So we want to make this roughness variation quite tame. And I think we also just want to add a generator and pull this into only the amen ilusion so that there's only this wear in the spots where it'll actually wear and not on the kind of top pieces. So in the ambient ilusion, making sure that it's only on the pieces that would be in direct contact with other bags or your shirt or whatever, something that may holding the phone would touch you rather than just the thing touching your hand, which would be smoother than the rest. So something like that looks quite good. We just need a normal roughness variation for the back as well. To use something a little splotchy. I'm not sure which one I like here. Now we've used that too much. Do you like the concrete? It's just a bit much She's, maybe let's use this one. So dirt scratchy. Let's make an overlay and 25%. So here you can see it breaks up the light. You get a different view of the light when it goes into that roughness, and it just breaks it up enough that it doesn't look plastic, it doesn't look artificial. It looks like plastic that might have been in the sun for too long or it's just a bit old. So I'm quite happy with that roughness variation. We're going to add an edge shine. So the edges of this will be quite shiny. Human hands have oils that do rub off on plastic, so the edges of this would be shiny. It's always good to think about the story telling of assets. So we're just going to add that in as well. So that's got a good curvature to have. You can see it's on all the high points of the curvature. Then add a fill and just make it a crunch so that we just want to break up those perfect edges. I would soon make sure that they are a little bit brought back as well. To here you can see they are a bit rougher edges now. Then we can just pull back the color on this I can make it maybe a 25. Let's see what that looks like. It made no difference. Strange. Ist lading. Maybe we're going to make it a ten. Here you can see it's worn, but it's not extremely obvious. I still looks good. It just has a bit of character on the edges. We can then increase the rough to say tiny bit. I just checking from slanting angles, what it looks like. This bottom piece is still a little shiny. It needs to be more of a it's not really plastic. It's more of a rubbery kind of thing that they have at the bottom. So we're just going to edit that as well. But just balancing out a few things on the phone, the roughness, want to make sure that it's still get that nice shine, but we just get some variation. On the reference, we do have quite a harsh variation on the back of the phone. So I just want to make sure that we emulate something like that as well. We're going to add a new fill layer. We're going to call this AO roughness. Is going to add a roughness to all the AO. I know we've already added the previous dirt to the AO. This is just a general AO dirt rather than a grudge ao dirt, just to make sure that we get a variation from the inside to the outside. This will just make it rougher where the plastic would be scuffed. Just need to balance this out not to damage or not to change the shine on the back of the phone. Is that something that's kind of iconic of these phones? Balancing out the roughness, maybe roughness variation, too, we can go to 20 to pull that in a little bit now that we have the AO dirt on top, as well. I think that about does it for the phone for now. So see, this bottom piece is rubber. So I think let's approach that and maybe let's do the cable. So to start off with, we're just going to go to our black plastic. Gonna add a full layer. Who's going to call this rough rubber. This just shows that it's the bottom piece and not the plastic on top. Who's going to fill that in. So for this piece, we're going to go a little rougher and more rubber like than we did on the phone. We'll copy a color for the phone, but we're going to make it a slight bit lighter. Lighter orange. It's like a faded brown type of thing. Here we can push the roughness up a little bit. We're just going to call this layer base. We're creating a new base color. So we're just going to call this base. What we're going to do is we're just going to copy the variations from the phone as well. And then we're just going to edit them from there. We're going to copy color and saturation variation over and then we'll make a new roughness variation here. We're going to add a roughness noise rather than a variation here because we want that kind of feeling white noise on this. So then we're going to add a black mass to that. Add a fill. Just make that noise. We just want to have a high tiling. We want to have the noise break up the light, but not get in your way as it reads and dots. It's not like that's good. It's still a little shiny, so we're going to keep going more rough with it as well. I think the color is too pronounced we might make it a bit darker. It's adding another AO roughness to this as well, making sure this is quite rough, adding a black mask, at generator at AO making sure it's where it connects to the phone that it's much rougher than it is anywhere else. So you can see in mask, you can just see where that applies. It'll just apply over the back of this where it touches the phone and where it's the closest to the body. Something like that looks good. But I think the color is a bit dark, so it might just pull the colors lightness up a bit. This will just cause a better separation between the phone and the clip. Even lighter, I think, lighter, less saturated, perhaps. So here we also see that this piece is metal, not paint. The paint looked okay. The problem is now we have a extremely stark white clip against the completely black phone. I think the metal will just look better here. So just going onto the phone keep at bodies group. We're just going to deselect this actual clip here and just make sure it doesn't carry from this group at all. We're then going to go to the shiny metal group with a white fill in its mask and just make sure that we white fill the shiny metal in here. And then also want to make sure that the top dots don't come across to that asset. Now, looking at this phone cord. I was planning what material we're going to apply to it. So we're going to look for the phone cord here. Going to add a fill. It's called base. So we'll make a group for the phone cord and I think we put it under the metal, but it's not exactly the metal. It's more chromium. So we're just going to make a new group for it, and then we're just going to fix this one height. You can see that the link doesn't connect correctly. So we're just going to look for the phone cord height and just adjust it ever so slightly so that the link connects all the way around, and we have a full spiral rather than the half spiral we currently have. So we're just looking for the best way to do this. So if we push the rotation up, you see that we have a tear at the top. That is because in the UV, the plane is now rotating out. So the only thing we have to do for that is we just need to go back and make sure that the actual plane is long enough to fit that. I mean, we just need to fix the thickness to be the rounding again. So that just fixes the rounding. It's an unseen place, but we just want to make sure we keep everything correct. Then going back to our group that we created for the phone cord, we just want to add color roughness and metal to this, and we just want to make sure that this is black masked only to the phone cord and that it doesn't affect any other parts of our model. The phone cord is quite chrome, but it has these black dirt inside. So we just want to replicate. Under the base, we're going to go full metallic. This will just give us that chrome feeling. Under the base color, we want to go quite bright. This will just give us a better, cleaner chrome. Then we'll add another fill layer. So this is like to darken the inside, call it cord inside darken. We're going to make this black and full roughness. We're going to add a black mask to this and add a fill. We're then going to apply the mask of the phone cord that we have, which will then just give us that, but we need the inverse. So we'll just add go to levels, just invert. So you see now this gives us the black lines on the inside. Then going to add another f layer, call it color variation. Hide everything except color. I'm going to add a grunge. I want to add quite a high noise grunge here just so we can make sure that we get that we get a lot of detail in every spiral because a big detail would just look blurry. So again, because it's metal, we're going to add a blue color variation. Go add some green, we're going to add some red. It's just a thing I like to do for metal. But then going to again to overlay on 15. We're on roughness, which needs to be on base color. So we're just going to make the overlay to 15. And that'll just give us some nice subtle color variation. That's very subtle, but it is definitely there. It just changes the coloror so slightly. We're then going to add a saturation variation. Same as with the color. We're looking for quite a high noise dirt, high noise grunge, I mean, 'cause we want to have multiple details. We don't just want big splotches of detail. Something like that is good. Now we can just go through the layer stack, see if something fits nicely. Color is peaking out a little much if we zoom in, so we can just change the color to ten. We then add another layer called roughness variation. Make sure we're only affecting the roughness. Add grunge concrete at eight. So if we then go to roughness, we can see. So black will be the most shiny, white will be the least shiny. So this definitely leans to the more shiny side. And we also have those black lines on the inside that make quite a nice darken inside. So then going to add a roughness noise. Just to give it some feeling as well. I find on shiny metal, if it's just shiny, it loses a bit of its character. Adding a very, very slight bit of noise just makes the metals diffuse of the light just read better. Something like that looks quite nice. We're getting the black lines, we're getting the chrome, we're getting some color variation, some saturation variation. So the phone cord does look good. Then want to add a new base here under the phone cord? We just want to call this keypad metal. So this isn't to do with the phone, but it's just to add the metal. That's like a brushed aluminum on this brush steel, probably on this keypad. So we're just going to add a base and then make a group, and then that group is only going to have a fill for only this face. So not for the buttons or anything, just for the back face. We can see it's quite brushed. So we're just going to have to do that, and it is quite dirty on the side, so we'll just do that as well. It's under the base, we're going to activate color and metal. Gonna make sure it's fully metallic. It is a metal. So if anything is metal it's always 100% metallic. Then we're going to add some roughness. We want this to be quite shiny. This will be one of the main parts of the face that catches the light. So we just want to make sure that we have quite a bit of catch here. Just looking through the basic substance kind of materials here, there should be a iron, not grainy. There is a brushed iron here. There we go. Iron shiny is the one we're looking for. So instead of doing the base, that way, we're just going to drag this iron shiny up here and just go to use this as the base. So we need to set the tiling up. We don't want it to be that intense, and we need to write at it. It'll be brushed horizontally, won't be brushed vertically. So we're just going to write at that by 90 degrees. Something like that looks quite good. Now we can just start fine gini, what we want to do. Maybe maybe we want to set it to eight to make it a bit finer brushes. So something like that will be good. Then we can start adding the color variation. For this, we want quite a rough grunge. So maybe something like leak dirty. This typo, it does feel quite good. You're going to then add a filter, gradient, change the three colors, just to red, blue, and a little bit of yellow perhaps. We're then going to change the base color to overlay and to 15 strength. So it makes a nice difference. Maybe ten can be better. It is quite white, so we don't want to go to overboard. We want to make a saturation variation layer then. Add a grunge. Grudge carbs could work. We just need to write it at 90 degrees, so it looks like leaks rather than it does, just stripes. So I 17. 15 Material Refinement Part2: In part 15, we're then going to continue the material refinement. So we're going to start with the little information sign here. We're just going to define what this metal here should look like. Just making sure we're in a correct position, making sure that we isolate the texture set two, which is the internal assets. It'll take a bit longer to load when we work with so many height masks. So we'll just give it a bit. There'll be some loading times here and there. But we're just going to work with it and just continue through. So we're just unhiding hiding the black plastic mask just to see if it's in here, but I think it is in a group called information sign. Just want to confirm. So it's in this group. We call it Black frame in the planning. So we're just going to then do all of the changes in this group so we already have a base. It's already a nice gray color. We can make it darker. What we do see here is we see a lot of stretches. We see some dirt, we see some edgeway. So we're just going to add all of those kinds of things. But first, before we start anything, we're just going to add some variations. We're just going to make this a bit darker. So we're going for a base of, like, a dark bluish thing, just to give some variation to the kind of gray blacks at the bottom. This will just make things look a little better. I was happy with that. It's going to make it a little darker. So just checking if that is a nice color. If it's not too blue, we'd want to go make it look like it's blue painted metal. Then I want to add some metallic. No, no, actually this won't be metallic, sorry, I want to add some roughness. I just want to make this kind of semi shiny. Something like that. Maybe a little more this way. That should be correct. We just want to catch the light nicely in that corner. So halfway. It's not rough, it's not smooth. We're just going to add some variations. It's just for the base. So we're going to add a fill there, call this color variation. So because this is a thin frame, we're also looking again for a very repeatable variation here. So we're just going to go to grunge. We're going to use those cobwebs. See what that looks like tiled many times. It gives this guy a nice streaky texture. So it could be good for this. It kind of streaks down the thing. So we're going to just use that, apply gradient to it. We're going to add a bit of green, add a bit of blue, maybe some red. Something like that should be cool. Adding the overlay at about an opacity of 15. So this very subtly changes the color. Inigt add a layer and call this saturation variation. We're going to color, and we're just going to make this a grunge. Grunge concrete works quite well for this. It'll just give some streaks and some more interest in the corners. We're just going to make sure to also set this to triplanar just to get rid of that bit of a seam. And we're just going to rotate it 90 degrees to run with the color variation we applied as well. We're then going to go down the layer stuck just to see which layer makes this saturation work the best and just kind of separate the white from the black. That's quite subtle, but we're getting a bit more black from it. We just want to tone it down. I don't want to add too much and get into the realm of jet black, which is very unfatalistic. So something like that, it still keeps its color, but it has some variation to have some interest at least. We're then adding another layer just call this roughness variation. Going to make it only affect the roughness channel. We're going to try this grunge concrete dirty. It's a bit of a rougher grunge, but this is quite a damaged piece, not a damaged piece, but a dented thin, cheap little piece. So we just want something that shows that just have a surface texture just kicking the light a bit more interesting. We're going to add a roughness noise as well to this to give it some feeling. Add a black mass to this noise, add a black mass to this layer, add a full and add white noise. We're then going to just tile that by about eight. We want a very, very fine noise here just to give it some feeling. I'll just play around with the parameters to see what we can see. In the white noise, we might tie it to just four. Still not seeing as much as I'd like to see. And we play around to the balance, play around the roughness a little bit. It'll make somewhat of a difference. This grunge roughness might still be a bit much. So we'll just go back to the grunge roughness. Let's set that to overlay to see if that tones down a slight bit. It's going to make that about 80% just to tone that roughness in a little bit. Maybe 50. Well, 60 will work. Then going to add another layer, just call the edge lighting to have some curvature lighting on the edges. This will just be where the metal has worn the most or has just taken the most sun damage. So we're just going to change this balance to be on the edges. So something like that where it's just sitting nice on the edge. I'm just going to use this to lighten the color. It is a bit straight right now, so we're just going to add a full grunge that we're going to then set to subtract just to break up the noise and to make a more of a jagged edge. Once we've set that to subtract, we can just tile that more, and you can just see we're breaking up this edge again. So just something like that. You get a bit more. I just increase the tiling, as well. It'll still portrait it a bit much, so I just want to see if we can maybe break it into different segments that we don't just have one continuous line because we don't want to just make a frame around the piece, essentially. Once we've got it broken up, we then just want to change it to a 50 in the base color just so that we lighten the color. So not in the roughness, we just to go to the base color. We just want to tone that down. So we just get a few white specks, but we don't actually make a white border per se. So something like that, where it just lightens it. So now we can play around this value again. It's a lot of back and forth just to get the right feeling in this. The color is still a little intense. So we're going to go maybe for something like a five So that's balancing it out to where we're happy with it. So this just gives it a more defined silhouette looking at it from the front, well, not a silhouette, but just it separates the shape better from further away. Well then just going to make a new folder called color and we're just going to add a iron shiny at the bottom. What this will do is we're just going to chip in a few places with the color so that we can reveal the iron at the bottom. For the base of the frame, we're just going to make the metallic zero. This will just allow us to not see the middle of the back. I also just want to see if we can get rid of this normal. We don't particularly want the brush metal normal to come through. So we're just going to put the iron on top and just make a mask. And we're just going to use an anchor point then to bring that metal through. Here we're just going to use the middle edgeway to add some edge damage here. Turning down the wear level very much and the wear contrast a little bit. We're going to up it a little bit just to get a sharper edge away. You can see if we go down in the war level, we're getting tiny streaks of little damage, which of what we want. We don't want a frame around it. So we're just going to play around with the contrast a bit and then just the war level to a point where we're having segmented little scratches rather than one line. We don't want to go too overboard with this. We want to match the damage over the whole asset kind of well, so we don't want to just 100% add around it. So we'll just do it until we have a few little stripes. Even something like that could look good. Add a little minimal. Just keep checking with how it looks as well. We're then going to add a color mask. That's going to be called, we're going to add an anchor point that's called color mask. But then going to add a fill and fill that with the anchor point of color mask to the metal So now you can see the metal will show in this gap here. The middle edgeway is doing something weird up here. So we're just going to clean that up quick. In the base of the metal, we just want to set the height up. So you'll see that that'll make it feel like metal sitting pain sitting on the metal. But we don't want to do it as intense. We just want to do it a very slight bit. So just something like that, that it just feels a slight bump over the metal. So the middle edgewar is doing something quite strange here, might be the mask even. Just seeing what's causing this bug now because this is not what we saw. Moving the iron shiny to below the paint seems to solve the problem. It seems about fine. But then going to add another full layer. Let's go on a height. And is going to call this peeling noise. We're just going to add a fill with white noise. Add some heights to this. This will just show some paint peeling away. Oh, sorry, sorry feeling noice. Not peeling noice. It's just gonna add some feeling to the object. Thinking about a different step. We just want to make this like what a big noise so that it's in the actual normal, not in the roughness. So something like that, just to make it feel a bit more like a powder coated type of metal. Just a bit more interesting finish than just plain metal. Plain paint. In the base, we can probably lighten it a bit more just so we just keep our darkest point a bit lighter than we normally would. But then also get unhigh tissue set one just to compare again to make sure everything still looks fine. We might actually start on this back grid, seeing what a good next step would be. So we're going to hide the texture set at two. So in texture set one, I think it's time to start on this back grid just so we have a canvas for all our assets to lean against and to match a color with better because we're having a lot of white in texture set one and a lot of color and texture set two. So it's always good to just interplay between the two sets as well rather than just focusing on one exclusively. So Itaso set one, we're just going to the group called Grid. After it auto saves. Once we're in the it doesn't seem like there is a group of grid. So we're just going to make a group called B grid. Gonna add a black mass to that, and