Introduction to Being a 3D Prop Artist

1. Trailer: Welcome, everyone. My name is Mel Sieger. I'm a lead three environment and prop artist working in the game industry, and I will be your instructor in this course. Now, we have created quite a special course for you that I like to call an introduction to being a prop artist. The goal of this course is to teach you what it is like to be a pop artist. Various fundamentals that you should know that will give you a detailed overview on how to create high quality tree assets while teaching you all of the techniques you should know if you want to become a prop artist. This course we'll start with a detailed PowerPoint presentation in which we will do an introduction to who I am, discuss the main responsibilities of prop artist. What the day of a pop artist actually looks like, some key focus points in becoming a pop artist, how to craft a good portfolio and various workflow overviews. After this, we will go over in detail and in real time on how to create a high quality game ready three asset of a Japanese vending machine. During this time, we will cover various techniques from gathering references, creating blockouts, doing high to low poly modeling, doing weighted normals model baking and creating unique, high quality textures and many more techniques. The way that you should think about it is that at the end of this course, you will be able to create exactly what you see in this trailer, and you can apply these techniques to almost any type of three asset. With a total of 16 plus hours of video content in this course, it is considered quite a large course. It is not intended to be an introduction to the software we use, so we do expect the artists to have a basic knowledge of the modeling software and substance painter. But I feel confident that this course will teach you a wide range of useful skills. This course has also been done almost completely in real time and is fully narrated. There are only a few very small time lapses on super repetitive parts. And we've also added keyboard registrations that you can see which buttons we are pressing. This course will come also with out generated subtitles in English, Chinese, and Spanish. We hope that you enjoy this course and that it will have a positive impact on your life. Once again, my name is Mil Sligas and thanks for 2. Essential Information: The main responsibilities of a pop artist. What I want to go over in this course is I want to not just show you modeling techniques and what you need to know to be a pop artist, but also just in general, what does the job look like and how does it feel? So the exact responsibilities can change from position to position. So take this all with a grain of salt. It highly depends on the company you hire for because a pop artist can work in many different industries from film industry, mobile industry, game industry, a bunch of different stuff. So, of course, one of the most important things that you'll probably be doing is creating trey assets, which can be used to populate an environment, but they can also be used for product design and stuff like that. The goal is to often create assets that follow the arc direction or an asset brief, and an asset brief is basically just like a quick brief with some references on what you need to create. As a prop artist, you often also want to integrate TD assets into game engines or other software. You often also want to create blockouts for outsourcing, although this is more if you are working for studios that are working with outsources than you are often the very first step before it goes into outsourcing. Next to this, you also often want to assist the environment art department with custom work because next to props, sometimes you might also be making other stuff. For example, when I was working on DDvision even though I was a pop artist and I was making a lot of props, I also sometimes had to go into the environment, and I had to create a special plaza, like some extra planters and some highly specific assets for that specific location. And next to that, you also often need to do general bug fixing. But this comes along with many types of studio jobs that when you're working on a large project, especially for game projects, at the end, you will often go in to a bug fixing stage where you but also many other disciplines like the environment artist and lighting artist and technical artist, you will all work together to do general bug fixing. So what does the day of a pop artist actually looks like? So pop artists usually receive something called a request brief. A request brief is basically in our case, when we were working at Ubisoft, it's basically just like a PowerPoint page that has a little bit of information on the asset like the name and how it needs to be constructed, along with a bunch of reference images, and it's up to the prop artist to then go out, find more reference images and actually create the asset. Next dish, you also often work with task managers like Jira and ClickUp, especially on larger projects where you need to manage your task, set it to in progress, of course, complete it to down, request feedback, and all that kind of stuff. So there is actually also a little management site to just being a pop artist. It's not only creating three assets. So once the brief has been received by the pop artist, they often first focus on creating a blockout and integrating this into the engine. This way, the environment artist or level artist can already use your asset inside the engine. Of course, everything I'm explaining is more going in the direction of the game industry. However, a pop artist can also, of course, be a product designer, in which case, you wouldn't probably work with game engines. But from now on, just keep in mind that I'm mostly focused on the game industry in this sense. So once this blockout has been approved by a senior or elite, often with blockouts, you don't the way go to elite. It's often just like your senior artist that will just have a quick look and be like, e, that's good. The pop artist then focuses on creating the final asset, following the general art direction or concept art or references that you have received. Once this is done, they will import the final asset into the game engine and overt their blockout to make sure that it's like a very smooth swap where the blockout has been replaced by the final asset, and you, of course, need to make sure that it complies with the technical guidelines. This can be everything from collision, correct material setup, correct settings, a bunch of stuff like that. It highly depends on whatever project you're working on. Then you end up with a bunch of assets like you can see over here. So all these assets were game assets created for environments or for other projects. So the key focus points when you want to become a pop artist. So I wrote down a few focus points. Of course, there are often a lot more, but, of course, the first one is modeling. So you need to have extensive knowledge in the various modeling techniques like height to low body modeling, weight to normals, how to use trim sheets and stuff like that, because one of your main jobs is creating tree assets, and for that, you need to be able to model. Next to that, texturing is also a very big part. So you need to have the ability to create high quality textures for whatever field you're working in. So if you're working on stylized projects, of course, you need to be very good at stylized textures, and if you're working on realistic projects, you want to be very good at creating realistic textures. Now another important one that's sometimes overlooked is UV mapping. So especially when working for games, you often have limited UV space, as in that the textures cannot be super large. You cannot go for four K textures and everything because then it's not optimized and the game will run slow. So you need to be able to make clean and optimized UV maps and have a good understanding of textual density to make sure that everything is looking correct. Now, next, you also need to have a really good sense of shape, scale, and composition. So having a strong sense of shape, proportions, and composition allows you to be able to make assets that really fit their real life counterparts or their concept counterparts and make it all believable. Like, I see a lot of younger or beginner artists do this where they don't quite get the scaling of it. They get the general scale of the asset. But all of the details that go on top of it, in this case, the little locks and stuff like that, they might make it too large compared to real life, or they actually are details that are too small. So you need to have a really good sense of, like, Okay, so these are the proportions. These are the general silhouette, because even if you can see here where they cut it out, you can see that even though it's a cube and a box, there is an interesting silhouette. There's some high differences in here that just generally make everything look a lot more interesting. Now you often also need engine knowledge. And for this, I'm talking mostly about game engines. So even though you're a pop artist, having knowledge of game engines and the integration of assets will put you in a strong position because when you are a pop artists work on production, they will often ask you to actually import these assets into a game engine and set them up properly. This is not something that you would just hand over to someone else. And finally, as with pretty much any job in the game industry, you need to be good at teamwork and communication. So as a prop artist, you often work with various other disciplines, including concept art, environment, architecture, art, level art, level design, and technical artists, and also a bunch more. And you can imagine that if you're working with so many different teams that all need something for you and all need you to do something in a specific way, you want to make sure that you have good communication skills and that you also have a sense of teamwork, that you understand that, hey, it's not just me. We are work on a big project. Everyone needs to work together to be able to finish this. Let's go to the next one. So finally, I want to go over just how to craft a good portfolio. So when you want to cat a good portfolio, I'm going to show you a few examples on art station for this, so it's not so much about the slide. But a few key points is that you want to focus on the job that you want. For example, if you want to become a realistic pop artist that you work on realistic games, don't just have stylized work on your portfolio. In general, if you want to become a pop artist, don't have things like character art on their stuff. Environment art is fine because pop artists, they are often overlapping, but don't go way outside of your boundaries when applying for a job. I sometimes even see pop artists that have just sketches that are drawn. Like, if the sketches are tied into an trey asset, fine, you can include it, but don't just have unrelated stuff. Next this, also, what I see is that pop artists leave their old work on for way too long. So of course, as a pop artist, you're working, you're growing, you are becoming better. But what you need to understand is that studios and recruiters, when they look at your work, they judge you by your worst piece. So if you have a bunch of really good pieces, but then you have just this really old piece that's a few years old, just remove it. I know it sucks, but it's something that you need to go for quality, not for quantity. Next to this, you also need to showcase multiple disciplines that are important for pop artist. So, of course, a pop artist, yeah, you want to show that you can make really good asset. Especially in texture definition, you often want to show that you cannot just do one thing. For example, if you are very good at creating metal textures, also show other stuff. Still show assets with, like, wood textures or concrete textures or plastic, stuff like that. So you can see quite a nice range that yeah. There's some really nice met but there's also some concrete in there. There's even, like, just some more branding and fabric in there and wood in there. So it just shows that when a studio wants to hire you, they are confident that you can do a wide range of stuff, and not that the moment you get one single asset that has wood on it, that your quality drops dramatically. And finally, as I said before, it's quality not quantity. A recruiter and studio rather sees two or three really amazing projects, then ten or 15 mediocre projects. So really focus on pushing that quality and getting all of that out there. So what I want to do now is I just want to give you, like, browsesin so to speak, and I will find a few profiles just to give you some inspiration on what I think is a pretty good pop artist portfolio. Okay, so I just went through art station, and I just clicked on a bunch of portfolios and kept the ones that I like. Of course, each portfolio is slightly different. Some artists, for example, try to go more in disciplines of environment art. But what I'm going over here is not so much the quality about the art. Of course, make sure that you get the highest possible quality, but more the structure of the art. So first of all, we have Lisa Blight. So Lisa Blai actually used to work for me or still works for me. Sorry. And basically in her portfolio, Aldose is now moving more into um, environment art, she started as a pop artist. And what you can see is that it's really focused on like, okay, I have a few really good assets. He can see quite a good camera, which is just a nice hero asset, where she clearly, showcases how she can do, like, little micro details with still various surfaces and also shows a bit of the process. Now, in her case, she also has a modular building, which is often also, even though you're a pop artist, pop artists sometimes will also need to work on modularity, so that's also quite a nice one to show that you can do some larger assets. Next that, of course, she also has some actual work that she did for scans matter. So this is some of the work she did. And if you happen to be able to already do some commercial work, then that's great because you're basically getting paid to work on your portfolio. And next this here another one where it's just another very dedicated portfolio piece that is quite a cool looking radio, where she focused more again on like Wi storytelling material definition. So what she's trying to do is she's trying to really show like, Okay, so look, I can create complex models in terms of the modeling department, but I can create also high quality textures. Now, next this, because she's moving into environment art, you can see that and scanning, you can see that she also has some scanning. So again, also shows that if you want to do multiple disciplines within your field, because a prop artist can also kind of become a scanning artist or an environment artist, it's okay to show those things, but always show a majority of what you're focused on. So, Lisa, she's more like an environment scanning artist, so she has, like, a lot of scanned assets over here and even some environments, and she does have already A experience. I'm just going to go through this. Last thing I would say is next to this, also, make sure you just have a decent overview over here. I see a lot of artists on their portfolio just writing nothing into their summary, but it will give a very quick insight into what you like. And then on the About page, next to the summary, make sure to have a contact email. Sadly, with ArtStation, you do also get a bunch of spam. And if you have happened to work on productions, feel free to just add that. It's quite nice art Station to be able to quickly see that for hiring manager. So here we have another one Santiagomante, again, someone that worked for me. But you can again see that he really focuses on, showcasing a few really high quality hero assets. And for the rest, he showcases professional work that he did. So he actually recently boast this like only three weeks ago, where you can see that he just shows high quality assets and how he produces it. Here's another one. I believe that this project was actually a project that made me hire him because it was really nice because it's an asset where you can see, like here, some fabric and leather stuff. I can see some metal stuff. I can see some mood stuff. So it all just kind of comes together where I'm like, Okay, so it's also pretty complicated modeling that shows me enough to be confident that he's able to create various different types of assets. I believe here he also did some environment art. And that's the thing. I want to show you just pop art, but pop artists often do also work on environments because it's quite close together. And then here is, for example, some of the professional work that he did. Now after this, I will go for people that do not work for me. So these are just portfolios I found online. So, of course, it's all credited to them. So first, we have Paolo Sanchez Ferro. I hope I said it correctly. So again, just a portfolio, of course, she has a bit of experience. Not all of them in here, I believe, do have that, so I want to give you wide range. But again, it's very clearly for the hiring manager, shows like, Okay, individual assets and hiring manager can quickly be like, Okay, so that looks interesting. I want to quickly have an eye look at it and see what it looks like. Now, one of the projects that caught my eye was definitely over here, this Lwnmower, even though it is only hipoly so it's not technically game asset, but I really like the presentation. It's a really clean, strong presentation that clearly shows the detailed modeling of an asset. Now, next to this over here, another one. This name is Oda Abuzad Abuzad I hope I say that correctly. But basically, here, again, you can see that yes, he has a specific style where it is really more like that metal cyberpunk type style. But he basically just shows a few high quality assets that he created. You can see that his work doesn't go back too far, where it's like, years and years old. And it gives a very good overview of, like, Okay, so he is really good at detailed modeling because this kind of stuff that's a lot of detail to bask model, and he's really good at creating metallic textures and just metallic details. And next that, you can, of course, also have a look and see, like here, you can see that he did some fabric assets. So it gives you a sense of, like, Okay, if I'm hiring manager, now, of course, if we work a lot on highly sculpted, wood organic style stuff, then he might not feel like the right fit. But if we work a lot on, like, sci fi stuff and everything, then this really stands out. Another one is Jerome Busat. I hope I can say that correctly. So here, also, very nice. He has a few key hero assets, and that's all he has. Well, Act has quite a few, to be honest, but I believe he's been doing this for quite a while because the quality of these assets is really high qualty but it shows some really nice stuff. So he basically focuses on not having a bunch of assets, but just like working on a few little projects and giving it a really high quality and really high presentation. So here you can see that he went the extra mile with the asset where he doesn't just create a really high quality asset, but he even, like, adds some realism by having it on the floor and like, measurement tapes and some nice presentation, as you can see. Now, of course, yeah, this is really, really nice presentation in that sense. If you are a junior artist, I definitely don't expect something like this. This is more like, if you will, like, senior artist, in that sense. Here again, really nice presentation, really nice hero asset. He did create a little environment around it. So from a hiring perspective, it could even tell me, like, Oh, so he can probably also do environment art. And it's nice that he also shows some wire frames and just some really clean renders. I will like this portfolio. Again, it's completely different discipline, very different types of shapes and materials where he focuses more on, like, metallic materials. So this portfolio really shows me well, like, Okay, this guy can do a lot of different disciplines. I see some environment art. I see some really high quality wood, high quality metal in there, some more sci fi stuff. Also some really complex modeling, of course. And all of that combined, like, it gives me great confidence that he is a pop artist that I can rely on. Of course, these people, they are probably already seniors. I guess we can go to the about, and then we can see. So yeah, he's even already a lead at this point. So the quality, I'm not talking about because yes, the quality is extremely high. I'm really focused on explaining to you the type of elements that you would like to see. Me when I would be hiring the type of elements that the focus on. Now, here is something a bit different. So here you can see that this artist he really wants or is or by the a weapon artist. So weapons same with, like, Max and sci fi and stuff like that, it's a highly specific art style. If that's all you like to do, of course, it's more difficult to find a job in that space because there are quite a bit of people that want to do this. But you can see really well that he really pushes on that to show, like, Hey, look, I can do complex modeling in the range of Scifi and weapons. I'm really good at material definition for weapons, like the metals and stuff like that. And in this case, what tells nice is that he gives, like, a little breakdown, which although hiring managers wouldn't really care about that at the very beginning, it is something that when they start taking a deeper dive into your portfolio, it's nice to see some breakdowns for them to understand, like, Hey, he actually knows technically how to make this all correct. Now, of course, a very famous one is Francois Lieu. I hope I said it correctly. So yeah, he really is an amazing pop artist. He focuses, especially on vehicles, but on really, really high quality tree assets. The reason why I pick this one is, again, it's a bit mean that if you are looking at this because it's an introduction to being pop artist, yeah, these portfolios, as a beginner, they're just unreachable in terms of quality. But it again, just shows a really nice range of, like, Okay, what is he good at? He again shows the range of lay. I'm good at a wide range because, yes, I do vehicles, and vehicles are very complex models, so complex that it is often a unique job, especially on racing games, like when I worked on Force Horizon, it was a unique job position to just make vehicles. But it also just shows in general, like, Hey, I'm good with complex modeling. I'm good with various types of materials. I'm good with, creating, like, all these different definitions and styles. And also, he also does some breakdowns and stuff like that, as you can see over here. Again, very nice. He even has some engine breakdown to show various engine setups and stuff like that. Now, of course, that's a little bit much. But again, it's more that when I look at this, even though these are a lot of projects, you could with something like this, already get away with, like, one or two high quality projects. Personally, I like to always see three. I think I guess 3-4 is for me, like the sweet spot of, like, quite different style projects. So if I would go in here, it would be like the boat, maybe actually some of the little boxes, maybe, like, one of these vehicles, and one of these more, like, smaller assets like this one. That would give me, like, quite a nice overview to be like, Okay, so he can do, like, various little things, small, simple assets, but also more complex assets. Again, we have John Joe Hamas, I have a lot of trouble with names lately. So here, he definitely goes more in direction of environment art. But what I want to showcase is, again, that you can very clearly see that as a pop artist, he focused on some hero assets. So these are quite famous, like 2000 likes, as you can see. But basically, the focus point was like, Hey, I'm a pop artist. I will make a very high quality swede pop, in this case, two of them with, like, some nice rendering behind it, some really nice material definition, and just like a lot of storytelling on the textures. And in this case, he also made a little presentation scene, which, again, is very appreciated and puts everything into context, and stuff like that is just very nice to see. We also again, multiple disciplines. Like here, he showed some metal with, like, some branding and plastic. A lot of storytelling goes into these assets. And just in general, it all just kind of combined. I do see here that he leaves work on for quite a long time for like seven years. I personally would not do that. Like, there is a point where it becomes too old. However, what I can also make the argument is that he's a senior artist. He doesn't have to prove himself. I know that sounds a bit harsh, but basically, once you get to this point and you have so many good pieces on there, yeah, you don't really care too much about your art work. But we are targeting towards juniors and, like, people who aren't even a pop artist yet. And the final one will be Manual Bondi. So here, again, what I really like about this is that it's hyper focused on just showing a few different assets, as you can see. So it again shows like something quite different, like a piano, which is quite a common one because it shows how you work with wood. Just like in basic presentation scene is also often fine. And then it also shows, like, Oh, no, but I'm also better with, like, some more complex modeling where you can see that you may like a radio system to do some more complex modeling. And you can also see like, No, but I'm also good with, like, doing some more metallic stuff, in this case, with a gun. I'm not sure these assets, yet. They are His portfolio is already quite a bit old because the last piece is from three years ago, but that also gives me a good overview to show you like portfolos that are not constantly updated because by this point, he probably is like an intermediate or a senior, but his portfolio still shows more in direction of junior or the intermediate. So that's nice for me to be able to show you like, Hey, so as you can see, there are various aspects. It again, goes down to what I've been telling in the PowerPoint presentation. Where you really want to go ahead and you really want to focus on showcasing what you want to show a hiring manager. If your dream job is to work on realistic games, then yeah, you want to showcase, Okay, so I want to work on realistic games, go over, like, what are the games that I really, really love. You might not make it there away. Like, that's very difficult to get your dream job right away. You need to often take a bunch of steps. But for example, let's say, I just take my own example because I'm currently talking of script, and then it's easier to think out in my head. For the division, for Ubisoft, in general, I was like, Okay, Ubisoft, what do they focus on? They focus a lot on urban environments. It depends on you if you want to do SScrit or if you want to do dedivision which modern so my folks like, Okay, so urban environments, a lot of assets that are man made. You know what I'm going to do? I'm going to make something that you can find in a city, like well, over here, for example, like the gas tank. Like, that's a really good one. It shows metal. It shows text definition. It has, like, an interesting shape. But you know what? I also want to make a stab in case the Assassin Grid team wants me. So I will also work on something that's more like wood and a little bit more organic in that sense. And like that, you can kind of make a visualization of, Okay, what do I want my portfolio to imply? Like, what do I want to show that I'm good at? And then just focus on, like, some really good assets. And a key point also is that if you are in limited time, let's say that, no, I need to find a job fast, which a lot of people have currently, then try to find assets that combine multiple components. Instead of having one asset that only focuses on metal, although it's nice, you can also focus on, like, no, I need to have an asset that has elements of metal, elements of wood and elements of plastic, for example, in it. So if you can find a really high quality asset, yes, then spend a little bit more time on making that asset amazing. But that way, you can often have a few less projects on your portfolio while still convincing the hiring manager that, Hey, this is a good pop artist. This is someone I want to work with. Okay, so I will stop rambling at this point. What we will be doing in next chapter is we are actually going to gather references for ESET, and then I'm going to show you multiple disciplines on how to actually go from start to finish in creating a tree asset, the things you need to think about. We'll have a bunch more PowerPoint slides in between at some chapters where I really explain to you, like, all of the elements that the pop artist would need to know in order to become a successful pop artist. So let's leave it here, and we will go over that in the next chapter. 3. Gathering References: Okay, welcome to Chapter two of the introduction to being a pop artist. So in this chapter, as I mentioned in the previous one, we are going to go over reference gathering. So throughout the next few chapters, we will actually go over on how to create the Twitty assets, the multiple disciplines that you can use when creating an asset and doing the textures and actually setting it up in a game engine. The backbone of any asset is reference. It's extremely important. I really cannot stress this enough how important it is to gather good references. Now, if you're working in a studio environment, you might get a concert art or you might get some reference images already, but you always need to do additional research yourself. You cannot make something from one single image. Because just in general, unless you're maybe a senior, then you can maybe bullshit your way through it, but it's something that's very important to just know what you're making and following it. So shame you plug. Let's just go ahead and go to scanmta.com because I'm actually a really big fan of references. So we have a massive reference database over here for both materials and objects. So I already, of course, have in mind what we're going to create. It's editorial. I already know everything that's going to happen. But let's just act like I don't know. And let's go ahead and go over here and scanned matter and to the object references. So here you can see that we have a bunch of different object references. I highly recommend that you use this if you want to create an acid. There's a bunch of cool stuff in it. And I recently went to Japan, and I'm in love with these little vending machines over here. And I have a bunch of really good reference images for that. Also like how to show leaks and dirt and stuff like that. Um, I'm a bit worried because there might still be some arrows on the website where it kind of squashes the images. But here you can see, it has some really nice shapes, references, different materials with some metal, with some plastic, a bunch of stuff like that. So that's something that we will create. But you can go in here. You can find something if you want to go, for example, for a bit more basic. Let's say that you are a very junior artist. Stuff like this is great. Like, it's a bit more basic. It's like, more a cube and that you focus more like texturing over here again, like these three. Like that is quite nice artwork to create. So there's a bunch of good references here. Of course, next dis, what you can also do is you can also just go to, for example, Google. Here we go. And if, for example, type in Japanese vending machine, what I like to do is if you go to tools, you can go to size and set the size to large so that you get some larger images. However, the difference between, for example, Google and what we have is that, yes, you can see some nice images in here. Like, this is great, but we really focus on close ups. So we show you like every little detail, which you often would not see. The best thing that you can always do is just go outside to the thing that you want to create and take images yourself. That's the absolute best. You cannot always do it. So, for example, what we also love to use in the game industry is Google Maps, where we just literally go into Google Maps and we just find an asset there. For example, with D division, we were making Washington, DC. So we often had to go into the city, look at Google Maps and then create items there. Yeah. That's often ones that I use. And what you can also do is you can also often use ArtStation for inspiration, especially in the texturing department to just get inspiration of what you want to create. And, of course, nowadays, you can also use AI if you want to use that. Now, we are making an existing asset. So AI is a bit of an overkill, but you can definitely use things like mid journey, for example, or even hATTP or even Cray is another one. And by this point, there are so many. So various ways to get references. All I would focus on is that you make sure that you get various angles and close ups so that you are able to really know what you're creating and ideally get them all from the identical same object. Because if the object is slightly different and you start mixing and matching different details, it might not always come out logically. So okay, that one doesn't really work. So here you can see that, in this case, Google isn't the best, but it definitely here, it does show some nice close ups where I can at least see what everything looks like, again over here. I can see number plate and the side. So it is good enough. But try to find high resolution, high quality reference. So in my case, I can go in here, and I'm just going to in our source files, what I will do is I will make a folder called Oops. References. There we go. And, of course, I will give all of this to you guys. And over here, I'm just going to go ahead and I'm going to use my credits. You get free credit. So all of this reference is essentially free for the first five, and it will give you all of the different images. So let me just go in and all of these, all of these vending machines. And then we will decide on our her references. Okay, so I got all of the reference images here. Now, probably one of the most favorite programs for any artist is a program called Pure Rv, which is completely free, and PureRef is amazing to basically view your references. So you can just download it. It's a program. And let me just open it PureRef over here. And it's a really awesome, flexible reference viewer. So over here, just a window that you can drag all around. And if I just go ahead and just select all of the images that I just downloaded, which are actually 49 and really high resolution because we are taking our images at nine K resolution. So it might take a while to open. But I will also include this file along with the individual images, and it just gives you an easier overview of all of your different images. Let me just pass the video and let it load in so that I can really show you what I mean. Here we go. So if we zoom out, you can see that all of the Ms are here. And nice thing is that they are all at the full resolution. They always stay in the full resolution here, so I can zoom all the way in. And you can see that the resolution dynamically does update to make it faster. And I can see all of these tiny details. Now, that's freaking amazing to me. That's why I really love this high quality references that I can see all of these tiny details. So our goal is to figure out what's going to be our main reference, and I really like this white one. Kind of look, see. Yeah, here. Actually, for the yellow one. Oh, no, wait here. I do have a fill for the yellow one. They are quite similar, but you can see that there are differences. The reason I don't like the yellow one is because there's so much empty space around. And as a pop artist, I want to make it visually as interesting as possible. And for this one, I feel like the reference isn't quite as good, but we can still use a lot. So in here, you can literally just drag in these images. So I'm just going to go ahead and since this is going to be our hero images, let me just keep those into, like, a separate place. And these are probably the ones that we'll mostly use. Look at that. I love good references. And also, of course, in my case, because I took the images, it's just a memory from when I was in Japan. So that's another thing. But okay, cool. So here, these are definitely going to be our reference images or our hero images, sorry. And then we have all these additional images over here in case that we need some additional details. So with this asset, this is what we're going to create. I quite also like having the concrete. So I'm going to create like these concrete slabs for which I will funny enough, I will use a different technique than the actual vending machine vending machine. Yeah, it's called the vending machine. Drink machine, vending machine, just because I want to show you various different techniques. And then this is going to be our hero asset that we're going to create with all of the nice little details. So, the first thing that we need to do now is we need to go ahead and we need to create a blockout for our asset so that we have a general sense of what we want to, um of the general shape and proportions and all that stuff. Sorry if I sometimes lose my train of thought. I've been doing this for a long time, but still English is not my first language. Also, cool thing about this one is yes, some of these are physical, but a lot of these are actually like just images. So what we can do is we can probably use AI to actually just generate these images, and that way, we don't have to, like, generate all of the different bottles and stuff like that, which is just, like, a nice, quick thing for me. Of course, feel free to make all of the bottles if you want, but it's just for me, bit overkill. And also over here, like we have this frame, I'm not going to create whatever is behind it. I'm just going to make that black, just a bit more like you can see here. It will just save us some time because it's still tutorial. I cannot go extremely in depth with all of it. Okay, awesome. Let's go ahead and go over to the next chapter where we will start with our blockout. 4. Creating Our Blockout Part1: Okay, so it's ready to create our blockout. So as I already mentioned in the very first chapter, our blockout is here to basically get the right scaling and the right proportions and already get it into the engine to hypothetically have it being used by other artists. But in our case, we'll just end up with already the general shape in a nice blockout team. This will give us a definition of the core shapes. So in this case, this would be like, of course, the general it would be these buttons. It would be over here the key system and also the latch, I think you call it from which you take your items and also the legs along with, like, the concrete blocks. So there's just all the core elements that really make up this shape. It's something that I want to create into the blockout. Now, blockouts can come in various quality differences. Let me say it like that. Now some people what they do with a blockout is they literally just make a cube out of this. Like, that would be everything just a cube, and they might write the text vending machine on it. However, what I always like to do is I always like to already make my blockout a little bit more detail that I can at least recognize the asset when I would be placing it. And that's often the goal I go after with a blockout. Now, I do understand that most of the stuff I do in a blockout, I will have to remake anyway. But my focus point is just first to really get a good sense of how this model is structured. Okay, so let's jump into TS Max. I just had to open the door, so I'm a bit out of breath, but let's just go ahead and jump in here. Now, I'm using TS Max. Honestly, this course is not so much about teaching you the program. It's more about teaching you the general workflows. So if you are proficient in Blender, you can still follow this course. If you're proficient in Maya, you can also still follow this course. The only thing I, of course, ask you is that you do have knowledge on how to create T D assets within whatever program you want to use. For the rest, all of the workflows I will use, you can replicate them in any other software. Oh, here we are. And what I always like to do is I always like to import a scale reference. Now, I've placed the scale reference over here in the say folder. So what is a scale reference? It's basically I just input it, here we go. It's a person. So our specific scale reference that we use for scans matter, it's a person of 180 centimeters high, and then it also has an arrow that is forward facing. Forward facing, in this case, means for unreal engine that we know which direction is facing because it's the ironic thing that no matter what three d software you use, the actual forward facing angle is different. In this case, it's literally right right in three is max for some reason, it is front. But yeah, you would often think like, Oh, no, wait, it's front. But then you can see that you would actually have the Wong rotation. So having a scale reference like this, it's extremely useful because you don't always have exact dimensions, and sometimes you need to eyeball stuff, and that's where this comes in. Now, a few extra changes that I want to create in TSMC, specifically, I want to go over here to my Cofiga viewpod statistics, and I want to set total and selection, and I also turn on triangle count and say show statistics in the active view. Press okay. This way, I can see my polygon count and everything like that in here just to keep an eye out. The next thing is that my dimensions, right now, if I just right click, for example, my snapping or any of these buttons and go to my home grid, it's now set by ten by 10 centimeters. Yeah, this asset does have a lot of micro details. So over here, if you set to 100, you will have one by 1 meter, but it's actually a little bit too much. So I'm going to stick with ten for now. That should be actually fine, but I still wanted to show you that depending on how large your asset is, you might want to go up and down. So next thing is that I need to figure out the actual dimensions for the vending machine. Now, for this, what I can actually do is I can just go ahead and go to Google and go for Japanese vending machine dimensions. Now, ironically, because it is Japanese, a lot of them are probably not in English, or sorry, when you look up in English, you might not always get the right ones. But if I just often go to images over here, I can at least get, like, a general sense for, like, the size of a vending machine. Now, I just want to see one that actually these are more like Western vending machines, and they are often a little bit thinner. You can also see that compared to our reference over here. And by the way, I'm using Right Click to just move this window in and out. So I need to find something that's a little bit more like with acro dimensions. So what you can also do is you can also go into, and then you can often find vendors. So over here, we have Fuji Electric, which are actually one of the makers of these vending machines. So my hope is that I can kind of, like, click on one. And then over here, I have the here we go. Height is 122. Oh, sorry, that's the bottle capacity. I need the actual dimensions. There we go. So the height is 1 meter 83 by width, 1 meter 26.5, and the depth is 80 centimeters because it's all in minimeres that I'm just converting it. That is, I feel like that's pretty good. Of course, take it with a grain of salt. We're like, we have the ability to change it a bit. But let's just go ahead and create a box or a cube, whatever you want to call it. I'm going to set from default shading to edges and faces over here. Since we are now Wi starting into the modeling, I will also turn on my keypress so that you can see which keys I'm pressing just in case you find that handy. And now with this box, I can go in here, and then this is centimeters. So let's see the height over here was 18 3 centimeters here, see? So it's pretty much slightly bigger than a person, but ours is also set on concrete. The width is let's see, in this case, width means depth is 80.5. Here. And then we have the length, which is 126.5. Okay, so this is now our vending machine. Looking at it like this, and if I compare it with my reference over here, I would say that it's a little bit too white for my liking when I see this. So what I'm going to do is I'm actually going to go ahead and push it back to probably 100. No, that's too little. So here now I'm mostly eyeballing. It's here. See? This feels a little bit better. The side view it feels a little bit white also compared to my reference, because, of course, I'm not looking at the exact model, so I'm going to go for 70, maybe 65. And yes, I'm taking a lot of time literally just working on, like, a cube, but that's because this is the most important part to get the definition correct. And I feel at this point, that's a pretty good place to be. And then we have some legs on there, and we also have the concrete blocks. So let's go ahead and first focus on that. Let's focus on getting these concrete blocks in here. Then we will get the legs, and then we at least have the correct height, and then we can go from there. So the concrete blocks, I'm just having a look at what they look like here. I'm not going to make it too complex yet because that will come later, but I do want to make the size right. So I'm going to go to my top view, and I'm just pressing W for that. Again, right now, I will tell you a bunch of the buttons I press, but this is not an introduction to Tres Max course, so just take it with a grain of salt. I'm going to go for something that feels about white for the scale, and I can see that there are about four of these blocks under here. So I'm actually going to make this a bit wider. And then there's some space. So let's make it 30 centimeters wide. And let's see if I would, for example, just, like, copy this here, you see, that's too white. I need to go a bit less. Let's go for something like this because I want to basically be able to put two against each other here and two against each other here, and then still have some space left. There we go. See? That feels like it kind of fits whatever we have here. Okay, cool. Now, at that point, we have this one piece over here. Looking at it, I would say that it's probably a bit wider just hitting your foot so that you can trip over it if you're not careful. Something like that. So I'm really just going by feeling here mostly because I'm not going to look up exact dimensions for something as basic as this. Then I'm just going to give it the general shapes that we try to capture. So I'm going to make an dipol and I do do this on my other screen, but just so you know, I am checking, I'm going to place a segment. It's not exactly in the center. It's somewhere here, place a segment here, and then what you can do in well, actually, tree moding software is you