we're just going to highlight the B grid, filling it by face. But then you're going to add an iron shiny to this as well. We just want to see if this color lines up with what you're looking for. Then you're going to delete the base and just call the on shiny the base. Up the tiling of a slight we're just looking for some interesting patterns. It's really hard between all the little holes, but we just want to make something interesting. So we're also going to add a color variation, obviously, and we're then going to do this with a larger grunge. We want quite big streaks. We want nice slotches of color. We just want to have a big variation. You won't see it up close, but you'll see it from far away that it's just a bit different. There's a lot of tiling in this. So we just want to make sure that we don't pick that up of the color variation. There are some acids in the way, so it's not really an issue. I was going to add a gradient, change the three colors again, use a red, a blue, add a green, Other than just looking up close, we change this to overlay, change this to 15. It's the general setting for metal. So you can see if you squint a little bit that there is now different colors. It's very hard to see or rip. But you can see the further we go away, the more you can see it. We also just want to make sure that doesn't look like a clown car. When you go far away, you can immediately see the colors. But then I want to add a saturation variation as well, making sure to also keep the big strokes in We're just going to use this concrete for them. We're just going to look for a place where the saturation just lays nicely on the grid here. Something like this where it adds some black detail is quite nice. Just go to hide it and unhide it just to see what impact only that one layer makes. And we're just going to change it opacity to something like a 50 just to stack on top. The color variation at this point might be a bit much, so we're just going to tone that down as well. As let's just finish the roughness variation just to confirm that that's to a point where we want it as well. Make it only affect the roughness. Use a concrete again just to get some nice soft dust dirtish type things. Here you can see where the roughness is. It's just a quite cloudy back grid. It's a flat plane, so we can play around with the variations quite a bit more. So just seeing how the backroad looks and what kind of damage it has on it. I'm just going to tone down the saturation variation a slight bit. We're just playing around with values to see what looks the best here. But then also going to go to roughness and just tone down the roughness variation. Then going to add another fill layer in color. Make this black. We're just going to call this AO dirt. Then going to add a black mask and we're just going to add a generator called amen illusion. We're going to need to invert this. So now you can see it just goes around all the objects. We're going to play around this balance just to get it a bit more. Make items on top of it just feel more grounded to it. But then going to add fill, It's going to add a noise. I just want to make this feel like dirt again. Done this previously, so we're just going to make this noise subtract. It just makes it feel more dirt like than just Ao like. So looking in the mask, you can kind of see what it's doing. And this combined with the grid will just make it feel nice and smooth and natural rather than just black. So that looks quite nice. It just gives a bit of a bitter pop. The color variation is definitely way too strong. So we're just going to go to color and toe that down until we can see the kind of pink splotches from far away. We want to be able to know they're there and to think we see them, but not really see them. So we're just going to tear that down. We could also make the grid a little darker. It's challenging quite a bit towards the white of the keypad body. So we just want to tone that color down a little darker. Then I want to add another full layer. It's what I call this top dirt or dirt top. In the air, I think let's just throw some roughness in before we do the top dit. So this is just to make the roughness variation around the assets look fine, as well as if there was just dirt around them. So we're just going to up the roughness before we add the top dirt. Otherwise, we're just going to go back and forth to those as well. For the dir top, we're going to add a black mask, add a generator, and add a position. We're looking for a nice gradient from the top. This will just solidify that the roof is throwing down dust and it's darkening the metal over time. If something like that position looks nice, just want to make sure that it's balanced correctly. We're just going to change to a reddish rust type color. A lot of rust will be coming from the top down because there's a lot of water sitting in that channel at the top of the grid. So we just respect that and make it come through a bit. Just want to copy this reddish color to the Ao dirt, as well. So it's not 100% black. Very few things in the wall are 100% black, so we just want to have a bit of a better color way there as well. Just looking at some of the damage that's up here, you can see that there's a place that they used to be a poster. That's where these holes came from. We're just going to honor that from the reference as well, and we're going to add a fill. Make it only affect color, make it 100% red. This is just to see what we're doing. We're just going to call this old poster base and name the folder old poster. For this is going to be the old poster dirt and we're making it 100% red. We just want to see what we're working with and not worry about little values. We're then going to use a square just define this. A rounded square might work well. The poster in the reference is rounded a little So maybe this shape square shaped square squeeze. So you're going to make this warp projection so that we can project it straight onto the mesh. So then you're gonna push that in and just scale it down. So with this, we can pretty easily place it up here, and then you can just play around the hardness of it. I was just going to scale that down vertically and then scale it horizontally as well. We just want to make sure that there's enough perches for the screws to have gripped the poster as well. So if you up the hardness, you'll get more defined lines around the edges. So now that we have a more defined square, we can then duplicate this and set it to subtract. This will be used to make the outside line going all the way around. So here you can see we have now outside line because the square is just subtracting from itself. In the reference is kind of a double line, so I'm thinking we're going to do this again. Do we just want to scale this up a bit to make this line less defined. Do we go to duplicate both of these? We're going to hide the top one? Oh, sir, scale the top one in, but we just want to get it out of our way so that we can define the inner rectangle as well before we actually carve into it. So here, see, we can just see the line of the new one now. It is replacing the square at the back, but this is just because it's currently set to normal, and we just need to set this layer to linear Dodge AD. So here we're just going to change this to linear Dodge ad. This will just make sure that both of them gets added. Because if it's a normal, one takes the place of the other. Then the inner rectangle, we just go to scout down. So here we get that kind of double line we're looking for. I just want to make sure that we get the thickness of these two lines that we want. Then we're going to add another fill. This will be to chew up the lines a little bit to not make it feel as machined. So we're just going to use a grunge and subtract for this. I'm not sure what happened there? It's 'cause we're not on procedural grunge, so just actually take a texture grunge not a random grunge. I won't know why this box resets. So just to type procedural texture here. We're just going to a procedural grunge. And we're going to go to this grunge concrete. And we're just going to use this to chew up the edges a bit here. We want to make this look like there was some place where the poster was touching the grid, and water leaked onto it and it leaked onto the grid. So we don't want it to be too stark. We just want it to be a little kind of where I was following the reference. We're just going to balance it on the red color, and then we're just going to make it a softer dirt color that'll just fit a bit better here as well. We're just playing around at the grunge. We just want to get an interesting shape here. It's not a hero piece, but it's very in the sight. So we just want to make it look believable. So something like that, is quite nice. I feel the corners are a bit sharp, so we might try to smooth those. So everything can also change this, subtract a tiny bit. This will leave lighter marks where the subtraction is and then darker marks where it isn't. Then we're going to just change the color to something a bit more dark and a bit more realistic. So going a bit of a darker black here, adding a color just to the gradient, just to make sure that we have some interesting colors rather than just one solid color on this asset. On this piece here. We're just going to add another filter in this HSL, and we're just going to tone this rate down by pulling the saturation way down. And we're going to make sure that the base color of this layer doesn't go very intense. So we're just going to pull that down to, like, a six dish. It's a it used to be very harsh dirt, but now it's kind of a softer dirt. So we're just looking to emulate that feeling. We're also going to add a filter to the poster dirt here. I'm just going to add a contrast node. So the contrast node will just make it feel more like torn off tape rather than a kind of a soft edge thing. So it feels more like something was stuck. Then just playing around with the did. So looking at it from far away, we just want to see if we can see a nice feeling here as well. So something like that. It's a bit lighter. And it's just a bit nicer. Then we're going to add a leaking dirt, as well. And we're just going to make this dark and a bit rougher. And we just want this to be so we want to grab a stencil for this. So we're just going to grab the same stenel we use for the rest. Now, we're going to add this on top. But there's a real good leak here. So we're just going to use the other one and just grab these leaks here. So we're going to add very heavy leaks here that we're then just going to chop into a lighter with a lighter stroke opacity. Mm hmm. And then we're going to add some speckles here as well. Just to give it some more interest here. And we're also going to add some leaks and just dust and rust around some dirt around the screw holes here as well. Okay. I was just going to do this for the bottom screens as well. I was looking for other places that we could potentially add leak dirt here. So this corner would look quite nice up at this corner here. Mm. Something like that. This is very intense, but we're going to chop into this quite heavily. And now we're just going to use a low stroke opacity and just start wiping away some of this dirt. And we're going to keep some of the corners just to make sure that the leaks look like they come from a certain space. And then we're going to add a grunge at the back here as well. I go to add a concrete. This is going to be just for some more dirt at the back here. And So then we're going to paint this scrunch over where the poster is. We're then going to add some rust wear off. So this is going to be a leak from the rusty acids touching well, the rusty pieces touching the back grid. So the water would have run over the rust and then carried that rust through over the grid with it. We're going to use the cement brush to just brush this on. Rust might be a bit dark, so we might just add this color up a little bit. This is going to make this a slight bit more orange. Now we're going to go very low flow. We just want to have the color pop a little bit, but also not too much. We're just going to make this leak quite far down, and then we'll just bring it back by going to the black color and just erasing a little bit of it. Just making sure that we do this under all of the little rust pieces at the bottom here. And also around this screw hole because there was once a screw, the screw had rust on it, the rust leaked down. And we just want to carry that kind of storytelling through to the other bolts up top here as well. Waiting for the sieve. And So if these top bolts, it wouldn't have leaked super far and we don't want to make all four leak down the exact same amount. So we just want to have a bit of a variation between all of the things here. So this top corner, maybe some rust also spewed out here and the water leaked against this edge. It'll help us define the left edge of this asset a bit better as well. So we're just going to paint some rust on the left side of this as well. And then at the bottom of the black metal here, just to make it pull in this area a little bit more. So something like that, to create some more separation, just to kind of have some hand painted shadows on the back of some hand painted dirt coming through. It's just quite nice. So just looking at the dirt and the reference just to see if we can see anything interesting. It's only for the load. It really does cycle when you have this many layers. Mm. So we're just looking for what are we looking for? We just going to copy this ground ten over here. Then we're going to go to texture set one And we're just going to add the ground lighting and the grounded to the edge pillars here as well, while we're working in texture sit one, we might as well carry that over the grounded is matched from acid acid, so we're just going to make sure that we get that same dit around the bottom of the feet here as well. Also, actually, we copy the whole iron rough from the shiny metal we have on the texture set two so that we bring that through to texture the lighter metal on the outside pillars here so we don't have to redo the same metal where they're kind of just a slight variation of each other. So we're just going to drop that into the shiny metal on texture set one. And we're just going to adjust the roughness and the color to feel a bit better. So now I see, just because we copied that, we've already done the work, so we can just get a very quick variation here. Just looking what other changes we can make. We're then going to duplicate that to the light metal as well, and then just again to change the values there for that as well. So we're just going to make this a bit darker to create a better separation between the two. I'm just going to make sure that the wipes and the roughness just match as well. Just checking to see if the color variation matches here as well. I was going to up the amount of the tiling on the dirt here. The details feel a bit large. If you consider how large this is towards a person, it feels like it's quite a large splotch to have on something like this. So we just want to have it a bit more on a widespread, we don't want to up that. We just want to make this roughness variation just a tiny bit less obvious. We're closing that just go into the dark metal. We want to paste the roughness into the dark metal, as well, and then make the base color quite a bit darker. We just want to create some kind of visual separation between the two. So just checking to see how they kind of stack up now. They look similar enough as if they're in the same weather. They're just a smart reuse of masks we've made, and we've already gone through the metal creation process. We don't really need to do it again. And they were going to mask the dark metal where we want it to be just with a black mask and then painting in the areas we wanted to keep. Uh huh. Then we'll also go to this rubber. Just make sure that the mask is correct. I know that we did mark this previous in the previous sections. So substance does have a rubber dry that we can use. I think rubber dry will look fine here. This is a very small piece. So using a non edited substance, material here would almost be fine, but we just want to maybe edit it a bit just to make it feel a bit more interesting. We also need to move this maybe above the shiny metal because I think shiny metal bask doesn't include the rubber. Yeah, that seems to be the case. So the shiny metal is blocking the rubber because it was grouped under it, so we just need to group it out of that as well. So we're just looking for a black line. It already has the little white edgeways. So that's nice. This one take topia. It's a nice feeling. It's a nice little edgeway. So quite happy with what this looks like so far. So just in the dark metal. You might want to make this even a bit darker. So I'm just basing this off of the metal that goes around the rubber. In the reference images, they're kind of the same color. So we just want to see we want this kind of charcoal gray. I don't think we'll go that dark, but we'll match it pretty closely. So I think we're going to lighten the rubber a bit rather than making the metal darker. Having two dark metal just feels strange. So we're just going to find a good balance between the two. This backblade has gotten all kinds of wrong just because it's carrying the shiny metal over a bit now. It's completed the wrong direction, but it's not something we focused on, so we're just going to edit that a little bit. Why it's being affected by just trying to see so we're going to unmask the dark metal from it. Or we're going to unmask the back grid from it, so that it only takes the light metals variation and so on. In the dark metal, we're just going to pull this up because now it just looks like we have a black spot in the middle of these two white pillars. The variation is a bit much between these acids. So we're just going to pull that up a tiny bit to make it much better. This not changing color. It's just because I was changing, it's because I was changing the base and not the iron. I should really name the iron base if I replace the base because otherwise that happens. You try to change the base, but it's not actually the base. So we're just going to change the base color of this iron rough here. We want it somewhat darker. We just don't want it to be such an eyesore and a full on darkness variation between the two. But Something like that looks quite nice. You can see the separation, but it's not an eyesore between the two. So going back to the rubber, we're going to maybe tile this a bit more. It has quite a heavy splotch in this one corner. So we're just going to go to the mask editor here and just make sure that the balance is set a bit lower. We just want to get rid of that little bit of a splotch on the corner there. Because then you're going to add a fill. It's going to call this color variation. G to go to color. Let's get a grunge and we're going to have to tie this quite a lot. Going to add a filter. Going to add a gradient. Then going to define all three of the colors. For rubber, you want to go a bit more organic colors. It decays like organic material, so you got to just want to make it feel like it's maybe not a very thorough mix through mixture of rubber. So just adding some organic colors very lightly helps quite a lot. Then you also want to add a layer that's called saturation variation. You're going to hear this a lot more because this is just the first steps to creating the base everything. It just adds more interest. Then just going to tie this quite high, maybe a bit higher. We want to create some variation, but we don't want it to be very, very obvious. Just seeing what will be the nicest look here. Rumma very rarely goes extremely white. So we're just going to make it a overlay at about 15, and that's going to be a very, very light overlay. For the roughness, we don't particularly want to go to shiny. So we'll just go with a concrete. That's kind of a neutral, just a variation type thing. We're adding We want to tie that quite high. Just check in the roughness to see if it looks correct. So, something like that could be fine. It's just a bit shiny at the moment. So, something like that looks good. Just want to make sure it fits a bit better with a middle. So, something like that is quite nice. I just want to make sure that we don't get a blurry roughness. Rubber can have some of a blurry roughness, so it's not too bad. So then just want to look at the medal up here and the telephone sign. And So maybe in the shiny middle, we should add some drips. We're just going to add a full layer here and just call it rain roughness. This is going to be the leaks from the rain coming down. Maybe that'll be a good one for this. The scrounge pebble spots could work quite nicely. So it just something to add some kind of rain spot here. So this crunch could work quite nicely, but we're just going to have to apply it quite lightly. Something like that could look quite nice, but we're just going to add a position to make it only apply to the top So it's cling around this. It's getting a little intense. I just want to make sure it's nice and defined, but just light. Just balancing it around again. So this overlay with a slight bit of opacity could be quite nice. So you see now we just get these kind of kicks of drops, not particularly the harshness we were getting. So here you can see we're just getting it. But it is still editing the roughness of the rest quite a bit. So I want it to influence the rest of it so much. I don't want the dots to be black, but the rest, it shouldn't make the rest white. I see if I play around the balance in the contrast. And Something like that is quite nice. I just want to catch that kind of glimmer of the little spots rather than just having a uniform gradient all the way down. Add a black colour. It could be the top ten that's messing me around a bit here. I think the top lighten in the global modifiers is adding quite a lot of whiteness here. I just want to see. You can then start on the sign up top here so we can see at the reference. We've got kind of a laced sign with some roughness on the finish. So we're just going to look for the group for that. So here under sine face, we've already applied a base to it. So we're just going to add a fill. This fill, we're just going to call black color. We're going to not use a Photoshop kind of fill for this. We can make all of this in substance. It's not that hard. We're just going to make this a black color. And then we're going to add another fill, and we're just going to make this a kind of dark maroonish color. I want to go kind of reddish orange somewhere like that. I'm just going to call this red color, add a black mask. We want to add a fill. Just use a square that we wore projection. We're going to search square. I'm just going to change the projection to planar projection, just so we can keep a flat line. And we're just going to look at the reference and take up the same amount of space as the one in the reference does, and we're just going to change the balance of the square to 100%. It does have faded edges. What is it? Okay, so it is also because it's repeating the tiling constantly now. So we just need to change the tiling to repeat none. So when we change the tiling to repeat none, then you can see we'll just get a flat line on the bottom of the square. So just something like that will be good. Then we're going to just change its base color to be a bit more red. It's a bit too orange for my liking at the moment. Something like that looks quite good. We're then going to add a fill that we're going to chew up this paint or this kind of decolor a little bit. So we're just going to get a texture grunge again. I just want to use a grunt that we can chew into this shape a little bit. We'll use the cobwebs again. It's one of the most useful dirts for just general use. We'll just use a bit of it at quite a large scale just to get some big variations here. Playing around the rotations, making sure that we get the damages where we want them. We're also going to up the contrast because we don't want to have it feel like it was rubbed off we wanted to look like maybe there's some dirt stuck in between the purse pix and the back. So we're going to do something like that, just to break the monotonous white line, but just to make sure that there is enough damage that it just feels unique. We're then going to add a white layer called this telephone text. We're going to add a fill to this, just like we did on the text on the face, we're then just going to add a text. What takes a look the best for this. Well, let me just see what font will work. So this menda could work. Just change this to warp projection so we can get it in the right place. Then we can start playing around with some texts that could possibly work. Because once we know the position of it, then we can play around with what will feel the best. Then we're just changing this to warp projection. Then we're just scaling this down to fit in the space where the telephone text would go. So it's something like that. We're just going to make this telephone. We can keep it regular. It's quite a tasteful text. It's not bold. Is a good thing to keep it a bit smaller. Let's just see if the other texts work a bit better. This is a adds a bit much. That's a bit plain. That's 18. 15-1 Material Refinement Part2: A Sure. Is then going to add to some dirt on this top edge here as well. Get it to standing edge, and we're going to also make the part of the phone booth body here that's touching the grid a bit dirtier. It'll have a lot of residual dirt that's coming from the back grid onto this. So being pulled by the water, being pulled by wind, that kind of stuff, just blowing onto the actual phone body here. Should be careful with white. It does get dirty quite quickly, so we might be overdoing it with the dirt, but we can always just pull that back later. It'll be more of a balanced thing that we do when we go to Marmoset where we'll see how the white shows and how the dirt reacts there. Et's make sure to paint some of the bottom here and then paint some dirt on the side here where it would have fallen off from this top piece. So there's a lot of dirt on top and that would just kind of cascade downwards. We're also then just going to refine the dirt on top a little bit. Let's make sure that it's not too streaky and it just looks intential. Also just adding a bit to the side, maybe someone put something there or something, just rubbed some dirt in the side. You also then go to paint by this damage line here, just to add some more dirt that got caught in the little flaps. We also just adding dirt to these sides. Maybe someone is leaning with their hand on it. We just want to think of where people would have touched this, how people would have interacted with us. Painting the dead red makes the most sense. So it's just going to the roughness. We're going to add a roughness channel to the rubbed dirt, and we're just going to amp that up a bit so that the rubbed dirt is just a bit rougher than the whole face of the model. Well, face of the keypad, maybe. Something like that looks pretty good. You can see that it makes a bit of a difference, but overall, the whole body is a little quite shiny. Well, rough, I guess. Now, looking at this middle here, it's still quite plain because we haven't really done anything to it, so I will just upgrade that a little bit. Looking around for other changes to make. Then we're going to duplicate this white base here of the paint. We're just going to make this a bit more gray. So what we want to do here is we're just going to make the back segment gray and the front segment white, just so that there's some plastic separation. It'll just give some more visual interest. Right now, we're just very white. So we're just going to make that a bit more gray than the other base. We'll just call this gray. Gray paint makes more sense. Then we're just going to make this quite a bit more gray, something along those lines. You can see the color variation popping through quite hectically now. We're just going to pop the gray above the paint color just to make sure that it doesn't intrude too much. We're going to make it a little bit lighter just to still fit with the other color a bit. Then we're just going to add a fill. We're going to change this to subtract. Let's say it this way. Let's add a paint, subtract. And we should just be able to fill the faces in front. There's actually a segment there. So probably going to actually do this a with a projection. So let's rather add a fill. This is easier. So we'll add a fill or then go to square. We'll grab the square. We're going to set this to planar projection so that we can project all the way through that we're not just limited to the depth of the warp projection. We're then just going to set the balance to 100%. G to make the UV repeat none. And now this will just give us a solid line at the end of the square. We're then just going to move that square to we want to behind the machine line because the plastic would be gray behind the machine line and white in front of it. We're just thinking about it that way. Now that looks like it's logically assembled. We're getting some more interesting color there. We're going to darkening that back corner. Gain go a little bit lighter, we just want some color variation, but we don't want it to be dark. So mid gray will work quite well. I'm happy with it. See, this is a bit more blue, maybe. So let's go bluish. That's too blue. Let's go with, like, a deepish blue gray. It looks really good. It just looks more like the reference. We're also going to make this part a little bit more shiny than the front paint. It looks good. We're just looking for a separation between the front and the back panel. So here in the roughness, you can see that there's an extra shine added here. They're just going to go back to the material. Going to make a new fill layer. We're going to call this machine line dirt. This is just to add some dirt in the machine line between the two halves. So we just want to make sure that we use that anchor point just to add some dirt in that segment there. We're going to use the same color we did for the dirt. We're going to add a fill, then get to anchor points and we're just going to apply the machine line mask here. You see that that just increases the depth of the machine line here. Let's add some nice don. It's a bit strong. We can just go 50 or 30 is here. 50 could work. We want it to be dramatic, but we don't want it to be overpowering. We don't want it to look cartoony. We're just going to play around with the opacity so we're happy. Then we're going to add a filter, add a blur. We just wanted to get out a bit of the actual line that it doesn't look as solid. That was a mistake. So we're just going to add a levels. We're just going to push the levels up. This will just make that the blur is a little stronger, drop the blur intensity. Sorry, I forgot to say, we also duplicate the machine line to get the soften and we have the thick inside. Sorry, I forget we did that. So for the outer dirt, we just want to keep it at a lower opacity as well. We want to keep it to the kind of same look as the rubbed dirt on the rest of the face. So we just want to make it a bit less. Now for this metal, we have a lot darker metal. We have some damages in here, so we're just going to try to replicate that. So going to the middle, we're going to start by making the metal color darker. So in this iron rough, which is going to change the base color. I'm going to add a folder. It's called a space metal just to make sure we can add some variation to this as well. Gonna add a fill color. Who's going to use a grunge. So we just want to add a full with a grunge to add some color variation. We don't want to do it in the actual base color. So we'll just add a new full layer to do the color variation on. So we'll add a fill, make it color, pick a grunge, something that gives nice streaks. Say it slings like four. Name this color variation. Then you're going to add a filter, and we're just going to make that a gradient. Always add blue for metal, add a bit of pink or reddish. Waiting for it to save. Then we're going to add some green Something like that could work. But then going to go overlaying. And we're going to go 15 should be good. It's quite strong. Maybe ten. Then going to add a filt to the color variation. Add a grunge concrete dirty. We want to add a full layer, not a full in the color variation, my bad. We're going to add a new layer called saturation variation. We're going to go color. We're going to choose a grunge with a nice strong blacks and whites, just so we get some variation. Gonna tie this more just to get a kind of smudgy dirt in there. We're gonna see what overlay works the best to get some white streaks on this metal. That looks quite good. We just need to lower the opacity quite a bit. We're going to drop that down to 60. We still want a darkened metal. We just don't want it to be fully black. Here we're getting some nice interesting saturation variation in some of the corners. But then we're going to just add the roughness variation channel, as well. So add a fill name this roughness variation. Make it only apply to the rough. You can use this moss small. We want a bit of a damaged metal. So we're looking for a grunge that has some more like streaks in it. So maybe this concrete dirty could work quite well. Your moss did not give us what we wanted. Yeah, this concrete dirty does look good. You can see it's breaking up that kind of strong metal silhouette from way away away. So you just want to get it a bit more diffused. Going to add an AO dirt. Gonna make this black Blackish gray. Oh, blackish brown. Sounds like that could work. We're going to then add a black mask. Gonna add a generator, add an ambient illusion. We're going to invert this. We just want this to be the dirt that comes from the keypad metal. So we just want to add it in that little slit on the top here. Gonna add a roughness to this and make it just a bit rougher. We don't want a shine in that Landa, so we're just going to add the roughness there. I'm gonna play around with the global balance just to see where we need to go with this. The base color might need to be a little bit lighter so you can see it, and it doesn't just become fully black in that crevice. Just checking it. I'm happy with that. I'm going to add another full layer. Let's think about how to do this quick. Gonna duplicate the AO dirt. I was just going to call this overall dirt. This is just so we can keep the color. We don't need to redo the color again. We're then going to add a fill. We're gonna add some grunge cobwebs. Gonna tie this a bunch of times. This is just to give us an overall dirt on this. We're gonna play around with the balance till we get some streaks, but we don't want too many streaks. And change this tis to a lighter color. So it's starting to look good already. It's quite dark. It's just nice and dirty. It's got what we wanted, so happy with it. Desaturation variation, we can drop a little bit. It's a slight bit too dark to the white paint. I'm gonna go into the grunge cobwebs of the overall dirt. I just want to make sure that this is the tiling we want. Just looking at it from glancing angles to see the roughness. So happy with that. We're then going to just group all the diets from the phone booth keypad body. We're going to make a fold of cold dit. We'll just duplicate the machine line dit. A deep together up it. I'll work better than the machine lined it. Let's call this dripped it. This will be more of where the dad leaked onto it, or some water carried the dirt over the actual body. I was looking for a bit of a leaky grunge. This grunge leak could work quite well. I think it might be a bit strong. Let's just sing. It does make quite nice streaks, we're just going to have to go try planar so that our UVs don't flip on the corner, and we can just get more of a uniform leak. Something like this looks good. We just need to start working at it. We just want these kind of lines that are going vertically downwards. Please. We just want to add a fill. Add a bit of a breakup grunge, it is a bit strong. It's going to change this breakup grunge here subtract. And playing around with the balance, you can see that we're starting to lessen those leak lines. We don't want them all across. We just want them in some specific places. Hiding and unhiding, you can see what the difference that that drip did makes is. It's going to have a higher tiling. We want some thinner streaks, but we just want to play around with it until it looks appropriate. It sounds like that might be good. I want to make this subtle. So we're going to have it at a 40. We're gonna have some stronger drop dirt, as well. So we're just going to make this one subtle so that we can have a more extreme version we won some defined lines, but we also just want some general kind of wiped off dirt as well. Maybe a 25. We just want some variation on the white here. We're going to duplicate this. So we're just gonna call the dripped intense. This will just be a more intense version of the dripped. We're just going to make sure that the tiling is different. We want some longer streaks for this one because they're longer stain lines. Let's see. Maybe we want a six. We want more of them as well. It's gonna add a different paint. Yeah, let's rather paint these. Let's not have them with a generator. So we're just gonna add a paint. We're just going to look for an Alpha that'll help with the grunge. We're then going to use the grunge leak we used to generate the others. But this will just allow us to actually paint in these drips rather than having them just be generated with a grunge because we're not going to get what we wanted with So we're just turning off the groans that's taking it away a bit, and we're just going in with a very light stroke opacity so that we can get some light streaks in here. We just streak it down from where we painted dirt under objects where the water would naturally drip down. We just want to pick out spots where we place these leaks. To at the bottom here, we can have some. We're again painting this very intense because we're just going to chip back into this with a subtract brush at a later stage. But for now, we just want to define what we want. Here going full stroke opacity, just so we can fully see the strokes. I was adding some to this dirt damage in the bottom right as well. Adding some more to the phone on the left. So something like that could be nice and intense. But then again to grab the concrete brush, and we're just going to with a black color just gonna go back into these dirt leaks and just lessen them. You can see we're just making them a bit more subtle. They still need to be intense, but they don't need to be all over. So you can see we're just trying to make that you can see them quite a bit still, but they're not as in your face as they were. Mm hmm. Well, we're just going to play around with the balance of the grunch that chews up the leaks. I just want to balance that until it looks non like man made, chipping into it with the brush. So it just gives us some variation. Going into the rub dirt, I just want to add some more dirt on this left side. It feels a bit clean. This is just a balance between the new dirt and the old dirt. We just want to make sure that there is an overarching dirt level for the whole piece. You're seeing if there's anything more we can add. So looking back at the reference, have this one dirt spot in the middle here. So stronger leaks on top. So let's see. Maybe we can edit some things on the bottom here. So making sure on the black metal. We're going to do some adjustments here. We're just going to add a fill layer. We go to call this rust fade. The rust is feeling a bit standalone at this point. So we want to have it that it makes some damage to the metal. That is just a bit more interesting. The transition between the two is a little rough at the moment. So we just want to make this a nice dark brown color. Add a black mask. Going to add a fill. We're going to fold this with the black metal mask with the black metal anchor point. I just want to get the name for that. We also need to put it above the black metal. Anchor points don't work downwards. They only work upwards. So we're just going to have to put that rust fade above the black metal. Now in the fill, we'll just be able to see that anchor point. We just want to go to mask to see what we're masking. We want to invert this to make sure that we're only in where the rust is go add a filter, blur We then going to add a fill, subtract. We're going to copy the fill from the bottom, set it to subtract, just to subtract out the original fill. Then you're going to increase the blur intensity a slight bit. We just want a soft fall off that it carries dirt over into the crevices. It's the same as the low, which is a bit darker. Then you want to add a levels to increase the blur. I'm going to add this under the full subtract. So you can see, as we play with the levels, it just gets more intense. Hiding and unhiding you hit to see that it makes the transition between the rust and the black paint just a bit more natural. They're going to increase the blur intensity a slight bit. They're going to duplicate this rust fade. I'm going to call this rust light fade. We're going to adjust the blur intensity. This is gonna be a bit of a lighter color. The paint will lose its color a bit close to the rust, so we just want to emulate that feeling as well. Something like that looks good. It brings back some of that low. I just adds to the low as well. It's a bit intense. We just want to make it a bit less. Also they want to add a paint. Let's just say this to subtract. There's a line that it's making on this edge here. So we just want to subtract that line away from it. Now it just looks more intentional. Just checking if I'm apy with roast. Under the black rust bask. Let's add a fill under the black metal here. It's gonna call this dirt. It's going to make this color only. We're just going to add a black mass to it. Add a generator. We're gonna add a dirt modifier. This will be very intense to start with. But we're just pull that back a bit. This will just put some dirt in the crevices. It's like AO, but it's just a bit torn. We're just going to balance out to be nice and light and just be an appropriate color just to fit in. We're going to grab some of this rust color just to be a nice dark brown. I can see we're getting a bit more of a softened dirt here seeing where this line comes from. This line is formed by these two, so just go to see if I can lessen it a bit. In the rust geometry mask, we're just going to paint this out black. Let's see if that helps. Yeah, there we go. So in the geometry mask, we just want to paint this out black so that it leaves a streak, but it doesn't necessarily leave that height line there. Then in the rust fade, we're also gonna add a paint, subtract. Andrew is gonna paint out the faded piece here as well. So it'll just soften that. Andrew is going to also have to do this on the rust light fade copy. So now you can see we've gotten rid of that line, and we don't have a just straight line there now. Then just going to go to roughness to see how this rust fade and the dirt roughness should be. So under the black metal, we're going to go to this dirt we just made. Going to give it a roughness channel. We're going to make this a little bit rougher. What I just have a soft roughness where the dirt is just so that it reinforces the feeling that there is dirt there. We're going to go back to material just to see how this looks. It looks quite good. It's generating some more darkness in the crevices. In the black metal, we're just going to add some more rust to this corner here. No, maybe not. We're just going to I thought the rust more rust there would look good, but we'll add that later if we feel necessary. But then just going to make a new layer called roughness. This is going to be the roughness on the edges. Gonna make this a roughness only channel. Go to make it quite rough at a black mask, at a generator. I'm just going to make this ambient illusion. We're going to go to the roughness. We're going to invert the mask. And we're just gonna play around with the roughness so we can just see what's happening. I just want to add some little bit of breakup roughness on the corners just so that you read the corners a bit better. Just going into the phone keypad body. Going to make some adjustment tequik. Above the saturation variation, we're going to add another fill layer. We're just going to call this edge roughness as well, just so we can break this edge up a bit. You can't read it very well now. I just add a black mask. We then add a generator, add a ambient illusion. We're going to add quite a bit of roughness up the global balance. Just go to put it above the gray paint as well. So you can really start seeing it. So like this looks quite good. You'll see that it's just adding a bit of roughness to the most forward face. That's just to separate the two elements and just to make it a bit more legible. Is going to play around the contrast. But then going to go to the black metals dirt, shiny metal dttery. But then add a dirt on top of this as well. We're gonna copy the black metals dirt just here because we've already worked with it. Who's going to copy that straight over. See if that looks correct. It's making the air on the sides quite dark. We might as want to mask that out. We're just going to add a bit of dirt here with the levels. We want this nice dirt on the