can add a bevel or Chamfer, and on a flat edge, it will just create this little here we go. Gap. So something like this, and then I'm going to place another loop here, another one here. Another one, let's see, here and here. And I'll go over in a bit why I'm making these decisions and another one from here to here. So basically, what I'm doing here is I'm just placing this layout. So I want to push this forward, push these in, and push these forward. Now, that's going to be it for the blockout just to get a general sense. So I would go in here. I would push this forward like this, and I will leave it at that. Of course, there's some bevels and stuff like that, technically. I'm then going to go ahead and I'm going to select, sorry, this one and this one. And these look to me like they are simple bevels, so I'm going to use a bevel modifier. And I'm going to push this out and then give it just like a There we go. And I do want to already get the general depth of this size, because I will most likely just start altering this asset once it's done. And then over I want to place another loop. Let's see here, something and another loop. Probably like here. And then these ones and these ones, you know, let me move this a bit further back. There we go. For this one, what I'm going to do is I'm also just going to go ahead and I'm going to create a bevo modifier, push that in. But in this case, I'm just going to push it all the way back because I kind of want to just have that go to the other side. So we have something like this. That should already be enough. Like, technically, these pieces over here in the blockout, they are round. So you could do that, but I don't want to do that yet because then it's more annoying to reverse that later on. I have something like this that I feel is fine. I'm just going to add a very quick smooth modifier to just make these edges hard. You can use whatever technique you want for that. And then I'm going to send them my pivot exactly to the model. And the reason I'm doing that is because then I can do asymmetry. Here we go to quickly flip it around so that it's on both sides. That's all. Convert at a pool. And now it's just a matter of having a look at our reference. And it looks like the front is lined up, but then interesting, the back is not, so I guess they are actually a bit smaller. Yeah, that is actually quite interesting because they definitely don't look that way, but that's fine. That means that I need to just go in on the front. And one of them is kind of like sticking out here, which actually makes me want to see now that I have these details, I can see that I want to push some stuff and I'm just going to go to my top view a bit further in and out here and there. There we go, because I forgot that we are sticking over it. So we have one here. Then we have another one that's, like, right next to it, and maybe give it like a small imperfection, of course, in terms of, like, the shape. And then we have another one that is just sticking over it here. And I'm just going to give it again, like a slight movement in the space. And you know what I'm going to do with this one? I'm going to give it like a tiny rotation. Of course, later on we will just replace these again, but just for the blockout. There we go. Maybe also this one, give it the tiniest rotation, and then make sure that over here, it's not clipping. Yeah, I think that looks pretty good. So that gives a good sense of our initial position. And then what we want to do is let's go over here. And if you can play stuff on the grid, it's always nice to keep it on the grid. In this case, it's too high. What I can do is I can quickly go to my grid and set it to 5 centimeters and push it back. I feel that that that's a pretty good height, I think for the legs. Awesome. And I'm going to just set this back to 10 centimeters. So at this point, let's actually save a scene. So I will save this as vending machine blockout over here. And it's just in your safe folder, as you can see over here. Okay, cool. So let's go ahead and let's start with the legs now. So I'm just going to create this base shape and then the actual leg is just like a cylinder. We can define that later on because it's such a small detail. There is, of course, a limit to how detailed I'm going to go for something that's very basic. I'm going to start with having Well, I'm actually going to make these rings, and the reason I want to make them is because they actually slightly shoot out on the top, which is quite interesting. So I'm going to start with the cylinder, get rid of any of those segments here. And I want to kind of look at it from a distance. Ah, that's interesting. So they leveled it out. Well, we're not going to do that, that there was an actual height difference like that, but that's cool to know. Yeah, so they shoot out. Here, let's make this a bit bigger. Probably something like this, you can still see them. Yeah, let's do something like that. I think that's quite nice. Let's push this up a bit to make it a bit thicker. Oops, I didn't mean to move that. So we have this. Then I'm just going to go ahead and I'm going to duplicate this. And this one looks like an eight cider on our reference or six. No six cider. I'm just checking over here. So I can do this. I can go ahead and just push this all the way back down, move it in, and then just scale it down to give me. And also add a smooth modified just to make it extra sharp. I think something like that is fine. So now all that we need to do is we need to just create this, which for my case or sorry, in my case, is just going to be a simple cube for now. But I do want to get the general dimensions of the cube, right? That's always quite important to me so that I don't need to mess with that later on, because right now, my focus is really on like, dimensions, dimensions, make sure everything is correct. And later on my focus is going to be on details, details, and then you don't really want to get lost out of that focus, so to say, so to see. So to say, so to see, so to speak. Sorry. Ah, English. Funny enough, I actually speak more English than I speak Dutch because that's my native language. But, yeah. I feel like I want to make this all a little bit bigger. I know, just something feels a bit off. Maybe make this one a little bit bigger and then this one a little bit wider. And I often, as you can see, want to show it from a further distance. And also something that's important to know is that in game assets, having really thin microdtails might actually cause technical issues like antasing where you can just see it like little flickering because or you can barely even see the detail. So sometimes it's something that you kind of need to have with experience. You want to make things a bit bigger than they are in real life, just to make sure that it all kind of, like, looks correct, and that it feels correct. I'm going to go ahead and I'm going to do actually know what, added poly on this one, and I'm going to center my pivot here, and then I'm going to attach the other pieces. The reason I want to do that is that the pivot stays the same because then what I can do is I can just simply rotate it and it will already rotate on the right axis. So I can go here. This one is probably here. They would probably always want to keep access to the bolts, so they wouldn't just like, get rid of it, at least from the front pieces, but on the back pieces, no, also on the back pieces. On the back pieces, they also do this. But here you can see that the back pieces actually overshoot a little bit. So that's something that I do want to work on, let me just first Move on here. Yeah. Like, here, that's fine. So could we do that? I think, you know what? I think that's actually fine. Let's just alter it a little bit like this. And there we go. Okay, cool. So we now have the height and everything like that. So now what we're going to do? Let me just check. We're at 20 minutes. So in the next chapter, we are just going to define the final base body, and then the blockout is pretty much done. We're going to throw it into real engine, do a quick setup, and then we'll take it from there. So let's for now, finish this chapter and move on to the next one. 5. Creating Our Blockout Part2: Okay, so let's continue with our Blockout, specifically the main body. So the most important thing that we need to define is this line over here. We need to kind of figure out the height for that. Now, for this, I want to have a look and see, like, I can remember roughly how high it was because I was standing there. But yeah, as you can see over here, it's a bit tricky. Normally, if there are, like, people in the image, it would be easier. So here we can see, like, the vehicles, but it's at, like, a different angle. So it is quite difficult to figure out. But we do have this fencing. And if we know that the vending machine over here is 180, and it pretty much reaches just above half yeah, actually, I don't know why I even need the fencing because it reaches just above half. So what I can do is let's just go ahead and convert it to an Ad poly, and let's place a single loop exactly in the center, and does that reach just above half. So what I can do is I have this tool over here where I can draw like a rectangle over here, and I was hoping that I can then move it down. Yes, so the top part is higher than the bottom part by a little bit. Like, it doesn't have to be exact, but that means that the top part needs to kind of, like, there we go, move down here. And that kind of makes sense because then the payment portal over here, it's roughly where his hands are. Okay, so that's the most important line that we have. Now the next thing I want to do is I want to basically define this cutout space over here. And for that, I'm mostly just going to eyeball it because it's all over the place, even in the model. So we have one here that looks pretty decent. And then we have a bigger one here, bit bigger, probably. Yeah, I feel like if you want the nice thing about this is that you can also literally just scale this and you can just move this here, and then you can kind of, like, line it up to see roughly how big you want it to be. Okay, so and lining it up here, I can see that I want to probably move this back a bit. And then we have another one that's roughly here. Of course, you can also import this image and you can put it on a plane and everything like that. But that is something that you learn very, very early on because it's easier, but it's actually something a technique that professional artists don't really use that often unless it's a really complicated specific asset that happens to have a side view like hercles or weapons and stuff like that. So, okay, so we have one here. We have quite a white one here. And I'm just basically defining other loops. So then over here, we have the advertisement plane, which probably it's a bit wider. So I would say roughly around here, that's the advertisement plane. So we can actually put a fun fast tracttorial advertisement in there. That might actually be overkill. But we could. Let me say it like that. Then we go down here. And then we have over here we have our thing where we get the drinks for, let's say, from here, and that's quite wide, so roughly here. Let's start with this because else we get too many lines, and then it might be a little bit confusing. So first of all, actually, first of all, let's do this one. We have over here the center. I'm just going to go ahead and I'm going to push this back for now probably up until this point, and then go to see how that feels. Seeing this, it actually feels like the width, this actually does feel a little bit wider that I put now that I look at this. So what I want to do is I'm just going to go ahead and I'm going to, first of all, 1 second. This is past that point. Yeah, I'm first of all, going to define the shapes, and then we are going to just alter it. See how that's why it's important to have Blockout so that we can just define all the shapes and then alter it. So I'm going to push this one and then we also have from here, roughly not to the end to here, push this one in over here. Okay. It's a bit hard to see. But yeah, I definitely can see that what I would want to do is I would want to make this over here. Let's see. Let's make this a little bit wider until Yeah, I think that feels actually quite good. I probably don't want to make it too much wider than that. Our advertisement panel feels a little bit. Let's go to the Oh, that's our top view. Sorry. Let's go to a side view. A little bit small. Sorry, it's a bit annoying when I have that one there. So I'm going to move that in a bit. And let's see. So this is our advertisement panel. It feels a bit like it needs to be a bit wider. Just to keep my jomtre clean, I'm just going to select this entire line and then push it. Like that. And I also want to push this one down a bit to give it a little bit less space. There we go. Okay, so that does the advertisement panel. I think that's fine. Just want to make sure that over here that this panel still feels like it has a pretty decent look. So let me just move this. So if we do here and here, it's very, very close. It's ironic that it's actually not exactly in the center. Oh, I didn't mean to make a screech out of it. So, this does feel about fine. Let me just make this selection. Yeah, you know what? I think that's fine, but something feels off. I think maybe it just needs to be a little bit more push down a little bit. There we go. Let's do something like that to get started with. Okay. I feel that at least that puts the main pieces into a right spot. So now at this point, I'm just going to go ahead. I'm going to move this over to my other screen just to make it a bit easier. But we're going to focus let's first focus on, like, the bottom piece, and then we'll go from there. So the bottom piece because it's quite specific. I do want to already define that. So what I'm going to do oh, sorry, almost forgot. Just select all of this stuff and just push it back a bit. See? Easy. There we go. Then we just have, like, a slightly bigger gap. That's all. So, okay, this bottom stuff, yes, that's what I was going to do. I'm going to go ahead and I'm actually going to select the entire bottom, and I'm going to detach it like this. And you know what I noticed is that it almost feels like a tiny bit smaller, but I want to be very careful. So I'm going to actually just only move it by hand to make it a bit smaller instead of doing, like, a scaling. And then we might want to move the legs a little bit more later on. Okay, let's go for this and then also for the top let's push this down in here for a bit. And then if we just isolate this selection, we can just go ahead and select the top and just bridge it. So we are just bridging it across to basically fill that polygon. Now, once that is done, we have over here this piece, and I want to let's see, it starts here and then goes up and it goes down just beyond this. Wow, although it feels very Japanese that it's not often all straight, but definitely makes things more interesting. So I'm going to push this further back like this. And then I want to yeah, is there a way that I ideally, so we have this piece. I want to make it exactly in the center. So I'm going to actually use a target weld and I'm going to weld for now these pieces together. And the reason I want to do it is because then I can select this. I don't need to select back. For now, I can select this and I can place a connect and then place two connects and exactly see move them based on the center. So I can start by let's see, moving them, probably somewhere here. And then I can select the bottom piece and I can move that nicely up. See? Nice. Okay, so we have this piece now done. We do have these ugly vertices here, which I'm just going to I like to keep working quite clean. And now that we have this piece over here, I believe that the back does not have. Yeah, see, the back is just flat, which means that all I want to do, in this case, I'm going to Sorry. Let me just push this back like this so that it's quite far back until you cannot see it. I'm going to place one quick swift loop here, and then I'm going to select this and press collapse or welt whatever program you're using. There we go to basically merge it together. And once that is done, we can, in our case, I believe, yeah, we should be able to just kind of, like, bridge this across for now. We're going to make it nicer later on, but we'll bridge this across. So then now we have something like this. Oh, no. You know what? No. Sorry, I'm not going to bridge this. I have a way easier method. I'm going to go ahead and because these ones, they need to be merged down, so I will just simply scale it because we need to create a detail there anyway. So I will scale it, and then I basically make it flat. Or you can use, like a plan or something and then collapse it here, so that it's one words here, one words here. And now I can just bridge it across. There we go. So I already made it a little bit more cleaner. Cool. So that already creates that very specific detail. I'm going to actually push this up a little bit more like this. And I'm also going to push these ones. In a bit. Okay. And then we are just going to keep moving up. So the next one is this sighting. Do I have a side angle? I do. Perfect. So yeah, it basically goes in, and we are just going to create a little shape in here for which I'm going to go to my side view, and I'm going to use a line. So a curve line, whatever you want to call it. I'm going to use that. For now, I'm just going to make it let's see, straight up until here. Then push it just beyond our shape. Push it down probably like this. I think that already does enough for the Blockout. And inside of three Max, you have a really nice modifier, which is called the Sweep modifier. And in here, if you set this to be a bar, you actually able to or you are able to basically using the shape here, see, create like this outline. Over here at the top, you can control where the pivot point is. So I want to set this to the left center one. And basically, what it does is it makes sure that it places you can see over here, I places the shape on the very end of our curve. Now at this point, I'm going to well, I like to add an added pole on top. You can, of course, collapse it to an added pool, but then you can no longer edit this line. But by adding an Adipol modifier, which is the same as an added poly, you are able to basically still edit it. But then if you need to, you can even still alter the sweep or alter the line on top. It just something that is a little bit cleaner in terms of working. So we have that shape also done, just because it's a very specific detail, I'm going to make this a little bit smoother. There we go. Just because then in the engine, it will just feel a little bit nicer. And why not? Let's also do that here. There we go. Okay, cool. So we have that one done. So let's move up, move up. Sorry. So over here, we have just our advertisement. And for our advertisement, all I want to do is basically it goes to this little lid, and then I'm going to just extrude this out, select this entire ring around here, and then I'm going to extrude based upon the local normal. And every program has this also blender where you can extrude based upon local Normal. I'm just going to push this back in to really give it that depth feeling. Um because I will most likely alter this entire body and because it is such a big detail in our shape, I am going to very quickly go in here. You know what? I'm going to do, double click, sorry. Double click instead of just one edge to select this loop. And I'm going to make it a little bit rounder, also. Let's actually make it just, like, still quite simple. There we go. Just give it a little bit of roundness. I think that will look quite nice. We're going to add the whole plastic and the plastic that you can see over here also later on. So we have that one. Here there's, like, a quick panel. So let's just, first of all, yeah, let's focus on that panel first, and then we can do the rest. I'm going to just extrude the panel from this body. So just 1 second. Let me see. I'm going to want to probably. Now, you know what's pretty much here. Let's place a line here and a line here. And the panel goes until, just the end. So that's nice because that's exactly what I have here. So I'm just going to go ahead and extrude this out. There we go. 0.5, that feels like a good extrusion. So that just shows like, Hey, there's going to be a panel there. We have some small details that we'll create later. But first, I am going to focus on this more larger part here. So let's first of all, see if we can have a look on the insight on roughly how it looks. Looks like there's like a little lip going around it, just like with our advertisement. Let's see if we have anything here. Oh, yeah, you can see that there's definitely like a box, and there's even, like, a light. Which quite nice because then we can do that light also in reel. Okay, so lip around. Yeah, that should be fine. Let's go select this. And we will use the same technique as we did before. So just select the center, and let's move it roughly here. Then move it back probably up until here, and now just select this line, and we're just going to go ahead and we are going to extrude this along the local normal again. Push it in not too far. Actually, no, I think for this one, I do want to push it in further. Let's push it in by 4 centimeters, and that should be enough to, like, place a light and stuff like that there later on. And, of course, later on, all these corners are going to be nice and round and all that stuff. So we have that. Now let's just go ahead and create this button row, and then we can go from there. So this row, you can actually here, it's on top of the system, but it's almost like it's stuck on top, but then behind it is a metal bar. But that metal bar seems to be I don't know where. It's interesting how it is built. So that metal bar seems to it holds stuff. But where's the connection for it? That's what I want to know. I want to know how it's connected. I guess it's just connected in the back. Yeah, here, see? Yeah, here, in the back. So we are just also going to create like some back connections or something like that. Let's go ahead and start by going to our you know what? Let's go to our side view. And the most important thing is that we just create that initial bar and get it up to the right scaling. So we have this. I'm going to place this just below it. It is still in view that it gets cut off. Same here. I do want to later on place this exactly in the center. And it feels a bit thinner, something like this. It's quite difficult to see. Like, for me, it's fine, but maybe if I give you guys some ambient occlusion, that it might help better. No, I think you guys kind of just have to deal with it. Like, something I can do is I can if you want, but it's not like you can reply. I can make this a little bit darker so that it's a bit easier to see. But yeah, we'll see. Yeah, that's always fun that I say, like, Oh, if you want, not like you're going to reply, so I need to kind of, like, make the decision myself. Okay, so we have this metal bar going over here, and I feel like it's going to be quite thin this bar. So it's going to be quite thin. Later on, it's actually not even going to be a solid bar, of course, the backsides are going to be pushed out. So let's say we have something like this. And then for now, just because it is a Blockout, I'm going to place two connections probably a little bit further away from the center. Then I'm going to HEMFOT there we go at quite a low level. And I want to go ahead and I want to wait, let me just isolate this. Select these two ends and just make it very basic. I'm just going to push those in. There we go, just to kind of, like, indicate that there's going to be something there. And now, this shape, this shape, it is quite soft. I would say, I do want to capture that. And then it has, like, these cylinders inside of it. So it's quite an interesting shape with a lot of bullying stuff and everything like that, but we're not going to focus on that quite yet. So first of all, let me just isolate this. I'm going to go in here. I'm going to make a box that is so I'm just looking at my reference, so you might sometimes hear me fall silent. So I have a box. That's pretty much in cater, and then I want to push it out quite to the furthest point that I can see over here because we are going to create some dents in there. Okay, I think something like that is quite good. Now, the next thing that we're going to do is we're going to move it from let's say this point. And for now, I'm not too worried about this one to have it exactly in the center. That's something I'm going to measure when I create my final piece. So now I'm just eyeballing it. To this point, here we go. And now this will also indicate actually the actual sizes. So in order to know that, I kind of want to make sure that all the sizes are correct. So, let me just isolate that because we will not have this many drinks, I believe, but we should have at least some drinks. So let me just go to, like, a top view. And actually, I'm going to turn this into a sphere because that's what I'm going to create later on. Oh, sphere. I'm not talking about sphere. Sorry, I'm talking about a plane, and I want to go to my front view, actually. So where this ends, the very end is also where the last product is. So let's just create a plane like this. I'm going to turn on my snap rotate and rotate this 180. And for now, I'm just going to move this here, but it's, of course, going to be moved back later on. So, okay, so we have one to three rows, and actually, do they have the same height? I need to check because it kind of throws you off where it feels like it's not the same height, but that's just because the products are not the same. Yeah, here see. But the height is pretty much identical. So they all have the same height, which means that we kind of need to, like, be able to fit this in here. What you can do for this is you can use an array modifier. If you go to tools and an array and then select preview and just do only three or two, three, and then I can move it on the not Y axis on the Z axis. Yeah, you know what? No, wait, because the top one. So this one would want to become a little bit lower. No, no, wait. I like this space. I like this space here also. But then here, it's supposed to be Oh, no, yeah, yeah, it's supposed to be fill. That's correct. That is correct. Sorry about that. Because of course, this one, there will be a light here, but yeah, this one is fine to have it filled. So I think that is fine. So then the size is already, let me just press Okay. I just want to make sure. So these ones will be small, small, but then these ones logically, yeah, you kind of would want these ones to be bigger like this to have a bit more space. So it would almost be like this moves here. And this moves kind of like down here to even out a space. I think if you just do this, that should work out. I'm going to make these ones a little bit smaller here. And I will just leave these floating here just so that I know the location. Okay, cool. So we have this. Now, since we already have this piece over here, oh, I forgot about the height difference. That's my bet. The height difference because it is set. You have the amount over here, and then you have another bar here, which I can actually make now. It looks like that for the bar, I could actually just use this one. So let me just shift rotate this to basically clonee it and rotate it at the same time. Make it a little bit thinner over here. And for now, let's push this back in. And yeah, we have the pricing just below it. So let's move this actually a bit bit further back even. Okay. For now, I'm just going to leave it like that. I'm not going to make, like, a bunch of stuff because it's internals. And now for the width, let's do it. I think that's still fine. I think that's still enough amount because all of these vending machines here, see, they're all different. So I feel like we should not be too hold up on the size of the drinks, but we do want to focus on the width of the drinks. That's the important thing, the width. So I'm going to move this down. And here. I think we got it. So, awesome. What I'm going to do now is I'm just going to give it a little bend because we need to have this for our Blockout anyway. So it doesn't matter if I just make it now or make it a bit later. I'm going to find the bend modifier, which every Tweet software also has. And then on the right axis over here, I want to give it a little bend because this is what it also seems to look like in here where it's here. See, it's like a bend and it has like a little holder, but the holder we will, of course, create later. That's not really needed. And then we can just add an array modifier. Preview it. But this time, we're going to go to the Y axis. And I want to give it, like, a little bit of space. Six comma five maybe? No, seven was in the end, the correct one. I'm going to add a bunch more, and I'm going to just push this yeah bit back in six comma nine, little bit more. Less six comma 85. There we go. I feel like that's, that looks quite nice and stacked, has a bunch of stuff in it. So let's go for something like this. And now we also know all of the buttons and all of that stuff. So that's also great. So we have these ones that we have over here this text label. I'm going to go ahead and already make that because that will allow me to better see how to make this side panel. So these ones, I'm going to make a bit thinner. They are going to be stuck right after this metal panel. Let's convert this to add a poly. This one is going to move down a bit that there is a little bit of space left. And at that point, I can create a connect. Might be easier if I look at it. I might not be easier if I look at it like this. Let's move it up for now because I need to be able to see where the connections need to land. So I'm going to go There we go. 11, it looks like. One, two, three, four, five, six, seven, eight, nine, ten, 11. There we go. So we have now the connections here. As you can see, it's a bit difficult to see if they exactly line up. Yeah, they pretty much do. They are not identical in the center, but you know what? That's good enough for me for now. So what I can do is I can go ahead and not sure what I did there. I can select all of these phases. I'm going to go to inset and inset settings. And an important thing is that I want to sell it to buy polygon, because this way, I can inset each polygon phase individually, and probably guess what I'm going to do. I'm actually going to first define their height. Like this. Then I'm going to scale, and because my scaling over here, I can scale each individual one, make sure that in scaling, you have this one set to I forgot the name. Use Pivot point center because it will use the center of this PivPoint and make sure that you just have the normal scaling on, and then you can do this. Then I'm going to actually move it down. Do I want to move it down? Yeah, I'm going to move it down a bit to make way for the text and then just push it in a bit. Um, No, soy. Let's not move it down yet because I need to first alter this. I keep forgetting that we keep moving stuff around for measuring. But that's Blockout are often always a bit more messy because, yeah, you're just playing around with things, making sure it goes cracked. And now I can see that I also don't need to move it down anymore. Cool. So I have this one, and that also means that now I know that over here, I need to have 11 connections, I believe. There we go 11 connections, which will give us a shape in between each point. So these points all need to go down, which means that we need to have it's always a bit of calculating and messing around with things. Those points need to go down, which means that we need to have a double connection yeah, probably like this. And if we then just press Contra I to invert the selection, I guess, in the end, it could have it doesn't really matter which one is faster. I feel like selecting it would probably have been faster, but oh, well. Multiple ways lead to Rome. So we have now these center connections, and we want to kind of, like, push those in. There we go. To already just, like, create that general shape. And then here at the end, I'm just going to go ahead and I'm going to h Actually, I'm gonna push it out, and then it's probably easier if I literally just select the sites, and I just quickly chant for them. Here we go. Don't worry about this clipping. I can just select this and collapse it. Okay. And then over here also, so we push this out a bit more. And then we just again jam for it and it will just keep the same settings. And we can again collapse this. Now, just because this is such a focus point, what I'm going to do is I'm just going to select this site, and I just like to often press bi angle, and then we'll just select the entire angle. Hold Shift to convert this to edges, and I'm just going to alter the quick chamfer here also. Nothing too crazy. Just something like something like this. Now, would I be able to maybe already Nah, you know what? I'm going to make that as a different model because it just Oh, and because it's instanced it will also show up here, but that's not really needed for now. Okay, so for the model, I just need something oval. So what I'm going to do, it's oval, but it can I see the Yeah, it's oval. I'm just going to for now, make it very simple with a sphere. I can make it really nice later on because there are some depth details and stuff like that. So just make a sphere, scale it. There you go. Oval. And move this in. I'm going to, uh, push this back in so that there's a little bit more space like this, and then I'm going to convert this to add a poly. And just to make my life easier, I'm going to delete this back face. And then for the font phase, push it in and just give it a quick bevel just to again, like I want to really push homes quite a bet that these are quite smooth looking shapes because I think it's important to just already show that in the Blockout and that we have the general positions, correct. Now, now the nice thing is that if you copy this like this and you know that you're going to copy it multiple times, you can actually set over a number of copies. So if I set it to like ten, you can see that it will just copy over. Now, of course, because we did not use the exact copy settings. Over here that it feels a bit off, but that's just because it's a Blockout, so we'll fix it later on. For now, I'm just going to do this because I also don't want to spend an insane amount of time on this. But often what you want to do is if you make a Blockout, although in production, you cannot always do this. Production, sometimes you need to make a bunch of blockouts, but it's nice for me at least that right after you make a Blockout, just instantly go ahead and also create a final model because then it's all still fresh in your mind. I think that pretty much clears up this entire structure over here. So I can just select this only duplicated. Just do quick height selection and delete the old one n hight. Select this again. Duplicated. Height selection, delete old one nhight. And for these ones, going to move the pivot down. Oh, sorry. Sometimes with the pivot, when you move the pivot down, you need to just quickly switch your scale because else the scale pivot, which is a separate one, does not move down. I'm going to move this here. And I think that pretty much shows that. Okay, cool. So we got that stuff done. Now, the last thing that I'm a bit worried about, I want to make sure that it's sticking out correctly. So for that, we are going to do something that we need to do anyway, which is that we'll place our glass pretty much. So for the glass, it's just going to be a very simple plane. There we go. Nice. That actually fits really well. Cool trick. Yes, you can rotate this, or you can just add a normal modifier to kind of swap it around. Now for glass, I do want to go ahead and just have a separate material for that. So I'm going to go in here and I'm going to make a new material called glass and assign it. And then you want to I like to often make it a little bit more in the bluish tone. And then if you go down to your where are you transparency over here. I'm going to just go ahead and set this quite transparent to like 0.7. And if you want, you can also play with your roughness, which gives a bit of shine, but that's not really needed as much. There we go. So now you can see that we can just kind of look through it. If you right click, go to Object properties and turn off, show frozen in gray, you can unfreeze it, and then you would be able to no longer need to accidentally select it, for example. But I need to unfreeze it for now because I want to go ahead and also duplicate this and place it here. There we go behind that bar. Okay. Awesome. So the next thing that we need to do is we just need to go ahead and create these key things or key things. Oh, what the hell do we call it? Money things. I forgot English words, sorry. This one, I'm not going to really focus on right now, so I'm just going to focus on these. This is quite a specific shape, so that's probably one of the first times that I'm just going to go in. I'm just going to make a quick screenshot of it. And if we just go ahead and go into Max, let's go ahead and create a new material and just drag in that screenshot into your base color over here. And now I'm going to create a very quick plane. And what you want to do with the plane is quite easy. Just look at your screenshot resolutions, which is, in my case, one, three, four, three by 916. Apply. Oh, sorry. 916 by 1343. There we go. I'm just basically applying this, and now all I have to do is just while it is in the correct orientation. Sorry, hards Rotate it, and now I can just scale it down. I think I accidentally scaled it into the minus. No, I did not. Okay. Sometimes that happens that you accidentally scale it into the minus, but we can scale it down, and if you want, it's up to you in which orientation you want to work. I'm just going to work from my left view over here. And then in my side view, I'm just going to go to default shading. Oh, wait. I don't want to not left. I want to go from my right view. There we go. And then I'm just going to right click and I'm going to again, go to object properties, show frozen in gray turned off, and I'm going to go at the freezes. This way, I cannot accidentally select it, and I can very quickly just create a line because I want to do this quite quick. So I need to move it back. Freeze because my line is placed on 00, zero, and if it's not moved back, then you cannot see your line. So it needs to be behind the grid, and then you can just freeze it again. So line goes here. What you can do with the line is you can click and drag to make it smooth And I'm just going to kind of, like, drag this around. Over here. And just to show you cool trick, I will make this corner sharp because what you can do is if you select, let's move this back. If you select this edge, there is something called a fillet, and a fillet allows you to basically round corners, see? Just to give you a bit of extra knowledge. Let's turn off my snap rotate and just give this the general shape already. I might Let's also right click and set this to Basier corners so that I can actually control everything. I'm just thinking if I might want to already give this shape like the final shape so that we don't have to do this again later on. I might already do that. I want to then just pay extra attention to make sure that it's extra close. And what I also want to do is I want to go into my interpolation over here, which basically the segment amounts. And what's is quite a bit higher. I don't like this part over here, so I'm going to right click Basier corner, which allows me again to move individual pieces, right click Basier corner or individual lines over here. Points endpoints, I mean, sorry. And I want to just doesn't have to be identical, of course, but I want to make sure that it at least feels quite similar. There we go. Okay. I think that looks quite good. So what I can do now is I can just use an extrude modifier because it's a close shape. I don't need to use sweep on a close shape. And now you can see that here we have a rough shape. I'm going to duplicate that for now. And the reason I want to duplicate it is because I'm now going to kind of mess up the shape again. So I don't want to mess it up too much. I'm going to move this here. I'm going to basically eyeball how it is placed and then the scaling and stuff like that, which is roughly if I have a look. Yeah, there's going to be like a line here. Then we have this, and then it just sticks out. I think, honestly, there we go. I think that's quite good. Okay. Now it is time for some simple booleans. So I'm just going to go to my side view, isolate this, and let's go back to my wireframe over here. And we are basically going to Boolean, which means that we are going to subtract one shape from another, and we're going to boolean some spheres. So first of all, let's make the biggest one over here. Give it a bit more segments. It's quite strange how it is placed because it is in, like, nothing is in the center here, which I'm someone that likes to work very accurately in terms of, like, positioning, but that always feels a bit strange. So we have this one, and then we have another smaller one, which roughly goes around here with very little space between the two. That's for the coin holder. So, cool. So you have these booleans over here. What you then want to do is you kind of want to go in and just make sure that they stick out on both sides and make sure that you don't have a bunch of polygons on this angle over here. So this is a giant end gun, but this is one of the few cases that we actually want to have the endgun because it will give us a very clean boolean function. So we go up here to our create menu and to compound objects and then use the pro Boolean one. And always make sure that in advance options, turn off or sorry, set this to remove only invisible. Subtraction is already the correct one. And now you can see that we can just click it. And tada, that's already subjected. Now, what I'm going to do is I'm actually going to go ahead and only select this phase, contra I, delete everything else. The reason for that is just because now I have a little bit more control, so I want to extrude this in, and then it looks like it has like oops, a little angle over here like this. And then what I'm going to do is I'm just going to go ahead and extrude this in again and give it more like a soft bend like this. I guess, just for the sake of it being a Blockout, I could very quickly do this, just to kind of like indicate, like, Hey, this is a piece that has, like, a money thing over here. But I don't know. It's just something and then maybe, like, place another loop here to kind of, like, soften out. It's just something. I'm not too picky about it. Over here, for this one, I again need to, like, give it quite a thick extrude. It technically has like this piece over here, but we're not going to bother with all of that. And this shape over here, let's focus on that some other time. When we actually make the final. So we have something like this. And then I'm just going to also do a Capli and then here, finally, I'm also going to push this out. Giant end guns for now, it's fine because it's just like the Blockout. What I might also want to, I think I will need to push this back in now and already cut this out from our vending machine shape. But what we can do is we c 6. Setting Up Our Blockout In Unreal Engine: Okay, so as discussed in the previous chapter in this chapter, what we're going to do is we are just going to very quickly import this into UnreLEngine. Just have a basic setup. Now, the final renders of this asset will probably be made in marmoset. However, there will be a chapter where we will go on how to properly set it up into Unreal Engine. So what I want to do is for now, I just want to very quickly just get it in there to a point where you would be confident to then just give it to our level artist. So our asset already has the separate materials between transparency and the rest. Now, what we are going to do is we are going to go ahead and just at the top, double check that the asset is set to 000 because exporting the Unreal engine, Unreal engine will place the pivot point at 000, which is this cross over here. Now this already looks fine, like we already placed it in the right position by the way, so that's great. Now what we can do is we can go ahead and export it, and I already made a test export, but you want to go ahead and call it vending machine or something like that. Do not use the word blockout in it because we are going to later on overwrite this with our actual with our final asset. So for now, it's going to be vending machine, and you can just export it as a normal FBX with these settings. Like, these are the default settings, so we can just go ahead and export. So unreal engine. For now, I already just have this very basic scene setup. And basically this scene, it's a scene that we often use to just very quickly render assets. What it does is, as you can see, it makes a render scene, for example, for small assets, medium assets, and large assets. And you can switch between this in our levels note. If you don't have the levels note, you can go to Window and levels over here. We're not going to really go over that kind of stuff because we're only focusing on engine setup. But let's just go ahead and I assume that this is probably medium asset. I want to go in here. And in our asset render sine, I'm just going to make a new folder called assets. And in here, I'm going to make a folder called vending machine for now. So having done that, let's go ahead and find our I'm navigating on my other screen, our vending machine FBX, and we just kind of want to drag that in here. Now, we're not going to turn on Nani just yet. And the reason for this is because we have glass glass is transparent and Nani doesn't work with transparency. So we would later on need to switch or switch out in a blueprint. But what we do want to do is we want to go to Advanced and make sure to turn on combined meshes. If you don't do this, it will export every single mesh that you have in TriSMx as an individual piece. So we really don't want it. We just want to have one vending machine mesh. Can go ahead and press Import because we already did all of the scaling correct. Now at this point, if I would delete this and import this, you can see that we already have our vending machine. I'm not going to use snapping, by the way, when I drag it in just to make sure that it's correct. So there's just a few very small things that we want to do with this. First of all, I just want to have a default material. I'm just going to go right click and go the material, call it gray. Underscore master. Oh, this actually. That's good. So, this means that our part is too long. Unreal agent doesn't like it, where you have really long folder names. So what I'm going to do is I'm just gonna rename this before we go too much to vending. This way, the part is a little bit shorter. And if you want to overhear, I can also go ahead and rename this to render. That's basically a part size