top coming from above, so that we just have a nice fade. Oh, we want to have some subtle dirt on the front as well. We don't want to go too overkill. This is a metal piece, so we don't want to have too much roughness. It'll just look very dirty. So in the roughness, you can I see, we've got this nice dusting on top. I make a new layer called top down rough as well, just to enforce that roughness on top as well. I just give this a roughness channel. I will add a black mask, add a fill. Just grab a grunge. Trying to find the texture quickly. Sometimes it freaks out a bit. I'm going to go search grunge. I don't really like this directional noise. Let's try this black and white spots. Gonna go triplanar. Going to tie this up quite a bit. Maybe like a fish. It gives some wet dirt. I'm going to play around with the balance to get some shiny spots and some rough spots as well. We then going to add a generator position. We can change this to subtract. And when we change this balance, you can just see that we're kind of chewing into that dirt with the position mask. We're going up the contrast. We just want this on the very, very top. We just want to invert this. We're currently generating way too much shine and way too little roughness. I just want to make sure that we catch that just on the top. This will just add some kind of water specks in between the roughness on top. Then we're going to go to the roughness and just tone that down quite a bit. Maybe like a 50 go to add a fill there. It's gonna call this edge were. This will just reinforce the edges on this metal as well. Gonna add a roughness to this, make it quite rough. What would it would get more shiny. So let's make it shiny, not rough, sorry. Add a black mask, add a generator, add a curvature. So you'll see that this is just on the edges now. So we're going to do something like that, that it shows that the edges are worn. We're going to add a blue to make it a bit smoother. We'll go go go to the material, and I'll see that the edge is a bit rougher. So it'll just read a slight bit better. And we've got that nice top dit now with some sparkle and some roughness there as well. Checking the whole material. The ground dirt might need some roughness. Let's add a full layer. Let's call this ground roughness. Make it only in the roughness shuttle, make it quite rough. Add a black mask, add a generator, add a position. Do a global invert that it comes bottom to top, not top to bottom. Then you're going to increase the contrast and we're going to play around with the balance to just get a nice line at the bottom. Then going to add a full, select a grunge. Let's make this noise. I'm going to add a white noise to chip into this. Make it a nice and high amount. This breaks up the uniformity. That could work quite well. We just want to move this down a bit more as well. I go to play around with the contrast. We want a pretty solid line here. We just don't want it to be an absolute temporation of the tea. So you can see this makes this bottom piece just feel a bit more grounded and like it has been standing in dirt for a while. Then we're going to add another full layer. We're gonna call this rain darken. This will just be where water dripped on this piece. Gonna make this color. Make it a mid black. Then we're going to add a black mask. We're going to add a roughness as well. We're going to make this a bit shiny. We want some nice leaks. So if you paints on, you can see that there's a nice shine from this. We're going to look for a nice leaky alpha. So this drips top could work quite well. We just want some long streaks that we can paint on. Something like that looks quite cool. We're gonna paint this very harsh and then just work into it just now with a black brush. It's gonna paint this on most of the edges. And just have a nice long streak on of the side as well. Just make sure we add some drips everywhere. Let's see if I can add more drips, maybe from the power box leaking down. Some here would be good. So that's quite intense, but we're just gonna use a soft brush to go into this. So I'm just gonna see if the color and the roughness is fine. You're going to add a bit of a fractal sum into the base color. It'll just make it feel more varied and not as solid. So we're going to add a fractal sum to give it some dripping and some drying in, like, different speeds. Something like that looks quite nice. It's still very intense, but we'll lessen that just now. Seeing if you can tie this up even more. That's giving quite a nice effect. Then just going to go to mask to see the rain darken mask. Then going to add a paint. I set this to subtract. And then we're just going to paint away where the leaks are way too intense. Going to add another paint just at the bottom here. Very low flow, very low opacity. And it's going to paint some kind of standing dirt in the bottom here as well. So this will just paint the rain feeling at the bottom. It'll draw some moisture from the ground. So we just want to paint a bit of that in as well. Once that's done, we can go back to the subtract with a very light brush. Maybe even use less paste. We also just want to then smooth out the moisture from the ground overlays here as well. And we're going to start lessening the strips. We want to make sure that we keep them slightly intense at the top and going less intense as they go down. The less water there is, the, the quicker it'll dry. I'm going to do the same on the other side as well. It's going back and forth to make it be visible, but we don't want to have just a massive splotch just staying there. So this kind of light drip here is quite nice. And then this big one we just really need to go into as well. I want to do this semi regularly just so we can get more natural feeling on this. Okay. And we just want to make sure that where the most water would be and where it would have gotten water recently, we just want to fill it that it's quite visible. We're going to have some streaks that are completely visible, but mostly we want to just have them quite subtle. So here you can see we're getting a nice roughness kick that drips in the middle. And then quite a soft kick from the rest. Just comparing it to texture set one again, making sure that everything looks uniform. Well then just hide texture set one again. So in this iron rough base color, we might just want to darken it a slight bit more maybe something like that. It'll also just pop out our ground dirt to be a bit lighter as well. So on the ground lighten, we might want to make it a bit less. That looks a bit more uniform. Just taking the roughness response. It does feel quite good right now. We're going to add another fill layer above the rain darken. We're just going to call this general roughness. We just want to add some more roughness across the whole thing. We're gonna go to the roughness overlay. We just want to pick a nice grunch for this. Let's maybe use a clouds. It'll just be a nice soft dirt. When increase this a few times just to get a bit more of this variation. We might even want to use something like at leather. Clouds looks nice. Is soon see other options. The black and white spots looks quite nice as well. It has a bit of balance, then the clouds. The clouds are a bit too intense. Then in the roughness, we're going to turn this to overlay. I was going to make sure that there's a ten inch amount of roughness. This will break up the larger panel to have some interesting detail on it in the roughness channel. Looking back at the material, you can now see that it adds a bit of roughness. Tacking the rust, taking everything fits correctly. In the black metal rust, this rust light fade. We're just going to duplicate this again. It's going to call this paint damage. We're going to make this white. This will be quite a strong indication of the paint losing color to maybe sun damage or something. So the paint got weaker, then it rusted. This is help that rust fade in a bit more. It's still standing out a bit much when we look at it from different angles. We're going to turn the blur of this down quite a bit. And then we just want to tone down the levels. We just want to set this to a ten. We just want a bit of a color variation on the edges of the rust. We don't want to have it just outlined by white. Just playing around with it so that we don't read it as a white line. We just read it as paint damage. It has got a fine balance. So there you can see it just makes a bit of a difference. Just want to make sure that we don't overkill with this. That looks a bit more natural. It adds some of that paint damage. So valuating the model to see where we're going to go next. Then going to go back to material. So this coins, we can work on a bit. It's quite rough at this point. We can also work on this return on the top here. Remember these. Do you carry the shiny metal from the bottom? Do we just want to make sure that anything we did there is pulling across nicely to these on top? You're going to go to the keypad metal. Now these will be in shiny metal. So we're just going to go down to the shiny metal. Yep, that is the layer it is pulling from. We want to add a full layer. And this will just be the text dirt. So this will be just dirt that people have rubbed onto the text. And that's just kind of set in the embossed text. I just want to make a folder for the text. We're going to have one for the returned coins and one for the coin payment uptop as well. We're going to add it. We're going to add a black mask. We're going to add a fill. Then going to go to anchor points. Just look for the anchor point we use for this text. Okay. Just want to make sure we are above it in height, what we called it. Keep a face text mask. The problem with that is it also affects the color or the depth on the actual keypad face itself. So let's just see what it looks like if we put the black into it. I'll put some black into these texts as well. Wh you want to do anyway. We just want to make sure that we're not overwhelming on one of the text and not on the other. We're then going to go to the roughness shuttle just to see if we can make a difference. I want to go to the roughness, make this a bit rougher. This is dirt, so it'll add roughness to it. We want to make sure that you can make a separation of the roughness shuttle so that it just makes your eye read it better. This might be a bit dark, so we'll just make it fit better. So in the returned coins, we're going to add a full going to add a inverted subtract. And we're just going to add a sorry, we're going to add just a normal subtract for now, add a black and white spots, and we want a big contrast. We don't want a uniform dirt in these texts. We want a kind of broken up dirt as if the dirt is kind of staying in different positions. Doesn't look very good. Let's just stry something else quickly. We're going to add a fill, inverse subtracted. We're going to add a filter. We're going to add a blur. So the inverse subtracted, we'll just subtract everything that's not the inside so that we just kind of get a line or then add a blur. This blur will just create a gradient from all the edges of the text. We're also going to add a levels to determine how bright or how heavy that inside should be. We don't want to go too dark. We want a nice fall off off the edges, so it doesn't feel like the whole thing is just one color and it's painted in. We want it to feel like there's dirt laying on the corners. Something like this makes it feel a bit more embossed. Then we're just going to play around with the blur intensity again. Play around with the levels. We just want quite a nice sharp edge here. And then want to make another fill. We're going to need to make a new layer of this. We're going to stack too much there. I was going to call this dirt. This will be what we tried initially to just add some dirt flick into this. It just looks better when you have the base so that we can just fill it in two different ways. So we're going to add a full fill, we're going to add a full subtract with black and white spots at quite a high tiling rate. Then just going to adjust the contrast to make it just have little flex in the text. We're just going to play around with the balance to make a dot two intense. In the color, we can probably go for more of a dark gray than the black. We're just going to do this on both the dirts. We're going to go to the roughness and just make sure that still reads greatly. This is quite dark currently, so it's just going to probably make it a bit lighter. So we're just going to add a full layer here. Just go to make another dirt layer. Gonna make this brown, just to add some color into the dirt here. Go to make it a little shinier than the other dirt. I'm just going to pull the base colors into balance now. So I just want to set the dirt and the gradient one to 50. Make sure it reads from far away. Don't want to make it too dark, but I do want to make it read from far away. So now we can just look at the smaller text to make sure that fits as well. This just looks fully filled in. So we're just going to play around with the black and white spots, see if we can get some variation in the dirt in this text. Comparing it to the bottom. It's a bit lighter as well, so we just want to make sure that we don't have too much So on top, you can see that there's some nice dirt around this coin thing as well. You still need to finish that piece. Here on the returned coins one, there's also some nice dirt in the edges. So let's see. Maybe we can go for this coin return first. Waiting for it to catch up quickly. The scene is getting a bit in tense now, so it's going to have to bear with some low times. You can essentially set this to maybe just be base color or to be a lower texture resolution while you're working. I prefer to rather just wait for the low times because if you set the texture resolution lower, you're not seeing what you're actually doing, you're seeing it at a lower rate. So it's not a very good idea to work like that. So here's us back to this queens text. You want to then go look at where this dirt would be for this upper piece here. Because we just want to start defining what this metal up here looks like, as well, rather than just have it be a overflow from the shiny metal at the bottom. We're just going to make a new fill. We're going to call this flap dirt. Add a folder. Let's make the folder flaps dirt and the cutter in it just base. This will just allow us to play around with some variation and so on, rather than just trying to make it all work on one layer. We're going to make this a nice brown. We can just grab the brown from this left hand side. Add a roughness, make this quite rough. It is dirt, so we just want to add some roughness. Probably make this quite rough. We'll also make the metallic zero. The dirt won't really be metallic, so this will also just allow us to have some separations here, add a black mask to the folder. Well, then just going to make sure that this only affects the top flap and the bottom piece. We don't want the editing we're doing here now to affect the bottom piece because we're happy with how that looks, so we just want to localize that to this. Then we want to add a black moss to the base as well. We want to add a generator, and we just want to use a dirt. So here you can see it'll just add dirt in all the corners we need it. 19. 16 Material Refinement Part3: In part 16, we're going to start defining the more minute things on the phone booth. We're going to start by defining things like the scratches, the feeling of the sign on top, just general kind of things we've seen that haven't been exactly as we wanted them. So I'll just add that in this chapter. Looking at how dirty things are, how thin things are, comparing things to reference, just taking in some inspiration of what to do here, seeing that we need some more rust, seeing that the phone booth needs to be a bit more clean, that kind of stuff. These rust pieces are a little on their own island. They don't really make sense. Let's up into it. Just starting off, we can see there are some things that we haven't textured. We can see that there are some color mismatches. I'd like to color the outside frame in two more distinct colors. They're too much of the same metal at this point. I want to add some separation between them. We'll start on texture, say two. We'll just look for the correct medal here. Scrolling down, making sure to collapse the groups we won't need right now. Checking if it's light metal or dark metal that I want to change first. I want to add a lighter metal just for the front two poles rather than having it all the way around. But let's see with the dark metal first. If we mask that out of these front two pillars, we can have more control of the light metal over this. Once that's masked out, we can hide this group and just make sure that the light metal is only on the front pillars as well. Oh, sorry, we're going to make a lighter metal that will go on these front pillars, so we want to remove the light metal from these pillars as well. You're going to call this darker metal because this will be the mid tone dark metal that we'll use here. So we're just going to darken the base color. This will darken all of the colors, and some of these leaks will stand out a bit too far. So we'll just make this a bit lighter, just to get a good balance of these. However, we'll still tone down the leak dirt a bit just to make sure that it doesn't create such a strong kind of starlized feeling shine on this end. An edge shine, we're going to go to a 50% roughness so that it doesn't have that much influence. In the darker middle, we're just going to copy that We're going to clear its mask, and we're just going to mask out the front two pillars with. This is just an easy way to get the same variation and that kind of thing, but just apply it somewhere else. Then going to call this light metal. And we're going to make this quite bright. We're looking for a better material separation between the dark and the light metal, which we weren't really getting in the previous iteration. So something midground, just to be visually different enough when you see it. When we get to Marmoset in the next chapter, we might make this more shiny. But for now, we'll just try to separate the materials in terms of color. We're just going to make sure that these have no saturation. We don't want them to have that kind of red shine. So you can see the shininess is still a little bit the same. So we're just going to up the roughness of the inside parts. So something like that, we'll just give it a better separation between the two parts. We then we're going to add a new layer for the light scratches that'll happen on the front of this pillar. So for this, we're going to add a fill, and we're going to use a scratch generator maybe. They're a little squeaky. So we'll use the dirt scratches. And we'll tie this a lot. We want quite tiny little scratches, but we want them everywhere. So we just want to get a good base. We're going to have to play around with the contrast and the balance on this scratches quite a bit. We just want to get kind of something like this where we get long continuous scratches where we'll then add a grunge to break up the monotony of the scratches. We're just looking for something with quite nice big shapes that cut out completely, that don't fade. This will just break up the tiling of the scratches themselves. We'll also tie the scratches a lot more. These will be tiny scratches, kha keys, backpacks, like zips will damage these. It'll be very, very tiny objects that damage these continuously. We'll also then add a different one to break up the tiling a bit more, you can see we have clusters of scratches that just go across. We don't want them to be too dramatic. They're just a storytelling element. They're not a major part of the asset. We can make them more visible than this, maybe make them a bit darker than the base color because the base color is already quite white. We want these to be a tiny bit darker. Then just adjusting the balance to make sure that those scratches come out a bit. They're a bit hidden now, but if you push the contrast back a bit, they'll come back. So something like that, it's perfect. Well, then just a levels to make them appear even more. It's something like that. We've hidden the breakup for now. So you can see if we move around the asset, you can start seeing the scratches in the roughness of the acid. So we can probably make the tiling a little less to make them a bit more dramatic scratches. And then just to go into roughness to make sure that we're getting the variation correct here, we can maybe push them even a little more. And now we'll really start to see them. Might be a bit much. We'll put it back a tiny bit. Something like that will look good and we'll just make sure our breakups are applied. We're also then going to go to the back grid, seeing that there's a fill layer here named, so just seeing what it should be named and naming it appropriately. So this will just be amenolusion dirt. We'll add a fill layer. So we'll just call this rust fade. This will be like the little rust particles that have fallen off and just settled. They're more dust like than rust like. So we'll just make this a nice dark red color. I'll make it a bit rougher to add some roughness variation to the back grid here as well. Add a black mask just to see what it looks like. You could make it a little lighter just to give it some more almost coffee stained rust color. So I was very happy with that. I'm going to use the cement tube brush as it is a nice soft brush. So just add a low opacity so that we can stack this. If we use it at 17, you can see that we're putting down some dirt, but we're not putting down a lot. So this just allows us to more accurately paint what we need. I also painting over the top of these assets in the middle. This will just show that the rust fade has run in between these assets and fallen on top and below these assets. Just making sure to take every edge and just make sure that there is some interesting places for rust. Maybe there used to be a sign here, so the rust would have ran from that as well, and it's never been cleaned up or the metal has been too damaged because the sign was there for too long. We're then just going to go to our mask just to see what we've painted, and we're just going to paint a little more on the edges here. We're going to use a inverted or eraser of the cement to as well to start carving into this rust as well. So just enabling it and disabling it to see if we're happy with it. So we can add a bit more, take away a bit more. This is just custom painting till you're happy with it. Can then also drop the saturation on the rust fade a little bit to get a darkened kind of rust. And we can drop the roughness a little more to the shiny side rather than fully rough just to make it a bit more pealistic. You can also set this layer to 50%. This is so that we can improve the overall kind of feeling of how much rust we want, rather than having to paint back and forth the whole time. This is just an overarching. This is how strong I want the rust. So it helps quite a lot to have that. We're then going to add a new layer, add a mask, and have it have the same mask as the top one. This way, we can just start carving into it and add some more on the edges here. So we have one layer that controls the faded rust all the way out, and then we have one layer that controls the absolute kind of edge kick of the rust as well. So then just making sure to do that on the bottom and around the edges here as well. And on top of the assays where we put rust, as well. So play around with the master layer here again just to get the rust to the right level. We want it to be the same color as the rust of the black box in the middle, but we don't want to go too far and just have it overwhelm the entire asset. Then we're going to add some water leaks. So water maybe would have come into this back grid. Maybe the roof wasn't sealed very tightly. There was some water that leaked through This will cause a roughness and a color variation. It'll be a darkened color and some more intense roughness. So we're just going to add that as well. Just looking for a nice leak alpha here. This leak could work quite nicely. It's quite intense leak. So I think we'll paint this in again and then just paint back from it as well. We'll see if there's anything better. This is too much like rust. So I think we'll just stick with this one. It'll be a bit too intense, but we can't paint it back. So that's all good. Well, then start a mask where we just paint 100%, sorry, with a reduced brush opacity. We'll just paint those initial spires in from the leaks. We just want to get this as intense as we can before we start carving into We're also then to adjust its roughness. So we're going to adjust the roughness of the back grid to be a little rougher. It doesn't show the water leaks too well because it is currently too shiny itself. So to make that a bit more rough, we can make the rain a bit shinier and it'll just show better. We're also going to give it a bit of a black color just for some visual interest. Here, the color is way too intense, but that's something we can pull back. I just want to see what we're currently doing here. We're also taking these leaks all the way through because the water would have sometimes gotten all the way through. This will leave us with some weird streaks and a lot of tiling and that kind of thing, but it's something that we can carve back into with the cement brush. With a lower opacity and a lower flow brush, we're just going to go in and just carve into these rain streaks here to soften them a tiny bit. So just making sure that the rain or the leaks start at 100% opacity and they fade off as they go to the bottom because the water would have lost energy or would have just smeared off and lost some of its life on the back grid as it was going down, as well. So we'll just paint that out appropriately. Well, then set this roughness up a little bit. It's not 100% shiny, and the base color will also set back quite a bit. Removing it for now, but we're just going to make it be there, but very, very light. The base color was more just to see what we were doing with the actual rain with the sorry. We're going to change this roughness to overlay, just to see what it looks like. But normal gives us the feeling we want of water coming through and adding some shine to the actual top here. Um, we're also going to reduce this 80% as the rust would have formed after the rain as well, so we can't just have one on top of the other. We have to have a mix of both. Looking at the roughness, we now have quite a good mix of both. In this view, we're just going to carve back these leaks as well. This is again, just with a low opacity brush just to soften the editing a little bit. Oh. We're then adding that color back at a very light opacity and then just taking it away again when we know where the leaks are. I'm not sure if I do want to add the black opacity to this because the leaks themselves show quite clearly anyway. But we'll decide that when we get there. For now, I think let's just leave it with the leaks as they are. Just a nice shine that kind of kicks in when you look at the model at a certain angle. I think that'll be fine for now. We're then going to just look at the base for the grid and just see what happens if we make the color variation a bit less just to see if this has any big effect. So the base is the thing that needs to change the most. We're just going to make that even rougher than it was. And the roughness variation, we're just going to drop down to 40%. This will make those leaks really stand through. It might be a bit much, so we might have to carve those back in again to just have one unified middle. Here we go just pulling the roughness of that back again, making sure it's not as intense as it was there. So in the roughness view, you can just see that there's some tiling on the bottom right there is a black line. So we just go in and take that off just to make sure that it flows organically and doesn't abruptly end, which will automatically say it is a three d acid. So now we see we have more localized on top dirt or leaks. So the other thing I want to do is I want to add some harsh ground dirt because this would stand where there are some rocks, some real dirt, people kicking it up with their shoes, walking past it, that kind of thing. So we just want to add this dirt to the bottom of the model as well. We're just going to do that with a group that has a position that is at the feet of the model. So we're just picking our height, playing with the contrast and balance. Once we find something we're happy with, we are then going to apply a grunge as a subtraction mask. We're going to say to try linear just to make sure that we get the right feeling here. So this is quite nice. This is nice and harsh, but it's a bit much. So we're also going to do is we're going to add a subtract of just white noise. This will just break up the shape and just make it feel a little bit more organic as well. So something like that feels more intense, maybe a bit too intense, so we're just going to add another to subtract, and we're just going to do this in a dirt kind of way, as well. And now we have a real thing that we can just carve into to get this dirt correct. So once we have a feeling we're happy with, we can play with this global position again just to make sure that the dirt is at the height we wanted as well. So we might want to play around with making this dirt metallic to get a better variation. It's not generally recommended, but sometimes in the stylistic way, adding some metallic to the dirt could look quite nice. So we're going to texture set two. Feels the box at the bottom would need the same dirt. It's in the same environment, so we're trying to replicate the dirt. So we're just going to go over to the middle box, as well. We're going to paste the harsh base the harsh ground dirt from the outside asset. Once we then paste this round, we can then just adjust this to how we need it on this middle piece. The position would be different. So we're just going to have to do some adjustments, but we've already set up the feeling of both, so it'll just be a simple switch between the two assets between the two parts, I mean. So on the inside, you can see that this position goes much higher. So we're just going to play with the balance and pull that back. We just want a thin line of dirt around the bottom. We don't want the dirt to be kicking up all the way up the model. So we're just going to play around with the balance and the contrast just to get that dirt to the position we want it to be in. He's going to make a little darker because the inside acid is the inside part is a lot lighter than the outside. But we're just looking for kind of the kicked up dirt at the bottom. There are some different examples. There's some darker dirt, some lighter date. It just depends the environment your model is standing on So something like that looks quite good. The leaks look quite nice there. Now we can just look at what we want to approach next. So the other thing I saw is these rust parts at the bottom are quite separated. So I'm just going to go ahead and just repaint these quick with just a better overall feeling here. So I just waiting for that to load. So just making sure I isolate the rust and I find the right layer where I need to paint it. So something like this will work. So we're just going to paint over this rust to take these two parts away. Making sure we get rid of them completely. There'll be some rust dirt where they used to be. But overall, that'll just adds some character, and the other piece is going to go here anyway. So the manual painted rust dirt over them is still fine to be there. I'll blend in with a new shape as well. So then to get a new shape, it is going to go back to our stencil again. No, not there. We're just going to drag it interstental, and we're just going to grab a bigger part. So maybe this kind of mountainy part at the top could work quite nicely for here. This will feel like a lot more unified shape than the other shape we have. So it's going to paint this over. There'll be one piece that doesn't work because the subtract on top is currently messing with it. So that part we'll just have to paint back on the layer on top because we've painted out some of the previous shapes height here as well. But we'll apply it the way where we want it to, and then we'll just paint that piece in as well. Do the lag, the senior is making it so that I have to paint this twice. Looking for a solution for that quick. Just hiding the top layer. We can now see that some of the everywhere we're putting into this has been painted out with the top layer. For now, I just want to focus on the bottom layer and then edit the top layer as we apply this shape here. We're also going to go on one base color for the paint over the stencil. Just to make sure that we get 100% here and we don't get that faded white we were getting previously. Now you can see we're painting the stencil very aggressively and exactly as we wanted it. But we now need to go edit the top layer to make sure that we have no carve ends into this because of previous work we did. So here you see it'll start removing some pieces here. So we're just going to bring that back in and remove some pieces as well. I don't exactly want it to be painted over the stencil. So I'm just going to make sure that that's not the case. So this is just playing back and forth with layers just to get what looks the best here. So we're going to linear Dodge on the bottom layer as well. This will just make that both layers get added together and that I can now just paint over this layer to make it reveal. Now we'll actually get the correct shape we want to do from the stencil at the bottom here. It's a little bridge that we're not getting in the middle here, so we're just going to paint that in. Now you have a much more unified piece at the bottom here, and we can just now erase any overspill that we have as well. There we go. Now we have a shape that makes a lot more sense. It has a lot more carat of its own, and it doesn't just look like we threw two random pieces on it. For the shelf as well, I feel like this rust would have walked further because people would put things down on the shelf, and the rust would continue because the paint would chip off every time someone did that. So we're just going to intensify this as well, and we're just going to pull this further into the shelf over here. So just again, using the stencil and just painting out a wider corner here that we want damaged. Painting out these very tiny little cracks on the stencil also gives us some kind of paint chips where it's just slit into the paint, and then the paint has started wearing around there. So it's a p nice feeling as well. Then on the base roughness of the black metal, we're just going to make that a little shinier. It doesn't really have a lot of life. So if we make it a bit shinier, we get a lot more variation from the rust on it, and we just get more of a punch. So it's something like that where the acid really feels more alive is quite good. Now you can see the roughness variation. There's quite a lot of roughness variation there, which is really a good thing. So we just want to make sure that we keep a consistent roughness variation. For this top paint, it is a little rough. Going to make sure that we add some shine to this as well and maybe clean it a little bit on the flattened edges because there'll be a lot of hand touching and that's also the first place where people would clean this asset. We're just going to make sure to replicate that across as well. So for this, we're just going to add a dirt group that we're going to put all the dirt in. And then if we add a mask to this, we can then just start carving into the mask that we can define where it needs to go rather than actually just painting out each layer. So just to start off to make those changes, we're just going to put the roughness of the base paint a little shinier. To play around with the edge roughness a bit just to see if that'll make a difference if we do change that. So currently, what's happening is the roughness is coming from too many different parts. So we're just going to add a shine layer on top. I'll just add a little bit of kind of shine to the whole white paint thing here. So here we're just going to make a layer that's called added shine. We're going to make this only affect the roughness. We're going to go to the roughness layer, and we're just going to set this down to see what's happening. So building a draft a 20% gives a little difference, but doesn't really add a whole lot. So we're just going to put it at a 30%, just so we get some shine. The fingerprints over are now showing quite clearly, so we'll need to clean that up as well. So now I'm just going to the dirt mask we made earlier. We're going to start cleaning up the flat faces where people would touch and so on. Do it just with a cement brush with 40, 50 is opacity, we're just going to start painting over all the flat areas of the keypad body. We're just going to add this damaged dirt in here as well. We just want to make sure that the dirt mask we're painting now gathers as much dirt as we possibly can so that we don't end up in a situation where we've cleaned some dirt away, but we have a lot of dirt on top of it still, so it keeps stacking. So that's not exactly what we want. So we're just going to group all the dirt together as well. We're also then going to merge this dirt cleanup. Just make a fold of all of these and just call it dirt all. And then we're just going to work from this as this is all the dirt that pertains to the white paint over here. So with that hidden, we can see that there's no dirt and with it unhidden, we can see that there is quite a lot of dirt here. Just waiting for it to load. We're then going to add a white mask as we want it to be all over, but we want to paint where we don't want it to be rather than a black mask where we would have painted where it needed to be and it just makes more sense this way. We're then going to use a strong cement tube brush just to get a real handle on the dirt on these flat edges. So you can really see it cleans it up and it makes it just a lot leaner than it was. It was starting to look a bit too apocalyptic and not exactly everyday use, which is the we're going for here. So here we're also just going to set the opacity down and just soften some of the dirt that makes sense to be in the positions they are, but doesn't make sense to be as strong as they are. So this is more of just a damaging pass on a cleaning pass of the dirt, just a check. So we're just going to clean every there's flat areas, even here on the top where a lot of the dirt would lie. This just helps us to clean things just a little bit up and to make sure that everything's not as dirty as it was. Going back to masks just to see where we've erased. We're going to erase some more on the front face here, and erase some more under the phone to erase in places where a lot of hands would have touched and just a lot of action would have happened. So on the sides, make sure we're painting more uniform and on the top, we're just getting rid of some more dirt up here. Then just going back to the material to see how everything is looking now. We can then add a filter to the dirt as well, and we can just call the sharpen. So this dirt feels a bit soft. It doesn't feel as pronounced as I would like it to be. So we're just going to add a sharpen to just make that dirt a little bit more pronounced. With that sharp and applied, we're just going to keep it at one sharpen or sharpening density off one, I mean, this will just allow the dirt to be more precise and feel a little bit more caked in than just the kind of wipy fingerprint dirt we had before. We're also then going to sharpen the metal inset here to sharpen the grunge on it and just to make it feel a little bit more high rays. This will just bring the muddy details out and just make sure that there's a bit more of a kick from the textures we have on it. So on the keyboard middle, we're also just going to see if we're happy with what the metal here looks like, or if we want it to be a little bit more brushed aluminum. We want to see if it's stronger streaks, which it does seem to be. You can see this either looks like a grainy photo or it's quite a strong brush metal. But for the sake of three D kind of feeling, we want to go with a stronger brush because it allows us to just get more out of the visual interest of it. We're also then also just going to sharpen the base metal to get some more detail out of it, and we're just going to change its brushing intensity just ever so slightly so that it's just more brushed. At that point where it just feels too much, we should just take a very tiny step back because it always feels wrong, but it looks right when you get it into a render and you can really see the actual feeling of the material. We're also then going to just add some more points where the paint would have been damaged around this keypad metal. So to do that, to do that, we're just going to add another subtract paint in here into this white paint mask. And we're just going to use the same stencil to make sure that we can get some more damage on the side of the keypad metal, as well. So once that's loaded, we can just make sure that that's what we want to do. We go to base color just to save some performance and just to make sure that we don't get as much lag when we move around. I'm just doing a test to see if it does carve out and this is the right layer where we want to be. Once we've confirmed that, we can then grab the stencil we used for the rust damages and for these damages at an earlier stage. You make it quite small, and we're just going to add a few more dings and scrapes to this. So we just position the stencil to be where we want this scratch to be? And we're just going to carve in a bit of a paint left over here. And then just a tiny bit on the other side as well. We're also grabbing a little bit from the bottom, just as a tiny ding, just to make sure that it feels a bit more organic. We're also then going to just grab some of these splotches and make some tinier holes appear that it feels like there's potential for the rest of the paint to lift off as well in this place. Well then was just going to do the same on the other side as well. Then one thing I just want to clean up is this dirt on the left hand side of this keypad body. There's quite a lot of dirt here, and I just want to, like, bring this down a tiny bit. I want to get rid of it completely. I just want to carve into it a little bit just to make sure that we don't have something that looks like a bug here. So, back to material. You can see it's now just a bit softer. I'm just going to text set one as well, see if there are any more changes that I'd like to make here. It might be time for some of this rust here or time for the screws. But let's approach the rust dirt first. Just making sure I go to the rust master of the black metal as well. So I want to see if this rust to we created at the start where we use the texts.com texture. I just want to see if that will fit what we're trying to do. Because what we're trying to do is we're trying to create some graining around the bigger holes of dust that came over or little bits of rust that just lays on the paint and kind of catches onto the paint. This rust is quite intense, so we're just going to delete that, and we're just going to quickly build one from scratch. And So to do that, we're just going to copy this rust light fade. Go to make a new folder. This go to fall off a profnee and we're then going to clear the mask because we wanted to show everywhere. So we want to build off of this color and make it to be the whole thing, and then make a mask to specify it. So we're going to start off by creating a color variation for it. We want some pretty extreme color variation in this because it'll be a lot of darker colors, lighter colors in this. So we shouldn't be afraid to go like serious dark color variation here because it'll be very small pieces, so you won't see the repeat as often. I just want to change the balance of the actual grind here just to make sure that we actually get a grant that we're happy with. So something like that looks pretty good. We might even go a little darker. That could be good. Just to get some dramatic variation. But then also just going to change the variation to eight or to 16 feels good because it will be such small variation. It can be a bit smaller detail than you would expect it to be. So we're going to add a layer called feeling. This is just something I define as some noise or some dirt or grime that's on the texture. So over now, we're just going to do that with a white noise. Going to tie this quite a bit so that we get smaller dots. We're going to create a mask on that height layer and just add a fill, call this or add a white noise to this. Now if we give it height, the height will just have that white noise as well. And we just need to specify that this only needs to be on the actual machine here. The actual box in the middle, not over the whole asset. Once we've done that, and we can set the height a little lower, we just want something that even at a low opacity, we get quite a strong feeling of it. Something like this where it's it's grimy, it's knobbly, it's something that feels like you would imagine rust on an object to feel like. Then we're going to add a layer on top that were going to have some larger pieces. Let's go all these dents. They're