limit. I guess I already reached it, which I didn't really realize. So sorry about that. Anyway, once you rename folders, you do always want to right click and fix up the redirects, just to fix any weird errors. So anyway, over here, yeah, vending machine for now, I'm just going to create a very simple gray Anscomster material, I'm just going to go ahead and open it up. All I need to do in here is I need to go ahead and add a scale peremter. You can do that by holding S and clicking on and calling it roughness. And I want to set this to 0.8. This basically what this will do is it basically just controls the general roughness of our scene. If I would set this to zero, you can see that it becomes very shiny. We don't want to have it super shiny, so we do this. Next, we are going to right click and type in constant and select a constant three vector. Constant vector is just a color. Now, of course, I'm not really going to go over on how to create entire materials inside of wheel engine, but we create a color. Then we convert this color to parameter so that we can expose it. And cult color. And just drag this into base color. What I mean with exposing it is if we just save this. Nice thing is that often in nulegine you want to work with material instances. So I can right click, create a material instance, and call this gray. Now, if I open this up, you can see that over here because I expose it, I can control the color. So I can say how much I want the roughness and color to be. Like I said, we're going to keep it very basic for now. So we have this. I'm going to just open up my vending machine. And I'm just going to drag in my gray onto the vending machine like this. Now, we also have a glass, and for glass, what I'm actually going to do is I am going to import a glass material that I already have or plastic material just because creating glass it's quite a bit more complex and it's not really worth it. Especially when you work on projects, you often have the technical artists make a glass material. So if we just go into materials and master, here I already have like a glass material, and I'm just going to very quickly create the material instance for that. And I'm just going to call the glass. We will organize this all a bit nicer later on, but it's easier for me to go over that late, like, at the very end than doing it now because else there's too much back and forth. So I can just drag this in, and that will be my glass. So as you can see, now we have this already ready to go. If you want, you can go into the glass material, and you can, for example, control the although the glass opacity, I guess, the dirt amount. Here you go see. So we can make the glass a little bit more dirty. Play around with the roughness, but I don't see too much needed there. So for now, I'm just going to leave it. Okay. Awesome. So we now have this. Now, what you can also do is have this camera over here that I can kind of, like, have a look at my asset. I'm just going to move the camera a bit. And I first of all, want to go into my gray because everything is a little bit too white, so I'm just going to push that down that color a bit. There we go. And if you want, you can even go in and you can like multiple of them. But to be honest, the lighting actually isn't very good. So for now, I'm just not going to do that. So okay, cool. We have our vending machine now in here. The vending machine should also have very basic collision, which is out generated. For this, you can go to It over here and then click on the player collision. And for now, that's fine. Like, we are going to go over on how to do better collision later on and all that kind of stuff. But as you can see, the vending machine blockout is now into Unreal engine, and it is ready to be turned into final. And also, in this case, multiple people can or multiple people, your team members can go in and they can also already place this as. One small thing. That's just technically. Technically, we need to create a blueprint from this now in order to then have people properly place the asset because later on we turn this into a blueprint. You can do that. You can just click on your static mesh, Asset actions, create blueprint using this. That's fine. That's literally it. So now the blueprint is already ready to go, and I could, for example, delete this and just place the blueprint. That's up to you, but of course, that's a bit overkill for just an tutorial to go over already during the blockout stage. So our asset over here is ready to go. I might want to just lower my fork a little bit. That's a bit too much. D four. There we go. Okay. And I think at this point, we can close off the blockout chapters. So what we're going to do is in next chapter, we will have, first of all, a little PowerPoint presentation game where we go over the different techniques to turn this into final model, and then we are going to start the process of actually turning this into a final model, which is still quite a lengthy process. It's going to take a few hours because it's quite a complex model still. So let's go ahead and continue with this into the next chapter. 7. Creating Our Final Model Part1: Okay, so let's get started with turning this into a final model, which is going to be quite a big chapter, but it's also very fun chapter. So what we're going to do is, like I said before, we are going to have a chapter about weighted normals, and we're going to have a chapter about doing the height to low pool. The main body will basically be high to low poly, while over here, these concrete pieces will be weighted normals. So again, just to get, like, a nice warm up and get things started, let's actually start with just the concrete pieces. So what I can do is I can just go ahead and isolate this over here. And we already did, like, a decent blockout, so we can actually use part of this blockout already. So so let's go ahead and turn this into a final model with weighted normals. And this is really perfect for weighted normals because all it has is like a smooth edge, and it has some details over here with, like, the concrete, like, lip from the mold that has been standing up a bit. But that's stuff that we can actually do in our final texture. So first of all, what we need to do is, let's go ahead and define, to which extent we created this. So I'm going to always, when I do my blockout, still double check all of the proportions and make sure that everything feels a bit correct. So this is correct. This is a piece here. Yeah, it does need some bevels on this side, but I think that we can actually use this base mesh quite well already. I even created already, like a side live. So, okay, let's first of all, just create like this piece over here, which is quite an interesting shape. So I want to start with that. Let's go to our which view is it? On our font cheeses. I have no idea which view it is. Oh, wait, sorry, it this view. I don't have the same thing sec Perfect. Okay. Sorry about that. So, Okay, for this, because it is quite a specific shape, I'm just going to simply use a line, and I will only make half a shape because the other half we can just mirror. So I'm going to go and simply draw it out. So it goes a bit like this. It doesn't have to be perfect because no one is going to notice if it is, like, slightly off center or something weird like that. Something in that direction. I think that will work quite well. So we have this shape. Move it over here. And the first thing I want to do is because this is just going to stay as a separate model. Of course, we're going to cut this stuff out, but I also want this as like a separate metal piece. So I'm going to add a Sweep modifier. And a nice thing is that you can just right click to reset everything to zero in Max. Sure many of you already knew, but just in case you didn't I'm going to make it quite thin. Not too thin, so probably 0.1. The reason I don't want to go too thin is because else from a very large distance, it just won't look very good. So we have something like this. Now you can kind of choose where you want to place it. So I'm going to stay with probably a position like this. And then I'm going to add a symmetry modifier to this, or you can use a mirror modifier, whatever tools you have. It is quite thin, and I want to keep it quite thin because the reason it's thin is because it does have like these little bolts. So basically, they put the bolt down in here to basically lock it in place. And then at the top, they kind of just make it not harder. I forgot the English word. Sorry about that. Okay, cool. We have something like this. Now, there is very little space between these concrete ends and this metal. That's actually quite nice because I want to make one of the sides a little bit longer. So I'm just going to go ahead and, you know, from right, I'm going to go to my left you. There we go. I think I prefer left. Nah, never mind. I preferred right. Oh, well, for now, let's just move this in. Okay. And all we need to do now is we have this shape, which I'm going to have stick out a bit here. Now, this shape actually wouldn't use weighted normals, just because it is so thin and small, it would be a bit overkill to use weighted normals or something like this. So I'm going to go over that a little bit later. I'm going to art and added poly and I'm just going to select this, and I'm just going to push this to the end. Now you can see that, oh, huh. I guess I accidentally No, that's quite that's surprising, actually, that it move that. I'm just gonna move this back. It's fine. I'm just curious what happened with the mirror or if I mess something up. Okay, well, it still looks fine. So as I was saying, with this thing, it has some weird smoothing, so I'm just going to add a smooth modifier just to make it hard. And now all that we need to do is we do need to cut out this piece over here. So for that, what I can do is I can probably, you know, at this point, it might be better if we just mirror everything. I'm just going to delete one side because I also don't really trust what happened in that Original piece. If I'm Oh, I'm at an angle. That's what happened. That's honestly, surprising. A quick way that you can simply fix that. I don't know how it happened, but just delete all of the *** except for the front vases and then just hold shift and then move. I think what probably happened is that I Oh, no, here see? That is definitely straight. So for now, I'm going to leave it here. I think it is these edges over here that have moved at an angle. Just for my own sanity, I'm going to move it back just because I want to keep it a bit more clean looking. But yeah, but just basically gonna work only on, like, the side view over here. So what I'm going to do is I'm going to just go in and you know what? For this, I can pretty much just use a cut tool. I guess I need to be on my right. There we go. And we're gonna clean up the jom tree in a bit. But for now, just simply cut it along, probably up until this point. And along here. Then this one over here, I want to kind of move it down a little bit. Oh, sorry about that. Accidentally moved it a bit. There we go. And that should basically fix that point. Here for the top points, what you can do is you can just, like, add a quick swift loop if it allows me to. It does not allow me to. It doesn't matter. Then I will just do this, and I will just move this further in. Okay, cool. Sorry about that. Now what we can do is we can isolate this piece, and we basically want to just make sure that this is our closed off. So I'm going to just select all of these edges and then just deselect the Oh, sorry about that. I was not in edge mode. I was in border mode. Press three to go into border mode and then go to Edge mode and then deselect these edges and move them out. There we go. And because we do a mirror after this, that will kind of clean up everything itself, but I do like to collapse these pieces over here. So as you can see, in general modeling, I won't go super slow. The reason for that is just because we need to do a lot, and else this model can turn from a six hour modding session to a 15 hour moding session. So I want to at least keep that in mind. Oh, okay. We have this shape here and I'm going to also show you an interesting way to not have weighted normals on that specific piece. First, what you want to do is I want to start adding some additional elements. So we do have this hole over here, and then we also have the round corners over here. I'm going to start with the hole just because I want to keep my geometry clean before I move on. To breaking it or breaking it with bevels. So I'm just gonna move my cursor here and use this to kind of judge the center and place a cylinder, well, wherever I want. In this case, it would be pretty much in the center over here. Yeah, it feels like it is in the center. I'm going to make it actually a little bit bigger. Like this. And I'm going to make the segment site to probably 18. I don't need 23. That's a bit much. Now, all I need to do is I need to go ahead and do a boolean, so we can select our main mesh. Again, go over here to create and compound objects, pro Boolean, and then don't forget to turn on remove only visible. And then what we can do is we can pick the cylinder. So this is just a standard boolean function. You can use it in whichever way you like to use booleans. So I'm going to move this in like this, and then I'm going to actually extrude this in a bit and here we go. Push this in, and I'm going to give it a little bit of a bevel. I'm just trying to kind of, like, copy whatever I see. In that initial shape. And I think for this one, I also want to just continue it all the way to the end. That's just an easy way to basically also deal with any type of embiot clusion or something like that, that it will just naturally become darker just because it goes inwards, which is something that we will keep in mind later on for texturing. So I have this now done. Of course, over here, there's no nice jom try yet, but we are going to clean it up in a bit. First of all, what we are going to do is we are going to select these corners. And we're going to make them nice and round. I do want to actually double check to make sure that my here see these bevels, they are a little bit too far in. So I'm actually going to push those back a bit because they just felt a bit too much. Okay. That's good. So sorry, let's again select. There we go. And now let's just go ahead and add a nice chamfer and we want to make this chamfer with, like, a few segments, for example, three and then move it out. If you sometimes have some weirdness, you can also try to go from uniform. Oh, not try to, for example, quad? Oh, no. Okay, I guess, in this case, radial or uniform are the only ones that seem to work quite decently. So we're going to make this nice round. And honestly, I think this is already a pretty good roundness. So I think at this point, we have no, we need to have a small bevel here, and then we have all of the main elements. So all I want to do is have a small bevel on this side and this side. Again, this is just going to be a harsh bevel of two sides. I'm going to go back to uniform for this. I think something like that looks quite good. And now we have all of the main elements. So what are we going to do now? We are going to go ahead and we are going to start by cleaning up the geometry, and then we're going to start by adding our actual weighted normals. So first of all, to clean up geometry. Over here, I can already foresee issues here because I want to bevel this later on. But for now, let's just use a target belt to kind of merge that altogether. But my real focus is on this part over here. So we can actually make use of all of these segments over here by just connecting them. I don't like this connection, so I'm just going to go ahead and pass back space that basically only gets rid of the loop, and I'm just going to nicely connect these pieces up. I don't want to do massive pinching. When I say pinching, I mean, for example, that I push everything to this point like this. You don't want to do that because that could cause smoothing issues. And just in general, it's not a clean way of working. You are allowed to, of course, pinch a bit like that, but in any case, since we need to connect all of these segments anyway, I'm just going to get rid of this. It is also better to just connect it like this because then it's win win. They both need to be connected, and now they're both nicely connected and also give off nice geometry. Again, I'm going to get rid of that one and replace these connections over here. Like this. And then this one here, that one we can kind of pinch. Okay, so that's now quite nicely connected. Now over here, I need to just this one should be more fine to do a little bit of pinching just because it is a small corner. And we're going to bevel it also later on, which going to give a little bit more space. I don't like this loop, so let's just get rid of that. And then this one can actually just connect like this. This one also. I do always like to work clean with my geometry. It just makes everything better. It might take a little bit of extra time, but just in general, it's good practice. And also, something to keep in mind, and by the way, I see a bug happening here, so we'll fix it after. Something to keep in mind is that for weight normals, you can work quite a bit more messy with the jom tree. However, when you do high to low poly, you want to work much more cleaner with jom tree because you need to add a lot of supporting loops, which will go over what they are later if you don't know. And adding all of these loops, if you keep breaking your geometry, it just wouldn't work very well. Okay, over here, so there are a few small issues. We have over here an issue that the bevel is not great, but we can actually just, like, manually push that out a bit more. And because it's concrete, that should actually look fine, especially once we are other bevels, Yeah. So yes, it looks like a little bit angled, but that is actually something I'm happy with because just in general, it makes it feel organic for the concrete. So it's like a win win situation that's in. Over here, here, something is going wrong. It probably has to do with, like, those issues that we had with the angling. I don't know where it happened, but what we can do is we can just delete, select and delete these pass. And then select them again and then do a proper extrusion. So oh, I know what it is. I know what it is. It is that we angled this. That is not very smart of me. I completely forgot that we angled that one. So many of you must have said, like, Oh, Emil. What are you doing? We already know the issue. In my case, sorry about that. There was a day between the previous recording and this one, and I honestly just forgot about it. So anyway, that should now be fixed. I hope that the angling is also not too bad over here. Let me just very quickly fix this by simply moving it. So let me just quickly let's move this back. And then over here. In general, also. Yeah, that's also fine. Okay. I think that pretty much fixs it. So sorry about that, everyone, but that should be fine. Okay, so now what we're going to do is we're going to add our weighted nomals. I tend to just add them directly on the match, but if you want, you can add and added ply just to keep it a bit cleaner. So the nature of weighted normals is that basically what we need to do is we need to add bevels on every edge that we want to have looking smooth. I'm just going to isolate this again. The reason that we want to do it is because we are going to manipulate the smoothing in just a little bit. So I will show you. We are going to manipulate smoothing to make it appear hypolon. We do this using a modifier. So we have this mesh over here. Now, for now, let's just go ahead and first of all, select every angle that I want to have a bevel. So it's mostly just these angles over here. The top angles, I also want to have a bevel, but I'm going to focus on that a bit later. Over here, I also want to have bevel, but I want these bevels here to be a little bit thinner so that they look sharper. So essentially, you have control over the thickness of your bevels, and the bigger your bevels, the smoother your mesh will appear. So keep that in mind, especially if you're doing something with, like, metal and stuff. For now, for example, in my case, my only focus is going to be on selecting the pieces that I want to all have the same size. So you can see it these ones. And this all makes more sense. You know what? Actually, I'm going to deselect these ones because they are too close to the edge. This all going to make sense in just a bit, so bear with me. But I'm someone that I'm a visual guy. I like to show you instead of just, like, explain to you. So we have over here these meshes selected. All we need to do is just are henfer. And in this case, not too large, here we go. Let's rehenf something like this, and let's make it Wow, for uniform, that's not very good. Let's see if try sometimes, if you feel like that you're having really weird issues with your mesh, what you can do is you can go ahead and you can go over here to utilities and reset the X form. So that kind of reset transforms of your mesh, and often it might also fix a few bucks. So if I now do another chamfer, let's see if that hopefully fix something, fixed a bit, but not quite. I'm going to now go ahead and I'm just selecting a few more edges that are looping all the way to the end. We can optimize that later on, but it's better to do that now. Here we go. To make everything just work a little bit cleaner. Here, see? You can see that here, that quickly loops around a lot cleaner. So, let's just see if I can actually select this one in the end. Here. Yeah, okay, that loops also a bit cleaner. The only thing that's a bit annoying is that, you know, if I just get out of this bevel, it is these ones over here, I think, that are causing some issue. Yeah, that does look better. We need to, of course, fix a bunch of issues. This mesh, it hasn't gone Amazing in terms of, like, how clean the baffles are, but that's something that we can fix in a bit. So I think that's probably at a pretty good point. So let's just go ahead and press Okay, for now. I know that doing the X form, you do lose your transforms and stuff like that. Another thing that I quickly want to is I want to just press Centre A, go to weld and your weld settings and just weld it at quite a low level. Let's say, 0.1 or 0.2. Now I can also do a target weld, and I'm just going to do a little bit of cleanup by here or see. I don't like these floating vertices. They never end up doing something good. And for the rest, I also want to move say these pieces down a bit because I want to, of course, make sure that my bevels do look quite good. Okay. Um, maybe push this one down a little bit and this one up a bit. That's the annoying thing that around these areas where we have roundness and booleans and stuff like that, bevels often do a lot of pinching, and it just means that you kind of like need to go in and do a little bit of cleanup to make it all feel a bit better, see? I'm just in general, adding some slight cleanup because it has so many just floating vertices that I don't really need in the end. And it's just a bit cleaner to work with. Okay, so we have those. Now we're going to go ahead and also just quickly add a bevel here. Mm. I know that this is probably going to already cause an issue, but let's add the bevel here. And let's make the bevel go to the top. That should be fine to push it all the way to that sharp corner here. And let's see. So we have a bevel here, and that also kind of like let's go around these two pieces. Make sure you do accidentally do not