more like paint or little rust pieces that got stuck under the paint or so. Tiling this for like 25 using the grunge pebble spots. We can get quite a nice variation of dots in this paint. You then add another layer called roughs variation. In this, we're just going to use a grunge. We're looking for a tiny detailed grunge that will just give us the most bang for our buck if we apply it on a larger surface or I mean. Once we do that, we'll just play with the balance. We want some shiny pieces, we want some dull pieces, just to have a nice range. Even if you just see it at a low opacity, we're still winning. So, something like that could look good, it might be a little intense, so we're just going to maybe use a different grunge, but the idea is there. That's kind of what we're going for. Adding a grunge concrete. This might be a bit subtle. I don't think we'll see this. It doesn't have enough variation for what we're looking for. But we'll just play around with the balance and contrast and just see if we can get something that feels good. This is starting to get there. It's just a shinier version of the other rust, essentially. So you see setting up the rough just seeing if we can make it a little more rough, but it's just getting a little cloudy. So we just need to balance that out. Again, this is overkill for what we're trying to do because you're going to see it in very, very small amounts because it's just going to be the fade. It's not necessarily going to be the main rust. But now that we're happy with the material, we can add a black mask because we want to paint in where this rust needs to go. And we're just going to use the cement to again as a softened brush. We're going to add a paint layer to this to make sure we can paint on top of it. We're going to set our opacity and our flow up a bit. So here you can see we're getting that nice feeling even in small details here. We can't go that intense, but it's a good showcase of what it would look like. So just going a bit into stroke opacity, going a bit into flow. We can now start painting around the rust where these would come from, and also just painting where the rust would drip down from there as well. So these are little particles that would roll down and get stuck in the paint or get heated to the actual paint as they go. So we just want to make logically where these would fall out. Then at the bottom, we're just going to paint a bigger version or a bigger thing just to make sure that there is a big rust feeding at the bottom here because there's such a big hole. We just want to have more rust here as well. And then on the edges here, we're just going to add where these bottom holes rust winter as well. So you'll see, we're going quite softly but intense. So it's not a very, very light dusting, but it is still a dusty enough that we can get the feeling from it. So we'll just do the same on the sides. And then here up top, if you look at the reference, we have quite a lot of this rust speckling up top here. So we're just going to add a nice intensity of the speckling up here. And then just where the door would open, you can imagine the door would slam shut. It would fall onto the little ledge, and then it would kind of scrape the paint away. So just giving it a bit of a visual interest around the edges of the door as well. Then on the shelf, there'll be a lot of rust that stays here, either rust falling from the roof or being wiped over this rust piece here or being wiped onto the model. So we're just wanting a quie bit of intensity over the shelf over here. Then just to the bottom as well. This is just the highest intensity we can paint of this. Then there's also, this is a bit of an unseen edge, but we're still just paint some rust in here just for kind of the visuality, if you're looking through the glass, just to get some more interest in there. So just looking at the difference it makes and then just picking a base color amount that I feel happy with. So that like 56 is quite a nice fall off. It's not overwhelming. It doesn't look like dust. It's just a nice feeling of it. And then at that base color, we can also just start painting a little bit over the edge of the door as well, making sure to hold it at a reflective angle as well to see if the dirt amount is too much, but it doesn't feel like it is, so we'll just add some general speckling of dirt over here. Oh So just taking over, making sure I'm happy with where everything is, and then just carving a little bit away from the middle of the door just to get some smoothness that we don't get a vignette feeling around the door as if we painted on every edge unwittingly. But I think it's swing look pretty good. The rice is feeling like it's in the right place. It gives a little bit more character than just having it on its own. We're then just going to wipe away a little bit here. It's very ftilid. So with the rust, I just want these two bottom pieces to be removed. So it's going to mask out a few bigger rust pieces here. The actual rust pieces inside is a little too intense. I just want them to have a more natural fade. I'll just do this with a lighter brush over the edge of the rust so that we get more of a fade over rather than a 100% kind of 100 and zero. So just working a little bit with rust, making sure that they don't look as stick it on that the paint is actually running that they're actually running into the paint rather than just being stuck on. I got Ibo these up top, so I don't feel I n 20. 17 Creating Our Decals And Branding: In part 17, the first half is going to be just creating the decals for this non smoking sign and for this information sign. The first part of this is kind of not necessary because the decals are available. But this is here for if you want to know how to make these and to create your own signage. And then the second half will be applying all of the decals to the actual phone booth itself. So if you want to skip ahead to that, please feel free. But if you want to know how to make the signage yourself, just stick around and I'll show you some thoughts on how to do it and so on. So we obviously want to avoid copyright and we want to avoid low quality images. For this, we take an image from Google. We'll then make sure it is copyright free just to make sure. But we're just going to reconstruct the lines and so on around the outside. We're going to reconstruct some of the text. So we just want to make sure that we have a correct box. But then you just want to scale a rectangle to the right size. I just want to make sure that the corners match to be the same curve. This just give us a lot of higher quality bevel. You can then erase everything except the non smoking kind of sign in the middle. Do we just position that correctly. So with this, we're trying to match the reference. We'll put it the right way around. So then we'll just add a text that feels appropriate here. So no smoking, M that bold, make sure it's scented. And we'll make this the same red as the sign on top. We're going to in substance, actually pull down the saturation of this. So just make sure that the color is consistent, that when you desaturate it, it's the same. It doesn't help a lot to desaturate the normal image. It's better to do it that way around. Doug for the bottom text, just something generic but not Osha standard or something like that. So just make sure that it makes sense. It reads well. It doesn't need to be exact sign on something like this. It's more of a stylistic interpretation of this. Well, then just going to add the outside border here as well. This isn't going to be red. It's just so that we can see where it is. If we then add a black line to this, it'll give us out line to this, and we can just paste this into new image, and we can save that and have that as the noemking sign. For this sign, we really can't see a lot. So we're going to just make up some things. We're going to use some cha ch EPT to generate some text. But to start out with, we're just going to create three different lines here just to have a bit of a color split. So we're just going to have this white on top describing maybe how you use your card. Then we're going to have some information about how the phone booth works, how maybe the credits work, and maybe someone bought some ad space on the sign. So we're just going to make maybe a little inset step here on the right. And we're just defining these with boxes because we can use them as flipping masks and stuff like that later on. We're also then going to make some thin lines to separate between where the text needs to go here. We can just do these with very thin rectangles that we then just use as lines. These are a little bat to scale, but just deal with it. Maybe we can use a line tool instead. Line tool might be good for this. Let me make sure all the boxes match the dimensions, maybe a little over just because they leave a white line on the sides. So just using the line tool just seeing that works a bit better to move such a thid line. Changing the colors a bit of this bottom section to visually be able to see where the section is split as well. And then for now, we're just placing these wherever they want to go. We're just not following any reference or anything like that because this is a sign we can't see. We're just making something interesting, something with some colour, just add in kind of a black and white spot on the face of the sign as well. On this bottom line, we can maybe move that up, make it like two different sections here. This is just kind of visual language on just how to get the design to get the right feeling from far away. Even if the information doesn't make sense, the sign will still read as something. So we just wanted to have a feeling of something that actually makes sense. What they also going to do is we're going to separate the kind of add at the top. We're going to have a header, where they have some cards on the right telling you how to use your card. Maybe it's a proprietary card to this phone booth, and then we're going to have some descriptions on the left, and then just have a bit of a dynamic add to what you want to see. So no cash. No problem. Maybe it's a phone booth that can use cards. You know, it's kind of a modern thing. You don't need to insert your coins, whatever. We'll then say, we accept cards, then describe the kind of proprietary card they use. Something like that. Just something that catches your attention and makes you understand more of the storytelling of maybe this thing is used in the world. This is how you see it. We have a quit and a card slot, as well. So we've already brought some of this storytelling into the asset itself as well. So something like that header seems pretty good. So here's a bit of a description on how to make your call, kind of the important part about this object. We'll yellow the paper a little bit here just because we want to have a bit more of an aged paper feeling here. So for these emergency numbers, either use localized emergency numbers or make something up. It is never a good idea to use real numbers on signs, so let's not do that. Emergency numbers, calls to operator, that kind of stuff. Things you would see on a phone both like this in the first place. Also just adding lines to make sure everything stays nice and lined up. So then on the right hand side is where we're going to then start describing how the card and so on works. So we just want day line for where those cards go as well. Maybe make this a nice blue just to get some color pop in this side. Give it a bit of a rounded edge. Very few people will depict kind of credit cards with sharp edges. We'll then duplicate this five times four or five. Four could feel better, give it some more space to breathe. These will just make a group that's called cards. So integrate the decaals on them. We're just going to create a tipping mask. I just getting to just go to window brush settings and set the space into zero to not get as soft of a brush. Then you go to hard as 100. And if you hold Shift, you can just make a straight line. I was going to make a straight kind of swipe line on the top, and then infer some kind of information with the blue lines. This was some interest that doesn't just look like a blue square. Then maybe it has, like, a mastercard ish or some kind of logo in the bottom right. So something like that, this looks visually interesting. It gives some thought to what we're doing. For the bottom cards, we'll create a clipping mask again. We'll do kind of an overlay here. So that looks like kind of a front of a card. For the bottom one, maybe this is the proprietary card. It kind of has a strip at the top and reverse charge calls you can do with those cards, that type of thing. We just want to make these feel like marketing kind of images. We'll also then write line this text because it will be write line this line to the right. Then we'll add some text to explain kind of what each of these four cards here means, give the text some space to breathe. Make it regular. It's not a heading. Over here, we're just defining that it's a credit card, debit card you can use, so this is your standard card. Orel, as I see instructions below, well then add some instructions below. It allows us to fill out the bottom square a bit more that we don't have to overload the information uptop because the information uptop will be the most red because it is on a white background with black. It is a call to action kind of thing. So it's just easier to see that. Using a random name for the card, saying how that you can miro voice charge calls, what you need to dial, that kind of stuff. You can use prepaid cards that maybe you bought from a supermarket or something like that. So that's just some information that if you read it quickly, it does make sense. We're then also going to use some hat TBT. This will write us some things. So we're going to say write instructions on a roadside phone booth. So it'll give us some instructions. These are good. They tell us how to use a roadside phone booth. I wanted more to seem like the instructions are on the phone booth. The give us a little bit of overarching information. Checking to see if there's anything I can use here. So there are some useful things I can use. So up top here, we're going to copy some information, make this white and black. It's going to select one of the pieces. I'm just doing this some other screen. That's why you can't see what I'm selecting. But so here how to make emergency goals. Something super simple, something you can copy. This will all be publicly available information. This will just be something that every phone booth will have, and you don't have to worry about too much about it having given you someone else's phone number or something. Then for inserting coins or payment, and had a good text about that, as well. So we'll change the bottom text to regulate the top text to bold. So you see with JA GBT, we're looking for generic information. We're not looking for anything specific. We just want to fill in a space and we don't want to think about what to type. So it's good for explaining some information, but not explaining exactly it the way you want to. It just makes sense on a read from far kind of sense. So for this type of thing, it is absolutely incredible. So now that we have the text, we can then start making some ads. You can maybe add some more text on the top right here. It feels a bit barren. We're just going to copy this text over to the right over here. So this is collecting change. This also again, something that makes sense when you read it. So I was going to left align this just to fit it a bit more to the line, fit the design style of the rest of the image. I'm happy with how the textbooks. We have a good breakup. We have some good color pop. So here is some ads. I generated this mid journey. They're just generic ads. Maybe just some plain ads. Maybe this is near an airport. This is the first phone booth you see leaving an airport, that kind of thing. These could be anything. It doesn't really matter. I just looking for the colors and just for it to make a bit more sense. You know, I just try to extend this plane a bit, but it doesn't work too well. So what I'm going to do is I'm just going to zoom the image in a bit and just use a more zoomed in image of the plane. And then the text, I'll just add myself. I'll just make it a bit of a white plane. Do it like that. Still keeps the same look, still gives some interesting breakup, draws your eye away from the text, makes you get some information, plays off the orange of the rust on the machine as well. So we're getting just a bit of visual interest from this. Well then add the text. Maybe it's you want it to hire a private plane. Why would you have that on a phone booth? I'm not sure, but we have it. So we're just going to add that. G to make a fake website for I was going to add some drop shadow to this. These adds need to be designed, kind of like a graphic sound to design them to draw someone's attention, so we're just going to add some of the kind of classic tricks they add, some drop shadows, some strokes. Just adding some interest. Scaling the text around to fit though we don't cut it off at the border. So now looking at where we want to place these decals, we've saved them both out of Photoshop and we'll now just drag them in as decals are used. So just drag them in, assign them as texture. Then we drag them on a weight. You can specify these as base color ones they've imported. I'll give you a layer with the sine as its alpha has its color. So here we go. You can see that it is squared because substance isn't particularly like getting non uniform images. So everybody's going to have to scale this back a bit to make it look right. But it's just rotating, scaling it a bit and just getting that in the right place as the phone booth reference we have. So for the top sign, we'll add that in. It ends up being a little bit white, so I add just a little bit of white to the bottom of the no cache, no problem space just so that we can get a bit of a separation there. So here you can see the sign doesn't really fit, but adding some more white space, it does fit quite nicely. So that I'm quite happy with all the parts where I want it to be. It's adding the colors I wanted to. So now these both need to feel like they're part of the world. So now we can add some dirt on them. We can add some grime to these. So we're just going to make a mask and we're going to paint out where these go. So the top one, we're just going to paint over where that goes. That's easy. For the bottom one, we're then just going to make a square. That we're going to drag to be the same dimensions as the no smoking sign. We want to do this so that we can start kind of carving into them. We can make some frayed edges and that kind of thing. We're just making the square array to see where we're going with it. We want this to be the exact dimensions of the sign because if we add roughness and the dimensions are off, we'll have a shiny line across and a shiny sign, which looks like a mistake. So we're just going to make sure that we match the sign exactly. Just doing this in base color. It matches a bit easier, moves a bit easier. Now that's masked, we can start looking at what do these sides actually look like? So there's quite a lot of wear on this, no smoking side. It's very in front in the sun. So we can make a group called no smoking. We can make a group called Advert. On the no smoking, we can add an HSL. We can drop the saturation down to be a faded pinkish color, and maybe we can push the lightness up. The color will fade out of paper and it'll eventually return to white when it's in too much sun. So we can kind of just add those two in we can add a faded white color mask. This will just be a grunge that just adds some white specs onto the sign itself. So we're looking for some white kind of dirt here. So, see, this just breaks up the actual line itself. So that looks quite good. Then to add some paint. So on this, we're going to use the leaked alpha we used previously. And we're just going to start chopping into this paper, just adding some frayed edges where it would have torn away or maybe someone scratched against it or something like that. Do this very subtly. It breaks up the square a bit, but you don't want to go too overboard and just make it look like it's going to fall off at any second. Once you're happy with that, we're going to just do a check. What we're then going to do as well is we're going to add some color variation. Add a random grunge. We want kind of a whipy grunge here. I'm just going to add a gradient. It will be mostly yellow, mostly orange, got out of the way paper decays, goes orange, yellowy, pinkish kind of thing. So I go to add it, but very, very lightly. It won't show very well in the white. We're most looking for another color. But we'll add this to, like, normal, five, 2%, whatever looks good, just to break up that colours monotony. We're then going to go to saturation variation to change the lights and darks of this. Okay. So for this, we're looking for more of a dusty grunge. So this kind of thing looks cool, where it adds a nice black splotch in the bottom right. I turn it down a bit. It won't have that much clear damage, but just something to break up the color a little bit. We also want to add some height to these two. We're going to add some very, very low height here. It'll be a single sheet of kind of 200 ish gram paper, maybe even decal paper. Not sure if they print these signs on and for the top one, it might be a little more hardy paper, have some kind of protection in front of it. I want to add some sheen to it to add some shine, but still add some kind of paper tshes. Maybe it's like a 300 gram, nice card stocky paper that they use for it, a nice hardy paper. Or you could also go a little less detail. Maybe it's a vinyl or a single thing. But from the reference, it does look like a sandwich between two parts paper. They're going to add some ambient ilusion dirt. This is just a gray color with some ambient illusion and some dirt bodafi on it. Then just going to add a drippy kind of grunge here to make it feel like the water has run over this paper. Maybe the waters brought some dirt with it. We just want to make it feel like this has been out in the weather. Well, then add the same of yellow, orange, pinkish kind of colors here and just wear it the same. The black is still too defined on this, so we'll pull that black back a bit as well. So here we're also adding a saturation variation, making it a bit gray, just to make it feel like the print has suffered in the weather here as well. We don't want to go too intense for this. It won't suffer a crazy amount. It's just for some water got in and maybe damaged the paper. And when paper gets damaged, it does carry the print with it. We're going to add a position generator for some dark dirt on top. I'll have faded more on the bottom than it would have on the top, because the sun will shine in from the top into the phone booth and damage the bottom of the print much before it damages the top of the print. Well, then just going to make sure everything's in the right folder. So add a roughness variation, but we want to add this outside of the advert one because we want this roughness variation on both. We want kind of just a papery grungy kind of feeling. So kind of low noise, high impact type of thing. So here you can see it breaking up the light a little more. This is a bit intense. So we're just going to set this roughness down to about 25, 20 ish. So it's something like that. I still stays nice and shiny. I just breaks up the light that does intentionally hit it. So then here we can start adding the actual leaks using the same stencils we had earlier. So these leaks, look quite nice. They make nice long streaks. So we're going to add them very rough at first, and then we're going to start pulling back on how intense they are where it might have been wiped it might have been dusted off, things like that. So it's dirty, but it's dirty and clean at the same time because someone does maintain this. It's not just left out. It's being used. So this would have been if we had an abandoned phone booth, but it is a phone booth that's been used recently. So we're just going to wipe the sign away and make sure that the leaks doesn't stay as intense as they are now. Do it with a brush with low opacity, we're going to start wiping into this. So you can see we're starting to soften it without removing it completely. So like that looks pretty good. I have some nice streaks, have some nice color. You know, maybe add some general shine. Maybe it's laminated. Maybe there's a piece in front of it. But this piece needs to be nice and shiny. It needs to be shiny, but still show the paper behind it as well. So adding a general shine to this piece does feel quite good. I just want to make sure that it is constrained to only the sign itself. So something like that, but a lot less with a lot less roughness so that it doesn't overtake, it still shows what's behind it. So, something like that looks quite nice. We're bouncing the soft of this harsh fluorescent light, but we're still breaking up the variation. So here's what it looks like with the decals in place and some damage. Now though decals feel like they're part of the world. They've got some story to tell. And I think that look quite nice. The next steps that are going to happen is we're going to set up a marmoset scene where we're going to do some balancing on the colors. We're going to make sure that in the final render, the colors look correct, and then we're just going to do a final polishing pass after that of everything we see that render is not good in marmoset. So it's usually a good idea to do a check towards the end where everything is to a point where it's finished, it just needs to be finalized. That's what we use Mmerset for. And 21. 18 Setting Up Our Marmoset Scene: In part 18, we're going to start setting up the Marmoset scene to make sure we can get some nice portfolio renders out of this model. We're going to start this by importing the model, making sure our textures are named correctly. And then we're just going to apply all the maps of the textures. Do that they're named correctly, we can start applying all the textures. We're looking to have one that's called glass so that we can just have a material for the inside the loss well. To texture one traking in everything. You add the roughness here as well. And just do the same for texture set too. We're also going to actually set this to double sided and not backface cutting. So we're just going to turn Carl backface off here so that we can see the inside at last, as well as we'll render the backside at last quite often. We're also going to add our ilusion maps from both our texture sets just by going to clicking on allusion and then just making it an allusion map. The loss, we're going to apply the maps we currently have. We do adjust the loss a bit later. But now I'll just keep this as it is. I was wrong tissue it We want the glass to be a little bit more dramatic in Marmoset itself. So we're just going to add a transparency to it, make it dither for now. I'm just gonna drop that Alpha just so it's a little more visible. It's not the end of how we want it yet, but it's good for now. So starting off with the sky. We're then going to librarying. And we're just gonna use the City Hall corridor just for a nice bluish light. And in the sky, we could also make the background a solid color, make this a deep gray. Then going to render, we can enable rate racing then make the bounces three. Set the denise strength to 0.9. C then also turn the amen lusiont rate raised and make it affect the diffuse and specular. You can set the ilusion strength up a little bit. Not too much because we have some material parts, so just be careful with that. We can also then set the rays per pixel to four, just under viewports. So it's quite dark at the moment, so we're going to add some extra lights and so on. So let's do that now. So adding one directional light. We're going to aim this directional light to get a nice shadow cast on the sign from the pillar and from the phone booth's body as well, or from the keypads body. So you can just get a nice shadow kick. So just rotating this light around just to make sure that the shadows fall where you want them to be. So something like that looks nice. Although the shadows are extremely sharp, we're going to soften them now. So under the directional light, we can just change the diameter to soften that edge of the shadow, as well. So something like that, just to make it a bit more diffuse. Then we can pull the light up a little bit just so that we don't get this square in the top. To just break that square in the top a little bit more, we can also add an omnlight just as a top light to the model as well. We're just going to add it here under the roof, change its brightness down quite a bit and just make sure that we break the shadow down here a bit. Setting the diameter too high makes quite a sphere in the glass, so we just want to be careful with that as well. We don't want to render too much of this light kick on the side. And see if cast shadows makes a difference. Doesn't seem like it does, but we're then just going to move this light around just to get the right lighting we want here. So on and off, you can see what a difference it makes. So just dithering that shadow to just be not as internal as it currently is. We're then just going to duplicate that omnolt and then have a kick light on top of the actual phone booths body of the keypads body here. Seeing the brightness high to see where we are with it and seeing what it's doing. Do you want to move this that we get a light on top of this body here so that we can just have a bit more of this white showing and to draw the user's eye to this location, as well. Oh, once we're happy with that, we can then make a camera. So this will be the actual oriented camera. We never want to render with the main camera as that loses a lot of our quality. So we're just going to call this image under slash scam for now. We're then going to just change the color space to Aces. This is quite an important step as this will give us the most photorealistic. We're then going to adjust the curve. Just put two points on the side and then drag the middle one inwards. Something like that just to get more contrast. We're then going to set the exposure to 1.7 just to bring some of the light back. Up the clarity a little bit. Pull the highlights a little bit down, shut a bit up. I was gonna add some sharpen. A very slight amount of bloom just to soften the three D model look of it. Just turning down the brightness of the inside lights just to fit the new look now. Then back to the camera. We're gonna add a very slight vignette just to make some darkness on the corners. We're going to turn on a very slight amount of grain 0.0 0.25, just to give it a bit of lens dirt, atmospheric dirt type thing, just to make it a bit more interesting. Going back to the lights, just trying to see if I can sort this with the lights appearing in that last out. Guarantee these are rendering quite high end at last, so just trying to sort that Then the focus on the lens, you can also set the depth of field to right wrist. And then click on this button and click on the model that we wanted to focus on. So something like that. Every time you move your camera, just make sure that the depth of field focuses on the correct model, you want it to. We're going to add a shadow catcher. This just adds some shadows to the ground as well. Just make sure this is large enough that we don't get a cut off at the end. We're going to adjust the diameter of the two inside lights as we're getting quite a harsh shadow kick on the outside. And we're going to just turn cast shadows off on these to make sure that we don't get any shadows from these as we just want the directional light shadow. It'll just look a little nicer. When going under render, we can then set this to four k render. Under Image cam. You can enable safe frame just to see what we're actually rendering. You set the samples to 512. You are the two lights, just from an angle where it'll be a herro shot. We can just adjust the brightness of the lights again. I just seeing the middle light as well. We can also just use shift and right to rotate the sin around to make sure that it's on a good angle for us to render a test image. So we just want some kick on the last reflections on the right, and we're just going to render a test image. And h Now that that's done, we can just look at our image. We can see we're getting some nice reflections off the glass. We're getting a little bit of the light in here. Sign isn't rendering for some reason. Oh, so it is rendering, that's fine. So we can then adjust the lights based on that. So you're sitting the diameter a little bit lower of this inside light makes the kick in the last a bit less. She's moving it over just to get away from the glass on the left hand side. So what this as well, is this will inform us just do a polishing pass at the end, because we can now see how it's going to look. In the final place, we're going to render it for our portfolios. So we're going to do an adjustment pass after this again, just to make sure that everything is nailed down. Everything matches the color correctly here. We have some washed out colors here. We have some colors that look a bit off, so we're just going to do a full adjustment pass to make sure that in Marmo set, we look the absolute best we can. Don't just moving some lights around, just rendering an image again, getting rid of that left hand light kick we had. We're going to have to do a few test renders also just to see and to inform your next decisions on how you want to correct things. When we do the final setup, we'll set up multiple cameras to reader at once. But for testing, it's not super necessary. It's better just to do it like this. So we're getting a few washed out colors. We're getting a few things that don't read super well from this, but that is because we were relying on substance to tell us everything about our scene, and now relying on marmosade to tell us everything about it. So we just want to make sure that we inform all decisions to make this look better. Rendering can take a little bit of time when you do it one camera at a time, so it is better to generally do it with more, but we'll do that at the final chapter. Then in Pt 19, what we're also going to do is we're going to look at adjusting the glass and just balancing everything out. Just going to look at making everything more legible. Depth of field is just off in that shot it doesn't show us much. When that does happen and your image looks a bit blurry, just reset your depth of field because the camera probably moved and the depth of field lost its vision here. And that'll do it for part 18. The Marmot Senior is now set up. Now we can go balance in P 19. Now see over there? 22. 19 Polishing Our Texture: In part 19, we're just going to do a final polishing pass on everything we saw with the renders in part 18. So some things you saw was the top curve of the machine here was a little too flat. So I'm just going back to the model. And you can make some changes to the model that won't affect the Yi V too much. So we're just going to pull these up and then just adjust the corner curve to fit into that curve as well. Moving it very slightly just to make sure that we don't make texture stretch too much, whatever. So I just confirming we're happy with that now. Were they go to export that FBX to the same place where we exported the previous FBX. We're just going to do project configuration so that we can then just re point where the FVS needs to go. They'll then import and keep all your paint positions and warp projections we did from the previous ones. This import takes quite a while it has to recalculate all normals and everything. So just making sure that we wait it out. So once that imports, we can make sure that everything still looks correct. It doesn't seem like we're stretching too many textures. It doesn't seem like the bake has changed too much. So I'm happy with how that looks now, so we can then move on to some of the other things we've seen. So the middle roughness and so on, doesn't read extremely well in Marmoset, so we're just going to adjust that here as well. So for these front parts of metal, just isolating them, making sure that they're in their own group. Then we're just going to adjust their base metal. We're just going all the way to the base before the wear and so on. And we're just going to set that roughness to be more shining. So we want this to be really reflective, just to get a nice roughness kick in the marmoset render. Jersey that looks too intense in substance, but it will render quite nice in marmoset. So we must remember we're not balancing for substance. We are currently balancing for marmoset. So what I've also done is I've set the export for these textures to the same place my marmoset renders from so that when we export, it'll automatically live update in the scene we already have. This just makes it easier to live test between substance and marmoset by just exporting live every time you do. So now you can just set that roughness to be a little bit more rough to not be as mirary in marmoset. When we're in the Texas export, just go back live update, see your changes. So something like that, I'm happy with giving some nice date nice reflections now, separating this material a little bit from the back material. Then going back to substance, seeing if there are any other changes we want to make on these. So the other metal that has to be the same as the metal in front here is this bottom power box here. So we're also going to look for that group in tetrasty and just make that metal more shiny. Waiting for the groups to load. Using this many layers and this many hide paints does make it load quite slowly. So we just need to be patient with it. So hiding hiding the group is usually the easiest way to see it. But I think this group is called shiny metal for the bottom. No, that is great. So we're going to expand the shiny metal group and just go to the bottom material. To end this iron rough, we can then set the roughness down quite a bit. We're also going to have to adjust some of the roughness variation and so on, but we'll see if any issues are caused by just doing this quickly. It makes quite an interesting roughness now. The bottom dirt does get a bit strong, but we'll adjust that later. For now, we just want to see if the materials can read better in Marmoset. Now we're getting a lot more of a kick from the skybox on the bottom part. Then turn the retracing depth of fill off so that we can move around without getting blurry vision. It might be a little bit too shiny. Just going back to substance, setting it up a little bit, just do not get the mirror finish we had. So that looks better. It still diffuses the shadows. It still kicks nicely off the light. So I'm happy with that. We will then start looking at the rust and this black part, making sure that reads correctly. One of it is way too intense. I'm just doing it gather while we're here just to see what we need to edit as well. On these top parts, there are dents that come from the bottom bow box as well. I just want to isolate those a way that they don't pull across. But before we do that, just going to apply HSL on all the base colors, just to pull the colors to a bit lighter. We're going to add some saturation, and we're going to lose some of the darkness because all the colors are a little dark. I was just deploying an HSLT the whole group, just to pull those in. He's using a check. We can see that the bottom is a little too shiny at the moment. So we'll just adjust some of the print and so are not photo correct, but that's fine. So we're just going to adjust that little bit to not have that issue anymore. I go to export with a new saturation and lightness, just to see if it looks better than Momoset now and it isn't as dark as it was previously. You see the colors are quite a bit lighter now. Well, then start pulling the darkness back in in certain places rather than just having all the colors a bit muted and a bit darkened. Just pulling the power boxes roughness into a bit more of a photorealistic place just to make sure that we don't have a mirror at the bottom, where it's quite a dirty part. In the text, you said W are also just going to apply an HSL. And we're gonna pull up the saturation and make it a bit lighter as well. Just continuously testing to make sure that everything looks correct. Also, for this inside screen, the bottom feels quite plain and the top feels a bit light. It doesn't really pull the eye very nicely, so we'll just do some adjustments on that screen as well just to make it have more of a kick. So we're also just going to base color view here just to see that we can see only the base color and not have the performance impact of having the material, as we just need the base color to inform what we're going to do here. So we're just going to extend the screen wider, just to make sure that we can Sorry, we can have a more thick screen rather than the thin screen you have now. So for this, we're just going to increase the thickness of the height mask we did before. And because that is anchor pointed, it will still update the screen uptop as well with the colors and so on. What we're going to do first, though, is we're going to just duplicate the screen and make a rectangle. Oh, sorry, we're going to duplicate a rectangle from the screen and then make a inset at the bottom as just a little slot that we're putting there just for some interest. Don't know what they're going to do this add a fill, make this square. And then just change this to wall projection so that we can define where this square needs to go. Just scaling it down. And then once you push it in, you can see that it makes a slot. We make this quite a bit thinner. And we'll just place it to the bottom third just to make sure that there's some visual interest here. It just catches the light a little better and doesn't just have a flat plane. We have some interesting glass on top of it, but we're not getting the kick out of the glass we wanted. So we're just adding something at the bottom makes it feel more interesting. Now we're just getting into just the height of the screen itself. So you can see immaterial mode because as to re render that height, it is quite slow. So we'll just go to base color. This will just inform the decision a lot quicker because we don't have to wait for the material to update. It's still updates. It just doesn't take as long as it does immaterial. So something like that, and then we can move it down a little bit just to get a wider brim at the top. And we want to just focus the eye a bit more to the middle of this screen. Now it feels a bit more impactful. It feels like something people actually need to read rather than the thin screen that was just lost in the black square. We're then going to add an HSL on this as well to get a bit of a lighter green. We're going to make sure to do this on the color, not on the mask. You're going to set up the lightness and the saturation. This will give it that nice computed low kind of green So something like that looks quite nice. The issue we're having now is the edge dirt doesn't read as well. So we're just going to go paint in some edge dirt. So doing this with a very low stroke capacity just to make sure we can really get some grime in the corners. So we're going to paint it in and then also just carve into it the same stroke capacity, but just as an eraser. A. And for this bottom slot, just defining its height a bit, making sure it reads from a distance. So now that we've made that change, we can just go see if that reads well in marmoset, as well. So the screen reads a lot better now. It's more of a middle visual interest. You can actually see it. I pulls the model together a bit better. We're just checking for other changes I'd like to make So we're going for this black metal. We're going to adjust some of the rust. We're going to make some colors darker. There are some rust pieces that feel lost, some colors that feel off, so it's gonna adjust some of that. So just naty scroll to that layer. Let me just first adjust this ground height quickly. It's throwing off a bit. Sorry about jumping around. So for the ground dirt, I'm just going to go into roughness just to make sure what's causing this heavy line we have here. It's just a harsh variation between the roughness of the full model and the roughness of the ground dirt. So we can see this change quite heavily in the roughness hunnel itself. So just going in roughness, just hiding and unhiding the layers that you think could affect it. You can see that's the layer that affect it. So we're going to do is go into roughness and we're just going to adjust this to 60%. We're just going to adjust it up and down just to see when it hits a point where it just blends in rather than causes an extreme harsh line at the bottom here. So see that fits a lot better now. You can even go 30, 40 feels fine. Maybe 50 you still want some variation, we just don't want it to be as intense. This has to be some ground dead, just not as much. Just doing a general roughness overview as well, just to make sure that we have some interesting roughness now that we're in the hunnel We're going back to texture set one. We're then going to just adjust the ground dirt on texture set one, as well, just to make sure we have a little bit more intense ground dirt there. We just need to match that between the two sets, the power box