accidentally select the wong pieces. Yeah, see, I feel like I selected something wrong, so let me just deselect that. Okay, I think those are the last bevels that we need. So the reason that I want to do this one separately is because I just want to make it a little bit thinner, like that. And now it's up to you, also, if you want to, I can actually live with that. Yes, it's a triangle, but it's actually quite clean. And yeah, there it also did not give me any issues. Okay, so we do have also over here. I think I'm going to just like a very small bevel on this side. Or shall I just do it on everyone? Well, I cannot do everyone just because of the thickness. But here, let's do this. Yeah. Let's make this one a little bit bigger. And let's make these ones, very small. This is also what I was talking about in the PowerPoint where if you have very small details, it just keeps adding a lot of extra geometry for very little to see, because you need the bevels in order to make things look good. There is another way that I'm going to show you here, of course, to kind of mediate that issue, but for the rest, you definitely do need bevels. I'm going to just connect these. And also, I'm just going to connect all of these things up over here. O Sorry about that. And I think we are at a good point. So, awesome. Now, basically, we have this modifier, which called the weight enormous modifier. I just gonna turn off edge and faces. Now, here can see that we have a mesh without any bevels, and when I add this weight enormous modifier, it just completely breaks it. The reason for this because bevels, you can see as like a buffer zone. So basically what happens if I go here and I add it, you can see that over here, although I've forgot to add the bevel there, it creates almost like a nice shaded buffer zone where there is a specific flat going to go here. Yeah, there's a specific flat shading going this direction, a specific flat shading going this direction. And then it kind of all comes together into this smoothing, where it kind of smooths out those two directions, which gives it the appearance of, like, a high poly model. And that's basically what weight normals are. Now, you can see over here that as soon as we go over from bevels to hard edges, it looks very bad. Like it completely breaks, but we do have control over this because we have smoothing groups. What you can do with smoothing groups is we can go to our added poly and we can just leave the weight normals on top, and I'm just going to turn on my edge and face. We can select everything and scroll all the way down to smoothing groups and then set this to group one. If you are using blender or Maya, you basically switch between hard shading and smooth shading in this sense. Now, once we've done that, we can go over here and we can select. Oh, I cannot double click Selected. We can select the pieces that we want to have looking with a hard edge. Like that, and we are just going to turn off smoothing group one. And if you want, you can set it to smoothing group two. But usually, I just leave it off. Now, also, as I said before, I forgot to add a bevel in some quite important areas because I was so focused on the front, I want to have a bevel here, but don't have bevels, of course, on open sides, like you can see there. So I'm going to have a bevel here, and I did have the bevel on that side. So let me just go ahead and chant for this. I'm going to make it a bit bigger. There we go. Okay, so now if we go to weight normals, still not a lot has happened, but if you turn on use smoothing groups, what it will do is it will basically focus. Sorry, I think I broke my smoothing groups by adding that additional bevel. Let me just very quickly here. You can see if it's broken by having these multiple pieces that are just empty. So one. And typical thing is that it happens during the tutorial, which is something that I normally never forget, but when I'm talking, I just forget stuff because you're talking about one thing, and then, yeah. Anyway, so now one and two, and now if we go to our weight normals turn edging vase so that you can see better. Now what you can see is that this has stayed hard. And because we, of course, have an actual mesh sitting on top of it, that just completely hides it quite nicely, while everything else looks quite smooth. Over here in these bends, it does sometimes if you don't have enough geometry, it does give you a little bit of, like, a smoothing issue. Now, what you can do is you can ty, but it doesn't often work to go to weight normals and press Snap to largest face. Snap to large face actually often does break cylinders even more. But it does help also in very large flat areas. Here, you can see it a little bit. Yeah, you can see that over here, for example, I did, like, improve things a little bit improve things a little bit more. So it's up to you which one you would prefer. Now, because we have a lot of these bands, I'm actually going to go ahead and I'm going to use, yeah, you can play around with the blending, if you want, also. I'm going to go ahead and leave that off. I think for this, it's fine. Because what we also need to keep in mind is that when we have this eventually inside of a with a texture inside of the engine, you won't notice very small smoothing issues like that because you have normal maps and everything else on top of it. So I think that's a pretty good way of showing you already how to do the weighted normals. There are a bunch of tutorials online also created by us show that go more in depth over how to use weighted normals, but this is the technique that we will be using for this specific piece. Now, at this point, all we need to do is we just need to do a symmetry. So I'm just going to actually move it here a bit to the center, select these two measures and do a symmetry, and I want to push the symmetry out there we go. Sometimes when we have very thin edges, I don't know if we can see it here. Now, we can. You want to play around with your weld. Yeah, the weld threshold over here, if you have any issues, because when was it this one? Oh, yeah, sorry. No, it was this one. The s01. The slice along Mirror threshold. So if you have very thin edges, it might break, so then you want to just set it lower. My case, I'm just going to keep it to 0.1 because I don't have that big issues. So we now have this symmetry. I'm going to just go ahead and convert this to an added ply, and the first thing I'm going to do is I'm just going to get rid of this centline because that will also fix any issues that we might have had with any angling. And let's not forget to just add a new weight normals on here. And this piece over here doesn't need to weight to normals because it is just like a strong mesh. And don't forget to turn on use smoothing groups. So that piece is now done and ready to go. Here, you can see quite a difference between the final mesh and the blockout mesh, in that sense. So what we can do now is we are just going to leave it like this. We're not going to actually also place them over here. And the reason we're not going to do that is because we first want to go ahead and UV unwrap this and just prepare it so that we are re using the texture. I'm not going to make four different concrete textures because that would be waste UV space. They all look very similar. I can rotate them around to basically have the back texture also sitting here at the front and a bunch of stuff like that. I do see I forgot, like, a little hole at the top, but in my case, I'm just going to leave that. I feel like it's a little bit overkill to do an entire Boolean function on that right now. I am, however, going to organize things a bit more. So at this point, I'm going to use layers, and every program has a slightly different variation of this. But in this case, we use layers where I want to select the other pieces, create a new layer, and I'm just going to call this block out. And that's why I can just turn them on and off like this. And the other pieces over here, I'm not going to art because we might replace them. Okay, cool. So that is our weighted normals overview. Now what we're going to do is in the next chapter is we are going to just complete the entire body over here and just complete the entire model. So let's save a scene and continue on to the next chapter. 8. Creating Our Final Model Part2: Okay, so in the previous chapter, we completed over here the weight enormous part. So we're now going to go ahead and start on the main body. Now, for the main body, you might be tempted because it looks like a giant cube to make it out of giant cube. But this is how it rarely works with metal in real life. Instead, what you should do is you should look for paneling. So often many metal objects they're all made out of panels because you wouldn't just cast something in solid steel unless you have very specific reason. And this vending machine over here is no different. You can already see the lines over here, so you can very clearly see that over here, this front piece is a separate panel. The side pieces over here are separate panel. This top piece is a separate panel. And then if we go, for example, to our side, here you can see that the panel kind of stops here, and then we have a panel to this side that ends on the back. And here you can see that here they kind of join together. At the top, they end on the back. At the side, they end on the back. At the bottom, they end on the back. It has an extra panel here and a back panel. So we actually want to construct it in the same way that it has been constructed in real life, in that sense. So what I'm going to do for that is let's focus first on the bottom piece because the bottom piece is quite clearly just like a chunk that is made here to, to support a lot of weight. So that one I will probably just make solid. Even though technically in real life, it also is not solid, but it will just make it a bit easier. So can we use this one for that? I think we can looking at it. Now, even though we are using a hipole, I do want to often use bevels just because having hypoly with bevels, it pushes the quality even more. So I'm going to add some bevels here. I'm just double checking. Like, the size is correct, right? Yeah. Yeah, that should be fine. So then, honestly, for this one, I don't think we need to do much different than, first of all, getting rid of all of these unneeded segments over here. There we go. So it's basically now just a cube and selecting everything, and I'm just going to go ahead and art the Chafer. And I hope that it doesn't have any smoothing issues. No, it does not. And I also want to go ahead and look at it from a bit of a distance so that I can make sure that the bevels are small, not big. Let's do 0.25, something like that. And if you want, funny enough, you can arterate normals ts, and that would here with the snap the largest face that would already look quite good. But what we're going to do now is we are going to push it a bit more by turning it into a hypol. Now, what I want to do is I always like to actually make the hypol before the low poly, but I work in a very specific way. So you could go in and only make the low poly completely first and then the hypol. However, I like to work in a non destructive way. So let's say that we have this piece over here. I'm going to go ahead and start by creating a new layer called HP for hypo. Now, instead of adding this and let me just get rid of the weighted noms. Instead of adding this to your added poly, I like to always just add a new added pool, and in here, we are going to art our supporting loops. So right now, what will happen when we turn this into hypolF the people that don't know, not sure if you should be watching this completely because you do definitely need to know a little bit of, like, the basics of tree moding since this is not an introduction to trees Max. But if you would add smoothing to this, so hypol basically adds a lot of extra geometry while also smoothing your geometry, basically make it appear nicer, smoother, everything like that. So let's add a turbo smooth modifier. And what you can see is that because I didn't add any support, here, see, it just completely smooth everything out. Now, that might look nice, but that's definitely not what we want. So we need to add something called supporting loops. I go back to my dipole and I'm just going to turn off this show end results, I can now go with my swift loop, and I can add a loop here, a loop here. And basically on every edge, I want to add a nice loop, not too close, because the closer you place the loop to the edge, the sharper it will appear. But now what happens if I turn on the result? Oh, let me just sorry in Turbo smooth, I'm just going to turn on Isolate display. There we go. That's better. Now what you can see is that it kind of blocks the smoothing until your supporting loop. That's why it's called the supporting loop. So now it all looks like a little bit softer. And also, these bevels also add, again, like a little bit of extra softness to it. Here can see in the back where we didn't do it. That's the original one. And this is what it looks like now. And basically, we are just repeating this process over and over and over and over again. Not the most interesting thing, but it does make your model look quite nice. And once you eventually make a low poly and bake it down, it's quite a satisfying result. So I'm going to just go ahead and place this everywhere. It doesn't have to be identically perfect. So take it with a grain of salt, but just kind of like place the edges. Well, it's really hard for me to say. I can't just say a millimeter away because it depends on the mesh, but it's something that you will learn and you will play around with. Sometimes the smoothing is quite intense because you have such a large asset. In that case, go ahead and place a few extra segments in here that will give a little bit more buffer zones to cleanly smooth the mesh and also avoid any smoothing issues. So now you can see the difference. And here you can also see the difference between weight normals and hi ply. So here, you can see that it's quite close, although it's hard to compare a cube with this shape. But yeah, it just has that extra bit of smoothness to it. So we have this piece, and honestly, I'm fine with this piece because we're not going to look below it or anything like that. So now we are going to get started with the paneling. So for the paneling, I'm going to start probably by doing some corners. So you can see here that we have a corner Here, it's quite like a smooth corner that kind of, like, ends to the side. I always like to start with corners. It just makes it easier. So for that, what I'm going to do is I'm going to go ahead and go to my top view over here, and I'm probably going to use a line modifier for this. So I'm going to hold shift to just do, like a sharp cut. Because I do not yet know exactly how big I want it, because this is mostly just me eyeballing it. And it's okay to do that because these corners are in real life also a bit messy. Messy. Sorry. So, this corner over here, it basically ends until, well, technically, it extrudes out, but you know what? I'm Yeah, we can probably make that detail. It's a bit more annoying, but we could make that just add it a bit more. So this side one over here, it probably goes up until this edge. Let me just move this up so that I can actually see. No, it's one edge further. Wow, it's another edge further. That's always hard to see from the top. Okay, so this one basically ends up in this edge over here. That's fine. And then on this side, I'm just going to navigate to my side view. It is quite far in, probably somewhere along the lines of here. Okay. So we got that piece done. Now, because I want this to actually be a panel, there's a few decisions that I can make. I can use a sweep modifier, just trying to check to also basically loop around here because well, looping it around here, what I can see over here is that this is probably another panel that actually is like the inside panel. And that's probably what we want to do also. So I'm going to m yeah, I'm just going to use a sweet modifier. I'm not going to do like an extensive modeling using splines or anything like that, because it is still quite a basic shape. So we have the shape. Let's go over here, and the first thing that we want to do, actually do this in top view because else I wouldn't be able to see it is a fill it. Oh, sorry, I need to have good reference for this. There we go, fill it to make the corners a little bit around yeah, I think that's a pretty good panel. The reason I want to really spend time on this one is because this panel will basically link everything else together. So it is a surprisingly important panel. This top module over here, I'm going to so cool trick or cool trick, easy trick is that if you have this in your default layer and you don't want to scroll all the way down to your blockout, simply select your mesh and just create a very quick new layer and then drag it into, like, your blockout mesh and then delete the new layer. So now I can do this, basically. And that's what I want because I want to just be able to properly move this around. I'm going to now create a sweep modifier from this, and I'm going to set in this case, the Sweep modifier in the center pivot. It's done edging in phases. Reset this to zero. And at this point, I'm just checking. There is, like, a metal chunk in between here. So I've seen these before. They are basically just like this. If we just create a very simple box, they are a box. They're often exactly square, so I'm just going to make it four by four, for example. And they kind of just, like, stick them in there just to do like, get the correct height. So I can also do that. I'm going to make it like quite thin. And I want to kind of, like, stick this out a bit. Here we go. I'm going to convert this to add a pole. I'm going to select this side, and I'm just going to press ring, and the ring basically just selects all of the edges. I'm going to give this a quick round chamfer like this. And I'm going to select the top and bottom face, hold Shift to convert the edges. And over here, oh, no, wait. Hypol. Sorry, I actually use weight normals way more than I use hypoly. So I'm actually going to add and added pole. And then while having these faces selected, instead of just adding edges because we broke our geometry, we can just add an inset. And here you can see, see the inset basically becomes a supporting loop. All you need to do just to make sure that it doesn't break is place a cross or a square like this. I don't even care about these loops over here because we are going to remove those anyway in the low poly version. So all I care about with the hypol version is that it looks correct. Because the hy poly version is only there for baking, the jom tree can be super messy for it. It's just that when I was talking about, let's add some supporting loops. When I was talking about working clean, the reason you want to work clean is because you do need to remove all of that geometry later on in your low poly. But we, of course, have a very quick way of doing it. Isolate display, iterations to two. There we go. Oh, that's annoying that my isolate button is so close. So, okay, we have that shape. Then we have this one, and what I'm going to do is I'm going to alter the position a bit over here. So that will, of course, alter all of the positions, but I think that is better to do it this way. And then for the sweep modifier, let's go in and make it a little bit ticker. Yeah, I should have made it ticker before moving it. That's to 0.3, so 3 millimeters thick. I think, of course, that's thicker than it would be in real life, but that at least gives us something to play with. And I just want to kind of move this so that I can still see that square piece over here. Okay, so we have that piece. Now, here at the top, it does push out a bit, but that's something that we're going to work on later. And here, they basically make this panel, they stop the panel there, and then this is probably our original panel. But if I go to the site, the panel continues all the way to the top. So if the panel continues all the way to top, they probably have like, yeah, it's probably one panel that goes all the way to top, and then over here, they don't stop it. They just push it out. It's a bit hard to see. And this is just like another panel that links to it. So they only push it out at this very top. And then over here, of course, yeah, it just goes inwards, but that's a different panel that we are going to create. That's something that's just important to keep in mind. We are not going to add bevels to these pieces because they are already super super thin. So I think all I need to do is just art see, add a pole, select the top, and I'm going to just turn on my blockout push my top panel here. Now, most likely, at the top, of course, I don't have pictures of that. That's a bit difficult. I need to have a look and see because here it has like a top panel, but the top panel will probably fall below here. We can figure that out by looking at this panel over here. So this panel kind of connects. So for now, let's leave the top because I just don't know exactly yet how it's going to work out. I'm going to push this back to kind of still fit our blockout a little bit better. There we go. Okay, so we have this piece over here. I can just add a swift loop where we did our blockout also. Let's isolate this. And I'm just going to push this out, and that's basically going to be our panel. And then over here, what you can do. I like to actually just select the entire loop just to keep it more clean. I can add a chamfer. Oh, see, this actually happens because of our X forms not being correct. So what we need to do is at this point, we will lose our speed modifier, but we are going to go to the utility step and reset our X forms. Then if we convert this back to Adipol and try again, it should I should at least Normally, it would clean it up. I don't know why this time, let's try to use a single loop. It's a bit more messy, but I guess in that case, in this case, that, if we do uniform, yeah, it looks a bit cleaner. Okay, so we did a single loop, but that does mean that over here we have now these edges, which I'm going to just push all the way down up there. I'm a bit hesitant to already add a bunch of cleanup loops to this piece because we are going to make this hypol in a bit. So we have this piece over here. I'm not yet going to turn it into hypol because I need to know how it all works together with the other panels. So instead, I'm going to go over here to my hierarchy and sent on my pivot. This way, when I move it over here, I can do an exact mirror. So we have a mirror modifier up here on the Y axis and just make sure that you don't clone it, but just like alter the original. And I'm going to push this one. Up to this point, let me just turn off my block out because, again, it depends on this little piece over here that is kind of like sticking out. Also, if you find it annoying to find your pivot, you can always just effect pivot only and just push the pivot down. And this way, you can kind of zoom in. Here we go. And we can push that pivot in. So I think having it on this side, this length, that's totally fine. All I'm going to do now is I'm going to go ahead and I am going to turn on my blockout again, and I'm going to place a loop, although it's hard to see at this point. I felt like the loop was not straight and it's not, so I'm going to just double click a select loop and just scale it flat. And now, what we want to do is, let's just select this side over here. It's a bit annoying because I kind of want to do an extrusion, but I cannot do it correctly. Another