and the outside frame as well. So for the general metal here, we're just going to set the roughness to be a bit more shiny, as well. Sorry, for the back grid, we're gonna set the roughness to be more shiny. My bad. Going to do an export to see if those two roughness changes made a difference. M. So we're getting a bit more of a better sharpness kick now. The ground is still a bit rough, but it looks fine. We can then bring some shininess into the keypad body as well. This is just general fixes. Everything you see, just go in, make sure everything's adjusted. Any problem you see, just fix that right away, rather than thinking you're going to fix it later. It just makes it easier to jump through. Uh, fixing these dent cutling. So the dents come from the bottom the bottom power box, and they project onto the clips on top. So we're just going to paint those out just by adding a subtract, and then just subtracting the two top pieces. This call this dent limit just to limit the dents. I'm going to make sure that it only appears on the power box and not up top. Now you can see the stop middle is flat and doesn't have that dented head earlier in it. I thought I was going to move to the black medal. So for the rust, the rust color got blown out quite a bit. So we're just going to add ats to this. It changed the lightness to be quite a nice, dark rust. And we're just going to test in marmosete to see what that looks like. We're getting less of that dusty feeling. It's stile bit dusty, but it's not as bad as it was, but we can still go quite a lot darker. It does look a bit nicer. I can even go maybe darker than this. For the glass, we're also then just going to add a refraction just so we can get some more life into the glass here. I set the depthy 45. It's going to set the scattery minus oakum 04 just to get a nice shatter scatter through the glass. Just going to add a refraction index map, which is just a map of the roughness. Or you can also go into just your glass and make a transmission map. So for this, we're just going to go into color, called the transmission map. We then going to add a fill and we want a nice pronounced grunge that'll give us some bigger pieces on the glass that can read better. They were something don't want something wipy, don't want something kind of dusty. We're looking for something that has pieces that doesn't just feel like general dirt, but it feels like maybe there were stickers on it or there's wear that is on the glass just to give it some interest. So something like this is quite nice. It feels very papery. It feels quite grungy. So something like this will look quite nicely on the glass. We're just going to balance out to not be as black and white. We'll do this in the base color so that we don't have the opacity and we can just see what the map itself will look like. Is grouping all the layers, just adding an HSL, just to pull the contrast back. With opacity, you don't generally want as much contrast as you usually have. So just pulling back the contrast helps the look of that last quite a bit. We're then going to add that into the refractive index map. Now you can see we're having a bit more interesting shapes that render through. Just laying around just to see when that lass feels like a mirror, when it feels like lass. Just adjusting this look to look as nice as we want it to look. Something like this is quite cool. We just wanted a bit more translucent if we want to render through the glass or see an object through the glass, we wanted a bit more transparent, but we still want things in the way that add interest. This is more of a stylistic choice just to make the model feel a bit more live and not just make the glass feel like plastic that's wrapped around. Just playing around with the channels in the Alpha. Fine. So we're also then going to apply the atlas opacity that we had previously. And let me just apply the base color. The base color here looks quite a bit better, just so that we get that transmission map opacity through as well. Having black spots rather than white. I'm not sure why. I'm going to change this back to the Alpha and just change the opacity down so that we're happy with it. A node, sorry, reflectivity node. So if something like that does look quite nice, but we can still probably lighten these maps up a bit just to make sure that we have less contrast. Now we're getting eight last that reads quite a bit better. It reads with some objects in between. It reads with some shine. Like the light is still shin on it. It looks quite nice right now. We're seeing if there's any other settings that will give us a better look as well. So after we're happy with that last, we can look for other changes we would like to make. And Just adding a roughness node here, just to pull the contents of the roughness off a bit. I see I didn't do that, so I'm just doing that quick. Something like that feels a bit good. Now we still get those leaks back. We get all of those kind of looks in that we plan to get, and then still the paper te kind of alpha we're going for as well. Then we can go back to base color. And the thing I want to adjust here is the darkness of this top clip. This brow now with the saturation has become quite a bit lighter. So I just want to make sure that we darken that up as well. So it's a base color, see where that brown is. Isn't help looking for a base color in the roughs because everything is just gray. So now that we get this gray, you can just change it to be quite a lot darker, just to make it less obvious. And this also catch a lot of dirt. So we just want to make sure that it is dark enough to look like It's not a new part that was replaced. So now that we've adjusted that, we also need to change the edge dirt we have on it. To change both of these together, maybe an ACS lo will work better and they're just pulling down the lightness. That works better. That feels fine. Then we're also just going to change the roughness of the phone as it's a bit too rough in the Marmo set render right now. For the phone, we're just going to enter adjust the roughness to be more shiny. So this bottom lip can probably stay a little less shiny because it's a bit of a rubbery thing. It absorbs a bit more dirt. But for the phone itself, I think we can boost the shininess of that quite a bit, just to make it stand out and have a bit more of a shiny kick. We're also going to make the white paint there a bit more shiny, so it'll just fit better as well. Again, doing an export to make sure everything looks correct. M So the darkened color makes that clip stand out a lot less, and the shining of the phone makes the light on top of the keypad body stand out quite a bit, as well. Then we can look at this black metal here. We can hide texture set one and just isolate texture set two to make sure things load a bit faster. M In the black metal, we can then make this darker. I also want to get some blue in it, so we'll probably go quite a dark blue rather than quite a faded blue now with the HSL applied. Just to pull some contrast in with this piece as well again. We will go quite dark because we have an ATS laptop, we can go a lot darker. This makes the white stripes appear quite a lot more from the saturation variation, so we're just going to have to tone these down as well. I'm happy with the color like that. Then we can just make sure that there is a saturation variation. I than just half these values because the color is quite a lot darker now. So now they're just the same amount that we had then before we changed the color. You can add some saturation to the rust, as well, add a bit more of a reddish kick rather than making it feel like dirt and just drop the lightness so that it's reddish but dark. One I also add a levels just for some contrast to try and push the blacks of the rust a little more as well. We just want to go a bit darker, something like that. A reddish, nice, deep rust, looks quite cool. The other thing we can do is we can make the white pad a bit shinier on the keypad body. Looking for that. On the firm keypad body. This paint is not reflecting at all almost. So we're going to try and make it shiny. Well, shinier just to get some roughness response from it. So we're going to tone down the base roughness or go to tone up the base roughness. We'll make it more shiny. Also got this add shine layer that does add some roughness, so we're just going to add a bit more on that layer. Still looking quite dirty. Turning down the dirt to see what impact that makes. You're gonna make the paint a bit whiter to make it feel a little less dirty. They were just going to add a shine layer on top of the dirt, as well, just to pull everything up at once rather than having a very strong contrast between both and just making it feel even more dirty. So we just want an overall kind of shine on the white paint here. We'll also try this with a levels roughness just to even eat things out a bit. The roughness variation is quite extreme at the moment and not shiny enough. So just trying to pull a balance on that. Today we're going to do this to be a bit more shiny. If you look at the material now, you can see that we're getting this nice kick on the corner, and it's showing those bumps a little better. The bump height might be a little much, but we'll see that in marmoset, and we'll adjust accordingly. Then just turning down the levels a bit to make it feel full shine. Something that's nice. It does catch the light a lot nicer now. Well, just to confirm in marmoset, if that looks fine with our light there, but we'll just do another change that we don't have to export for every small change. So this harsh dirt is piling quite weirdly in this corner of the power box here. So we're just going to look at playing around with the seeds to make sure that we get a better dirty distribution at the bottom here. So this grunge is chewing it up quite a bit, and that's creating this bottom dirt there. So what we're going to do is we're just going to set the level position to be a bit higher. And the contrast to be a bit less. Then you're going to random the seed of both dirts just to see what gives us the best result of where things need to be. So see here, we're getting more at the bottom, we're getting less on the pillow. So playing around the seeds gives you the same effect. It just gives you kind of less of it. We're just pulling down the position a little bit again. Now that we have a strong dirt here, we can just tone it to be how we want it to G having this little line at the bottom feels quite good. Maybe have a bit more, but we're having almost none on the pillars on the side, which is exactly what we want currently. So that just adds a nice kind of dirt, and then we can just play around with the kind of damaging grunge to just keep getting a better, broken up line that doesn't extend as high on the left. Something like that looks perfect, just to have a bit of dirt but not overwhelming, and that just breaks up. Here we have a weird little glitch that comes from one of the other layers. So just spend some time trying to find it. This is just an overpainted height from one of the overlayers that just ended up here. But the overall that we want to do here is we just want to add some more scratches to make it seem like people have put things down in this power Box or left their keys here just to see to give some more storytelling to the bottom here. You're here to look for this mistake here, unhiding layers to just see where it comes from. It looks like a speck from the Keybad body that's just not masked correctly. So I'll just go in and hide that. And now we can start adding the scratches to this bottom layer here. So we'll add a scratches group that we just add a white colour t and we'll just do a sorry, we're going to start by just painting over a mask for this of where we want the scratches to be, just going a bit over the edges, going all the way around. Then we're going to do is we're just going to add the scratch generator and then subtract from this to then have some white scratches that also have roughness in them. So we're going to use the scratch generator on a subtract, which will be the wrong way around. Then we can just invert it to get white scratches. So setting that down, you can see the shape of these scratches look quite nice. We just need to position them correctly and get their rendering to look nicely. So we're going to just in the fill inside of this layer, the scratch insides, set down the base color, and then just make them a bit rougher as well, just to show some damage on the shiny metal here. Going to the roughness channel, we can see the most of how they'll look. So we're just balancing it in substance first and then going to see how it looks in marmosetes because the difference in roughness and metal scratches and so on is quite a big difference between the two software. This colour mice will be a little intense, but we'll just paint it over for now so we can sort of see it. We're gonna play around at the scale a bit to get scratches to be the right size that we want them to be. We're then going to export to Marmo set just to make sure that it looks the way we want it to Ed Marmo as well. The Marmo said, we're just going to make again sure that our depth of field is disabled because if we keep this on, we won't be able to see because it'll just go blurry the closer we get. Then now you can see these scratches are way too intense. So we're just going to down its base color and its roughness a little bit. And You can just also change the tiling. I think 12 looked a bit better. It was a bit smaller scratches. It felt more appropriate for the asset. So 12 feels good, but they're still very, very obvious. So just going to make sure that they're not that obvious. Just go to tone down the roughness. And then the base color, maybe just 15. We just want to barely see them, but we want to know they're there. So something like that starting to feel a lot better. You can even tone it down maybe a bit more. Then we can add a fill on the subtract so that we can subtract some grunge from it to break up the straight lines from the scratches. Is the scratches, maybe it skis that bounced or something like that, so they won't be perfect. And we can just break them up using a subtracted grunge cog web. So just looking in the mask, we can see what we're doing. So if we export now, it'll hopefully look better. And there we go. That looks quite nice. Now it fades in with the rest of the asset. The scratches are quite visible. They're just at a right level, and they don't distract too much from what's happening. You can set them down a very, very slight bit, but overall, I think they're fine. This will be final change on them. They just turn those down. And there we go. That looks better. Now it's not as visible from the outside view as it was. So then for the next one, we can also just maybe set the phone a bit darker. It was also one of the things that with the HSL, it got a bit light. So just adding contrast back, we lost a bit of color, but we just want to bring it back in the right places. There we go. Now the phone pops quite a lot more harsh on this corner. A little bit darker, but nothing major. Soth like that looks quite good. Now it's nice and black and shiny. On texture set one, this rust isn't reading very well in Marmoset. So what we're gonna do is we're just going to duplicate some of these layers to get this rust a bit more obvious. So we're just running for texts at one to load, then we're going to go to the back grid and just make sure that we duplicate the rust. Under the back grid, we want to duplicate both this rust wear off and we want to duplicate the rust fade. This is just for the screws. If we duplicate this, you'll see that it's a bit too dark. We might have to duplicate it and then the second layer, keep that at 50% base color. There is gonna call this more visible, just so that we know why we duplicated this layer. I just want to duplicate this dirt top for the top rust and the AO for the kind of overall dirt, as well. And we want to set the top layer just to a 50%, so we don't want it to be double the visibility. We just want it to be like a 50% more to see it a bit better. So there's old bows of dirt, we can also duplicate to make that more visible and set this to 50. But we can just do an expo to see how this looks in Marmoset. So now the dust the rust is a lot more apparent on this part here. I always love that nice leak on top from the water coming through. Dirt top, we might be able to do 100%. It might be a bit much. Trying to see what adjustments we still need to make it look perfect. We're going to add a filter to this rust fade so that we can add some saturation to it. We're going to make this a bit of a redder rust. We just want to get some more color at the back here and make it fit the color we did on the black grid as well on the black metal as well. That might have been a bit much. So we're just going to go halfway between old and new. Something like that looks quite good. Now it reads from a distance, and it makes sense what you're seeing rather than just having some random dirt splotches. So that color and the density of it looks quite nice now. And going back to texture set two, the base metal of the keypads doesn't feel very metal and shiny. So we're just going to improve that a little bit. On the base here, we're just going to up the sorry, we're just going to change the keypad metal first. We're just going to up the scale and the intensity of the brush strokes, and we're also going to make them a little bit longer. Just to make this brushed metal stand out a bit more. And we're just going to make it a bit more shiny, as well. So to make them longer, we're just going to edit in scale and just make the scale a bit higher. Lower. Lower will make them longer. So something like that gives it more of a brush metal feel, so it's a bit better than the way we wanted it to be. Now we'll just get this metal in this corner here to make sure it's a bit more metallic and shiny, just to fit the other metals we've done this is now just quite dull and just looks like black paint. Some of the white keypad body, it's just under base metal. So if we go to metallic, you can see it's fully metallic, so it's only the roughness we need to bring in. This roughness fits everything around it too much. So if we add a levels and we just level out the roughness, we want it to be more shiny. So in the roughness shuttle, we're looking for it to be more black rather than as white as it is currently. It's going to the base material and setting the roughness to be more shiny, as well. We might need to adjust the AO dirt here as well. Because that group isn't actually adding something, so this dirt does go over it quite a lot. We're just looking at the best ways to solve this shininess here. So these layers don't contribute to roughness, so we're just going to add a layer on top. So we're going to add a layer on top. Call this metal roughness. Then what we're going to do is we're going to make this quite shiny. They're going to look at what the anchor point you're looking for is. I think it's called white paint mask. It is. Then we're going to add a black mask, add a fill. We're going to fill that to the white paint mask. It's masked to the white paint. But we want to invert this because we want the inside metal, not the paint. And I want to make this a little less in the roughness. Cause we don't want to have pure shine. We just want to have some more shine. So once you tone this down, you'll see that it evens out a bit more, but it's just more shiny than everything around it. Nos quite a nice shine when you look at it. I was just making sure we export all the layers together. Just doing some final checks because this is the final changes we'll be doing on the model. In P 20, all we'll be doing is we'll be setting up camera angles. We'll just be making sure that we render everything correctly and that we have some nice portfolio shots to show off all the work we've done and to just give a good insight on how all the materials respond to light and so on. Okay. Okay. In these final checks, I'm just going to do a render and just see if everything is as I wanted to be doing it from a hero shot kind of perspective, we'll just inform any decisions I need to make. But because we've been going back and forth, I doubt that there'll be anything else to change. This is just a sanity check you can do. It's not necessary at all, and it just is kind of a nice to have. I'll see you guys in Part 20, where we'll finish off this project. And 23. 20 Creating Final Presentation Images: In Part 20, we're going to be doing the final renders for this model. So we're going to add a camera we're then just going to call this final and make a folder for the cameras. Every time we're happy with the camera setup then we're going to duplicate the camera and just adjust the depth of field to fit the model. We're then just going to go to the duplicated camera, Make sure we're in that view, set it to where we want, and then just again set the depth of field. So I'm just going for a few full body shots and a few full body intermediate shots to make sure that we can get some closer details here. For the second one, we can do kind of this middle part. For the third camera, we can do a full front view. We just want to give as much information to the work we've done as we possibly can. So again, just adjusting the depth of field. Just making sure that we do this on every single camera angle. Otherwise, we'll get quite a blarim vision. So we just want to make sure that we get a nice crisp brenda from all of these. In four shot four, we can go middle body and just a bit wider out just to show the sign we did, show the side rack we did, and just show some of the inside and some of the last texture as well. Going to shot five, going a bit closer so that we can show all the detail in the silver face plate we did here, sending the depth of field to that again, making sure we can see a nice kick of the light, some of the sign to add some interest, and then just all of the text and so on on the face as well. Then for shot six, we can do a full frontal view of the information sign here, making sure that we get a nice reflection off the bottom right just to show its smoothness and then just setting the depth of field to make sure that that's correct, as well. Then for shot seven, we can do the bottom part and the pint were on the actual phone booths bonny. I'm sending the depth of field to the closest corner to us so that the backphone and so gets a bit out of focus just to look a bit nicer. After this, we're then just going to add all our cameras to the render images so that we can make sure they're all rendered together when we render. And then we can conclude this course. Thank you so much for watching. I hope it helped. I hope you learned something. Okay.