quick trick that I can do is I can place a loop here. When you work with really long meshes, you sometimes just kind of, like, use a little bit of cheats. So I can place a loop here and basically place it on top of just below the other loop. And then this way, it's easier for us to just push this out and then clean up that last connection. So I can go in here. I can go ahead and I can push this out until the end, like this. And now what it will look like it will look like this. But at this point, what you can do is we have now, of course, a loop over here that's a bit unclean. And we have also over here broken jumtree. So it's a bit annoying because it's such a long match, but just cut it all the way from there to there and from here to here, let's hope that that's connected correctly. If we now just go ahead and select these and just collapse them. Make sure that you look over here in your C segment that it is collapsed to one. That's why you want to expose that. For people who forgot how to expose it, you can go to plus, configure view pots, and then statistics and turn on total and selection and make sure it's turned on into this view. Anyway, so now we have this panel also done. Here we go. Okay, so these two panels are done. Now what we're going to do is we are going to probably focus on let's focus on the top panel over here. So the top panel or side panels. Hmm. It's a bit difficult to see how they are. So this panel is definitely overlapping here. So I'm going to Yeah, let's focus on the side panels first. So the side panels, they basically start here and they loop around until the very end. Then over here, we do have like that connection corner which we'll make in a bit. So let's turn off our blockout And we can still use it to this point. I'm going to use one of these sites. And basically, for my side panel, again, I'm going to use a line. But this time I'm going to just place the line behind the original panel. And that's actually what we want to do. Before, actually, sorry. Let's select these two pieces. Move them here because that makes it easier for me to know where to end my lines. Something like that? Okay. Let's try again. Let's go ahead and set our side panel roughly here. And then we have a top panel later on. The only thing that I want to make sure is that the top panel, I want to know how we are going to do this round piece, but I have a good idea for it. So we are going to push this probably here. And then it is not too long of a part. Yeah, that's already too long. So we are only just going to kind of, like, lip it around, and it's lipped around with, like, quite a sharp edge. So that's fine. That actually makes things easier than working with round edges. Like this. Now, oh, I cannot copy my sweep anymore, so let's create a new sweep modifier. We want to push this to, like, the end. So I'm going to set my pivot there, reset it. The panel width was 0.35, right? So because I do like to keep a fairly universal panel thickness. Field for 0.3. I'm just going to go for 0.3 from now on, just because it is a bit easier to remember. Okay, so we have this panel over here. So what we can do is we can place it into position, art another added poly and just nicely move this all the way up. So what I had in mind for, like, the top piece to basically continue this panel is that what we are going to do is we are going to kind of extrude this over to create a little lip on there. For now, we can just leave this here, but we would need to also create an extrusion. Yeah, going in here. So, let's not leave it in here. Let's move it down a tiny bit. Probably at this point. Push it up again. Like, I'm not too worried about the thickness because we are working with such a thin piece. And now I'm going to delete this edge, and I'm just going to extrude this edge out because I don't want to have overlapping faces. There we go. Again, you will need to get used to working with, like, really large or long matches like this because any tree moding software doesn't really like it. You can see over here that when we extrude it, it created a little pace over here. So I'm just basically deleting that. And after that, I'm just moving this back a tiny bit like this. Now I'm just going to select these erzes and I'm just going to collapse them so that it becomes basically one mesh like this. See? So now just the mesh that nicely, I think I need to do that one. Now just a mesh that nicely loops around it over here. Okay, so you can add a smooth modifier just to make it hard smoothing for now. But these panels we can basically use on this side, and then we can also use it on the other side, going to already do that. I'm going to center the pivot, duplicate it. And clone it. You can technically also already clone it right away using the mirror, but I like to I know, I just like that visibility of checking it myself. Okay, so we have these side panels over here that already works quite well. Now for these top panels, just because and I probably wanted an act, yeah, I should have maybe done this before we copied it, but okay. I'm going to loop these panels around. So I think I just want to do the entire panel. I'm going to have the entire panel. I'm just going to push it up. And then what I'm going to do is I'm going to not do it the entire way. I'm going to do it probably up until this point, and I'm just going to do a simple extrude and extrude it by the local normal. And then you cannot do it too far, but I'm going to here, see, I'm going to push this until it hits that other panel over here. And then over here, it does like this stupid butterfly effect. But if you press Alt x, you can go to X ray mode, and I'm going to just select these pieces, collapse, and all of these pieces collapse also. Just make sure that you don't accidentally select anything behind it. And there we go. I think something like that will work quite well. And this also often is happening in real life where they just, like, cut a piece of the panel out, so I can kind of just, like, leave it. So we got that one, and the only thing I need to do is I do need to duplicate this. But because you already did some work on this piece, the only reason I'm duplicating it is because I need to know the thickness. So I'm going to Here we go. I'm going to push this all the way up. There we go. And I can basically get rid of this. So I'm pushing it up, and we're going to go again, from this point to this point. Yes. No. I think I want to, in this case, go all the way to the side because it will have another panel just kind of like sitting on there. And I can kind of see that it even has, like, here the top piece, what it does here, it is almost like the top piece is just laying on top. It's a bit difficult to see, but we're not going to do that. That feels a bit overkill. So I have this piece, and I'm going to do a nice extrude settings, Local normal. And just push it until it kind of like hits that other panel AldX and let's collapse it. And you're always welcome to then move it a tiny bit more just to make sure that it covers that other panel. There we go. Okay. Cool. So we have these panels. We have these panels over here. Now, having that done, we are almost at half an hour. So what I'm going to do is I think I'm going to end it up with, like, the front panel. So the front panel actually feels quite simple because it's just like a panel that is sitting in the front, and then we are overlapping it with something else. I'm going to, let's just grab this piece over here, and then let's go to my front view, no side view. That's stop view. Uh, Alright, that's really difficult to even see. I'm just going to add a line, but as you might notice, it's a bit difficult to even see what I was hoping to see. See if I can go to default shading. Default shading does work a bit better because all I need to do is I just want to know where to end this panel because I want to end it roughly at the same place. Here we go. So I have this loop, and the reason we're just going to place it quite close together because then naturally once we smooth it, it will create a natural seam. And that's exactly what we are going for. I lost my selection. There we go. Yeah, you know what? I think that actually works quite well. So we have this piece. I can just copy the sweep from one of my other pieces by just right click and copying it. Then I can go to my line over here, right click and paste it. And I want to set the pivot point this time, correct, the opposite way. And I believe, so yeah, that basically loops around here. So we now do an added poly, and we can just kind of, like, push this from one side to another. Over here. Honestly, that's fine. I actually like that. Like that arts and interesting detail by having a little gap there. And I'm going to add a smooth modifier. And then inside here, we will have a different panel, although probably in real life, the panels kind of like warp around it and stuff like that. But now we basically have like this nice chunk going all the way around. And then to finish this chapter off, what we can do is sorry, on this side, we do need to make this look nicer on this side, actually, because as you can see over here, it has like this angle on the back but I should be able to now just do a box modifier. On second, I'm just going to select only these pieces that I actually can see what I'm doing. And we're gonna have a box modifier. For now let's go from here to here. Let's make the height again, come tree. And it needs to align exactly, which means that I actually need to put it here. Let's convert this to an dipole already. Because I'm just having a think about the angle over here. So yeah, I loop this around here, but I want to push that down. But in order to push it down, it needs to kind of become its own piece. So what you can do is you can ty to select these three edges over here, and there is a mode that I almost never use, which is called break or split. I think it was called split actually. And then, if I select this, there we go. So now we are basically splitting this up. Doesn't look amazing, but hopefully it will give me a good sense of how I need to approach this piece. So usually what would happen is these pieces would sit in, like, a angle like this, and then they come in, but I don't like that. No, I don't like that at all. I think essentially the issue is this top piece over here. So I feel like what we did is we created the top piece over here, but then this piece would not work well. I'm just going to temporarily move it here so that I can so that it's easier to manipulate. So essentially, this piece, it would come here. Like this. Then it would push down. And then what it would have is it would have this angle piece, and then this stuff would basically be pushed further in like this, and this angle piece would be pushed over here. Then this piece, what it would do is it would have this chunk over here, that's fine. But basically, it would not really have a top piece because the top piece is being used by this one. I think I'm okay with that. I think let's just remove smoothing for now. I think I'm okay with just deleting this top piece, but it's a bit difficult to see because here it does seem to loop around on this end. That's why it feels a little bit confusing to me exactly how it is constructed to loop around. But let's just see Yeah, because then connects like that. Mm. I'm just basically deciding, what do I want more? Do I want to have it as like a connection seam probably over here? Because like, yes, we can, of course, make it exactly identical, but that's a bit overkill for a tutorial. So I'm trying to find, like, an easier way to kind of, like, handle this while still having a high quality. I think it's probably easier if I if we do something like this, where this end over here, it will, of course, become smooth because of a hypol and that our focus is more on having, like, a really nice transition over here. So I'm on purpose, even moving these pieces apart a bit like this because we will have a panel behind it. I think that's probably the best way that we can approach this specific piece. Um, there is, of course, here, like a little angle difference, and that's because we would need to place a loop here, but we don't have enough or it's too thin of a space to place the loop here. And if you go to our site view, here, see? Going to place here. Oh, that might be a leftover piece. Oh, no, not leftover, but just push it back in. There we go. So now it's like a more clean angle. Let's just turn off isolate and just double check. So we now have an angle here, and then here, we would also need to place a loop. Sorry, on this side, to further push this out. There we go. That technically would solve most of our issues. But then over here, it's again, like the geometry is not very nice. So what I'm going to do is I can place a quick loop here, and then I'm just going to connect. These pieces. After that's done, you can double click and you can get rid of the messiness of the loop by just passing back space. And having this connected, it's up to you if you want to just leave it like that, or if you want to do some merging over here. Same over here, like I will probably also just to keep this clean because these are such thin meshes. Loop them around here. Okay, so that takes care of this piece and this piece. Luckily, this piece is just like a carbon copy on the other side, so we can essentially just fill up this space over here. I don't think we need do we need this loop? I don't think we need it anymore, but I can see that it loops around, and then it goes, Oh, yeah, loops over here. I'm going to just only leave it on one side. So I just did the back space for the other side. Yeah, here. Se it's quite annoying, too, with such a long thin mesh to work with. I'm going to leave it. The reason I want to leave it is because if I merge it together like this, it will be really messy with high poly, but if I just place a simple connect like this, it looks fine, so we will optimize that in our low poly later on. Anyway, where were we? We were selecting these pieces, doing a bridge selecting these pieces. Probably if I do a bridge now because it is an extra loop here. That's a really thin line. I don't like that. I'm going to place another swift loop here. Same technique where I target welded like this and then get rid of that extra loop. There we go. On that side? Oh, it has a leftover Verz Let's just get rid of that also. See how difficult it is to select. But, luckily, we only need to deal with these panels for a short bit, and also they are very, say, the shapes are very basic still. Just trying to get the shapes to fit the way that we want it to fit. That's always like a bit of a tricky thing. But I think that should be quite wi. Now, over here, I'm going to push this back in and then I'm going to add a small extrude to basically push this all the way to the end. So that's fine. Now I'm going to again center this one and maybe like a quick smooth modifier, and I'm going to again mirror it delete the old one, select these sites over here, move this into the center, and then we can just do a very simple symmetry on the Y axis and flip them around and then just carefully push them. Because the mesh is a bit annoying to work with, you might want to go in and just manually while being very zoomed in. Attach it like this. It's okay if it's not exactly perfect. There we go. Okay, so that takes care basically of these sides and these sides, and when we smooth it, that will all look correct. So we already start to have a pretty decent front side. Now, what we're going to do at this point is we are going to move on in the next chapter to continuing with mostly the paneling. I think that will be the next chapter we'll finish all of the panels. Yeah. And the bottom panel, and after that, we're going to take a little break, and then we're going to continue with the more smaller asset. So let's go ahead and continue with this in next chapter. 9. Creating Our Final Model Part3: Okay, so let's go ahead and continue with our body. So we are getting pretty close with just basically having all of the body parts here done. So we did the side and the back panel, and now or, sorry, side panels and front panel. So for the back panel, pretty much what we're going to do is it's just going to be a solid panel. I can see that over here, there's like a slight difference, which we can also make. That's like no effort. I'm going to go ahead and also something that I did off camera is I just dragged these pieces into the hipoly part so that I can turn it off like this, just so you know. But basically, let me just go ahead and create a simple box. This happens when you have a layer hidden, but you're trying to create an object in it, then what it will do is it will give you an arrow. So you just want to kind of press this layer button and then it will work. By, yeah, that's all. Quite a bit three AMX one oh one, so to speak. Okay, so we have over here a panel, and all I need to do with this one, I don't even care that the thickness is too accurate, although I could, let's make the thickness acrid just in case, there we go, 0.3. And as always working with such large panels, it's a little bit annoying in terms of the camera angles. They don't like it. But all I'm going to do is I'm just going to go ahead and make sure that it is touching the inner side so that we have no, like, holes or something like that later on. You also see, I just push it out, and then I push it back in just to make sure that it is touching everything correctly. And then over here, as I said, we're going to have a slightly different panel, so I'm probably just going to leave the height like this. And then I just kind of want to duplicate this panel. I do see that over here, there is like I think this is from the back. So I want to kind of put this on the panel itself. So I'm going to like here, we have a touch, basically the bottom side. Then I'm going to for the top part, have it overlap slightly like this. And with this piece, also, what we're going to do is, as I said before during the planning, we are not going to make anything behind this. So what we'll do is we will basically just, like, create this grid pattern, but we will most likely do that in hypolO we will do that inside of substance painted during the texturing. So I'm just going to push this panel back a little bit. And that pretty much it takes care of the back. The back honestly isn't that special. So we have the back, we have the sides ready to go. We have the tops over here. One thing I do realize is that these pieces over here should also be in the hypolylayer. So let me just quickly select those because at this point, I probably want to turn on and off some layers a little bit more. Yeah. See this is like one of those cases where it's a bit annoying if I would have to go all the way down like this, just to drag it into a hypo layer. So then it is nicer if you just quickly create a new layer and then drag it in. Once you get efficient and all of that kind of stuff, it becomes quite fast. So what we have now is we have the let's have a look. Okay, so this is like the general module, so we're probably going to focus on the bottom part, which also has this interesting detail over here. And of course, we need to start cutting out a bunch of pieces from our panel. I'm going to have my blockout. Oh, sorry, my default and my blockout. And let's have a look. So the bottom panel, we cannot use the blockout piece for this, so we're just going to go ahead and create a new one. I'm going to go ahead and from my side view, so I'm just double checking this. So this panel, I think it is actually slightly overlapping on it. Here, see? Very slightly, it's overlapping over the top. So that's something to keep in mind. And then over here, it's also well, no, over here, it's just basically touching the other panel, okay? So slightly overlapping over the top and then touching the other panel. Let's keep that in mind. I'm just going to make a small box first. I'll just make it a little bit more manageable. Let's turn off the default. Zero coma t in terms of the thickness. And yes, so here, slightly overlapping. Let's convert this to addi pool it also has a round corner at the top, as you can see. So that's something we also want to keep in mind. For now, what I'm going to do is I'm just going to go ahead and move this piece down, and it looks like that's pretty much at, like, the same height as the rest. And let's see. Make this piece touch the end. Slightly. There we go. And this piece, I guess, logically, if we make it straight, it would just be aligned to have some other angles. But these panels, what they tend to do with metal panels is they can still move it. So you might want to move it slightly like this. However, the reason I'm not going to do that is because even though that's easy to do in real life, in tried it might be a bit annoying having it slightly off center. That's what we had with that concrete piece. So I'm just going to keep it straight for now. Maybe I later on decide to move it, and I can show you a cool trick on how to do that. But for now, let's focus on this. Oh, first of all, let's just go ahead and over here, make a little round edge. 1 second. I'm just looking at my reference. I feel like that's a little bit too small. There we go. That feels better. It's not giving me any, it does give me a tiny hole, so I'm just going to push this a bit further back in like this. There we go. Okay, cool. So we have this piece. Let's go ahead and start by creating probably the bottom intersection because this is just something that's going to be moved up. And then what we also have is we, of course, have all of these cut out shapes over here, for which we will create new panels later on. Let's go ahead and go to our default. No, sorry, blockout one. And let's go maybe to, like, the side view. So something that does happen is that now because I made this round, what it will do is it will no longer allow me to properly place any loops. Few ways that you can fix that, but one of the easiest one is to just add a cut from here to here. And on the bottom side. And that should. Oh, no, wait. Sorry about that. I forgot that that you need to go all the way around. Because normally I use a different technique, but I want to kind of give you guys easier techniques. Normally, I use like a technique where we use the cut or the connect functions. But anyway, now that we go all the way around, you can see that now we have kind of like fixed dist topology. And if you also want to fix the stop topology, which might be just a nice thing to have, you can also just place a cut from here. Because basically the looping, the swift loop, it always wants to have quads in order to there we go, in order to be placed. So now just nicely be placed all around. Go. Okay. So having that done, let's just isolate these two. Let's go to my side view, and first of all, I'm going to place a loop. Let's see here, one loop here, one loop here, here and here. Okay. I just realized that I never had to place the top loop because, of course, we're just going to move it up. So that is that one. Now it's a bit, it's actually quite tricky to see, but I guess we can also just go from this point. I'm going to place a loop here, but what I want to do is I want to just go ahead and scale it flat because it was warped a bit. So we have one here at the top, one here, one here, here, and in these corners, There we go. So that kind of takes care of the main holes and all of the other ones. Yeah, we do need to have a cut out for that. But I guess I only want to do the cut out when I actually already created these pieces because I don't know yet exactly what the size is going to be like, except for maybe these two. These two, I can probably do cutout, but you know what? Let's just wait with that until we get to that point. So having that done, we can, for example, isolate this, and all we need to do is just delete. This one and there we go. And this one. Oh, and this. Yeah, that you do the trick. There is this weird loop over here, which we really don't need. And over here at the top, we also don't need these loops because they already cut out. Oh, no, you know what? No, I'm going to leave those because I want to bridge them. So let's just actually bridge this stuff by selecting the uh, what is it called? The borders, and then we can bridge it. So I just came back from speaking Dutch for a couple hours, and now all of a sudden my English is just not working very well. So, okay, cool. We now have basically all of the holes that we need to have. We do need to have some cutout here and there. But I think for now, this is fine. These ones in the end, I can remove. Looking at them now. And it's better to always just have as little geometry as possible if you don't need the geometry. But I do want to keep everything in quads. I'm not going to merge things together. All I'm going to do now is for these panels, they very clearly, well, these ones have quite a large round piece, but these ones also have quite a clear round one, and I want to have this as actual geometry rather than having it only in the hypol just because it seems to be for such a large asset, it seems to be quite a focus point to have the nice round edges. I am probably gonna set my segment amount to h two. Let's see. Yeah, let's do two. I don't want to go too high. That also makes it a bit more annoying. Let's do 13. Spreok. And then these ones will probably become one or one comma two. Um, no, you know what? Actually, just one. Yeah, actually a bit less. Zero comma seven. Yeah, zero comma seven. That feels right. Okay. So that's basically this front panel. Ready to go. I don't think we need to actually add Oh, no, wait. Sorry, that is quite smooth. Yes. Actually, it's really smooth. So we should add definitely some additional smoothing here. And this one, I also want to add smoothing, but of course, it reaches all the way to the top, so I'm just going to double click, but then I'm going to deselect these extra few edges over here. Let jam for that and make it a little bit rounder. Also at two is probably fine. There we go. Bit messy geometry, but for the rest, that should be totally fine to work with. So, oh, and we can also over here, we can do quite a clean connect, but I'm going to go over that a little bit later because first of all, what I want to do is I want to know where all of those other holes and everything need to be. But my focus right now is going to be on this bottom part over here. So let's just go ahead and create it first. Oh, I just inverted that. So in this case, what I want to do is I probably want to just go ahead and create a new plane xi, not a box, but the plane. I see something is wrong here. This one is down. This one is not. So I do want to straighten that out like this. Yeah, actually, that is not correct. Sorry about that. I have no idea what happened there. Hmm. I mean, it's not a difficult fix, but that is quite strange, to be honest. Essentially, what I can do is I can just very quickly measure. So I think this is the correct one. So I'm just going to place a very quick box here to here. And then all I have to do is place the box on this side, select this, and push this piece over here. There we go. That's now fixed. Not sure what that was, but OL. Now, what we're going to do is we're going to place a plane, as I said before, from this bottom piece to the other bottom piece. There we go. This plane will just kind of like sit inside. I think that's honestly enough. However, I don't know how much depth there is in there. Actually, there's not a lot. No, the plane is literally sitting behind it, so we can probably just also do that. So let me just go ahead and move this plane forward. I'm just going to add a normal modifier to flip it around. Mm. Yeah, I think that's fine. What I'm basically thinking about is this. Of course, we have this little lip over here. However, I'm not sure if it's just that I cannot see it or if it's that these planes are not properly aligned. Oh, yeah, yeah, we do have it. I guess once we actually do the texturing and the baking, that will come out better because it's a little bit difficult to see from here, but that should be fine. Let's go ahead and convert this to addi pool and just going to move this down a little bit more. And now all that we need to do is we need to create these cut or these circle details in here. And with that, what I'm going to do is I'm just going to do some very simple Boolean functions. So I'm going to add a cylinder. These boleons are going to be a little bit different than the other ones just because we need to turn this into hi pool, but I will show you. So we have this cylinder over here. Just make sure that you have an even amount of sites, in this case, 80 so that you have one point on this side. Oh, sorry, not yes, sorry, yeah, 80. So one point on this side and one point on the other side. It's converted to an added poly. I'm just going to delete the center faces because all I want to do is I want to hold Shift and move this up and hold Shift and move this up. Where are you? There you are. And then all I need to do is I need to go ahead and, select this, CtolI. Not sure why it is flipped, but I can just flip it back. Now, convert at a ply over here, let me just quickly connect these. So I messed something up, but I'm not sure what I messed up. So over here, let's just quickly connect these and same over here. Also, if you just want to very quickly connect stuff together, you can just flatten it like this using your skeletol and then just press weld at like a higher level like this and then it will automatically connect. Okay, push this out because with booleans, you don't want to have open faces. What I'm going to do is I'm going to go ahead and I'm going to do a symmetry. And flip the symmetry around until we have something like this. Okay, so now a Gold trick that we can do with Booleans is that we do actually need to turn this from a plane. Initially, I was thinking of, like, No, wait, we don't need to turn this into a cube. Um, there are two ways that we can do these booleans. If we do a cube, then what we would do is we would essentially place the boolean here until the other side, and then we will place two loops here. If you place loops inside of your boolean object, those loops will also be translated onto this. These are supporting loops. However, in this case, and I think we will get to a point where I will show you that technique. But in this case, what we can do is I just need to, first of all, scale it properly. I need to Yeah, we just want to have this along the entire range. So let's start by just placing one here. And then let's go ahead and do an array modifier. Let's preview that. Let's place this down. I think that's a pretty good amount. And then just continue it onto the other side. Think that's okay? So we can select all of that. And push it until it's in the center over here. And then what you can do is if you want, you can also just quickly isolate this attire piece, select one of them, go to attach. Oh, they are sorry, convert dipole. It's because they are instances. Convert to adipol because you cannot attach an instance to itself, but if you convert dipole, it breaks the instancing. A instinct just means that if you change one, all of them change, and I'm going to attach that. Okay, cool. So we have a plane, and we have our booleans. Now, if we just select our plane, we can do a compound objects pro Boolean. And in this case, I want remove only visible, but I want to try and in turn on I cannot even pronounce it, make quads, basically. And then select this. And now, as you can see, what that will do is it will add a bunch of supporting loops already around. It's not perfect, but it is often good enough for our use case. So we can do this, and you can play around with the quad size also, if you want to make them. Oh, that's I guess at three, it was already pretty much good enough. So now we have these booleans over here. Now what I'm going to do is I'm going to go ahead and you can see that there are a few errors still. I'm going to my face select and having all these inside faces over here, I'm just going to delete those. So we basically just end up with this plane. And now, with this plane, I do need to quickly go in and, you can see that we have a few messy areas going on that I want to fix. And often it's easier, honestly to just delete the pass and just redo them to fix them. Although, to be honest, there are more problems than I kind of expected, but you will notice that's always how it goes when you make it toil. That's when everything goes wrong. But that's okay. Here's another one. Okay, cool. So what I'm going to do now is I'm just going to go ahead and I'm actually going to select these pieces, and I'm just going to do a very simple cap poly because this piece basically will be completely replaced in the low poly. It's something that's only in the high pole in the low poly. It's literally just going to be a plane. So because of that, I don't worry too much about how clean it all looks. So I just need to do this one manually because it is connected to a point here. So let me just bridge this and it's like this, and we can do, like, a Cali, and now we can also do Capolia. Um, yeah, here's another one. Okay. So we got all of that stuff done. I think I didn't miss any. So now I'm just going to go ahead and select all of the verts. So go to Vertex mode, contre and just do a connect. And this will basically just connect everything up to make sure that it's all connected and we don't get any weird issues. At this point, you want to just kind of go ahead and here we go. Do a border select on everything except for the outer border. And now what you can do is you can push this in by holding shift to create a supporting loop, push in again, hold another shift, as you can see over here. Now for this one, we could hold shift and we could insert it like this. And at that point, you can probably also just do a cap poly. So having that done, I want to now actually also go on the outside, although I'm a bit worried about these corners, but we'll fix that after. And then you can also again, hold Shift.'s hold shift again. And one more shift. And that should be it. So now if I turbo smooth this, and let's go to Edge faces, here, let's set the turbo smooth like to three. So we have a few tiny issues still. Let's have a look over here. I guess we just have a little bit too much pinching. So I can just move this up a bit. Sometimes I just want to turn off my toe was smooth and just add like an extra segment here. Let's turn off our at your face again. Let's ignore those corners. I'm first just looking at the centers. Okay. And now over here, we just need to fix the corners because, of course, the corners do need supporting loops. For this, honestly, it's probably easier to just do it manually. You just place a loop here and then loop it around. That's quite a classic trick to get some supporting loops around the corners, and it is also quite fast to do. There we go. And now we have a corner. And that's pretty much it. Now if we go here, you can see that now we clearly have this detail. And I think that's looking pretty good. Okay. Awesome. Let's go ahead and save our scene. And I think we're finally at a point where we can start with the inside panels. So for the inside panels, as you can see over here, there's a panel right away here, but there does seem to be space on the other side. Now, I might just take the liberty of kind of not doing that. Yeah, here, the panels are also very, very close. So I'm just going to alter the design a little bit. I want to make this quite flexible because I want to reuse it. So what I'm going to do is I'm going to go to my front view over here. I'm going to create a box and make the box roughly the size of the panel that you want. Now at this point, I'm going to go in and right click Convert at a pole and delete one of the vases. And you can also go ahead and just press the normal modifier to flip the normals. Now, don't worry, we are going to add some depth to this box, but I first want to kind of place it here. So to add depth, there's a very nice node that we can use, which is called shell. And you can also, of course, find your modifier list. And all Shell does is it adds a shell, basically. I'm going to turn the outer amount to zero and the inner amount to 0.3. There we go. So now we instead have this box. We can go ahead and select the added poly and turn on the show end results. And that way we are able to basically move this. And you know what? I do want to actually move it to give it like this little lip around everywhere. Because I think that just makes it feel a little bit more logical that it wouldn't be exactly connected. So I'm just focusing on that first. Okay. Awesome. And because we made it in this way, we can instantly also just use this on the other side. The only thing I need to know is I need to know the depth of this, and for that, we had a blockout. So if I just go ahead and go to the blockout, there we go. That was about the depth. And now we can simply duplicate this one, again, go to Adipli and we can just turn on the show end results and we can just move this down. For this one, I'm going to go quite close to the top but the only thing I want to make sure is that, of course, during these round pieces, we don't see anything weird clipping. And it's okay for this one to not have round corners because you won't really notice that since we're going to add some advertising and everything like that right after it. So we have this. I can select the front face, and this one is going to be quite close like this, and we will just have our advertising here, and then we're just going to have a glass panel in front of it. I know that over here, they're advertising it kind of like angles back. I think we could do that, actually, without any effort. There we go here. So a bit angled back. I think that actually looks quite nice. So we got that one done, and because I altered it quite a bit, I'm just going to use the original shape over here. And you guessed it. We're just going to do the same thing here. But this time, I want to give it a little bit of space on this end. But of course, there needs to be something there to hold this. So we're going to give it quite a bit more space at the bottom. So let me just first figure out the sides to give those also a bit more space. H And then here at the bottom, we are just going to move this down a little bit more than we normally would. I remember when using it that it was not that far down, so probably something like this will work qui well. And then, of course, just having this thing in front of it, and we are going to make it quite difficult to see through, that will all help to make it all fit together a little bit better. Yeah, that should be fine. I'm not even sure if we are going to make it transparent. I think we might just want to fake it, to be honest. I don't know if the other ones have transparency. Yeah, they do. I guess it makes sense because you want to see where your item has dropped, but we are still going to probably not have it that transparent. Okay, so that is all of those indented panels. Let's have a look around. Because it does look already quite a solid box, like you cannot really see through it. That feels quite good. Now, let's have a look at our reference. So we have down the front panels. I want to make this panel still in this chapter. And also here on the side, there's this side panel over here that I also just want to place. I think that will be quite nice if we do that. So let's start with just the side panel because that one is not that difficult. I'm just going to place a box roughly here. And, of course, when we smooth this, that we all fix it, but I am going to actually give it a little bit more space than I would on the other panels because I feel like it is like, just a separate attachment. Push this up. And also, it's quite difficult to see, but there's like this. There's something going on here. Maybe I guess the end is round. I think that's what I'm seeing. Here. See, even with so much amazing reference, you still don't quite are able to see every little detail. But let's just go ahead and do that. I'm just going to make the ends round. I think that alone will already be enough. It's kind of like showcase this in a nice light. And I'm going to make it quite soft, the roundness, as you can see, and then just get rid of one of these loops because when we turn this into hypol that will look a lot more nice round. So we can just push this all the way to the top. You know what I think I'm actually going to Nah, yeah, I'm going to align it exactly with the top over here. I do see over here there's like a little metal bracket, but I don't think I'm going to need that. Sure, like over here, what I assume is that there is a mechanism here to open up the doors and stuff like that, but we are just kind of going to hide it by just having this panel here because we don't need to have the door open or anything like that. Now, finally, we have this side panel over here, and I think once that is done, all the paneling is done, and then all we need to do is turn them into actual hypole models. So for the side panel, you know what I'm going to do? I'm just going to copy because this panel already has that entire bend and everything, so I'm just going to copy it. Let's isolate this, and I'm just going to basically select these loops over here, place a quick double connect like that, select it, control I and delete everything else. And also, we can also get rid of this. Here we go. And over here for the top pieces, we are just going to bridge them like that. And the bottom pieces also bridge. Here we go. So now we have this piece. Let's just go ahead and center it. Oh, sorry, center the pivot and then place it over here. I'm gonna have a look at my blockout. Now, a cool thing that you can do. Of course, we could manually push this out by hand. We can even, like, try to do this and this, but it doesn't always line up exactly. So what you could try doesn't always work, but I do like to try it is that there is a modifier called push. And basically what the push modifier does is it pushes, as you can see. Looks like in this case, it sadly pushes it in both directions, which is a little bit annoying. I was hoping that it would go just in one direction. Yeah. But it was worth a try. I do like to try it, and I like to keep that stuff in because it might work for you. It just highly depends. In that case, what I'm going to do is I'm going to just manually move this. And I'm going to move this, and I think that is already enough. Let's have a look. So this one is sitting at the bottom here. It pushes in a little bit. And in this one, I'm just going to use my blockout as reference. Top, I can see that it's not exactly straight. So let me just select these pieces and just flatten them. There we go. I guess there was like a slight angle in our in our loop. So we have this, and then over here, I also want to push it back in a bit. And all I want to do now is I'm just going to make the corners round, and that should do the trick for these ones. So cha for it. And just like in real life, let's set it to two. There we go, make it quite round corners like that. Awesome. And then, of course, we have the lock later on, but that's going to be a separate model. So I think that works quite well. I think we now pretty much have all of the paneling ready to go. So what I'm going to do at this point is I'm going to stop this chapter, and in the next chapter, I will go ahead and turn these into hi polis. However, I will time lapse that because it's a little bit overkill. So what I will do is just to show you all I'm going to do with these panels is if I have, for example, this pedal, I'm going to often select the front, in this case, over here. And I'm often going to just select the back panel like this. I'm just going to do an inset. And with the inset, I'm just going to give it like a little inset like this, and we are going to keep it quite sharp, so quite close to the edge. Sorry, one thing. Make sure to do it on an added poly because I'm trying to explain to you as I forget. But on the added pole Tin inset, and then on the side, one, two loops. And then in this case, the edges are round. So now if I would turbo smooth this, isolate this play and set the smoothing to, for example, three, you can see that that gives a nice round panel. When we have panels with corners, for example, over here, we are just going to use that same technique as we used before. Here we go with the panels where I would art add poly and I would, for example, Oh, yeah, it's a bit more tricky to do it here. There we go. I would just do a corner like this. And also, you might want to just place a bunch of segments, and doing these segments, you can simply select all of your edges, place or connect. There we go. And like that, you can very quickly create some segments. So that's what we're going to do. So in next chapter, quick time laps. I'll just play some music, and we are going to go ahead and turn these into hypols. After that, what we'll do is we are going to focus mostly on the front on creating all of these components over here and making sure that we can also finalize that final panel. So that final panel down here, we are not yet going to make that one hypol. But, yeah, that's going to be the focus point. And after that, we are pretty close. And we just need to create those buttons, which is a lot of duplicating, and these are just plastic holders. And, of course, we're also going to have the legs over here, but that's about it. Let's go ahead and continue with the next chapter. 10. Creating Our Final Model Part5: Okay, so with our main body now pretty much done, we are going to focus on all of these little elements here at the front because we need to know that so that we know what to cut out and stuff like that. So I'm going to get started probably with, like, the main one, which is going to be this one over here. So for this, as you know, we already have this piece which I on purpose already made quite close to final. So what I'm going to do is I'm just going to go ahead and I'm going to copy that. And I'm going to throw this. Let's just throw it quickly into a new layer. Throw this into the hypole there we go. Let's isolate it. And let's have a look. So as you can see, yeah, over here, it pretty much just has a bevel. It has some smooth edges, and then the center is something that we do want to focus on a little bit more. So what I'm going to do is I'm going to remove the centers. Now, you can also just select a edge, and then you can just press the grow button to grow whatever is linked to it. So that's often an easier way to do some quick selecting. So this is our center. That's totally fine. The only thing over here is that it is a little bit too hypol. I guess I just accidentally are too many interpolation points, so I'm just going to go ahead and move that. There is this thing where you can have this dot ring where it will basically just select every other loop. But I want to then make sure, see, I would at this point over here, I would probably not want to start looping it away. Probably at this point, let's see. Yeah, here, if we didn't do backspace, Yeah, I think that looks a little bit better. We also don't need that one, so we can get rid of that. And I think yeah, I think that works. Okay, awesome. So we have this piece over here. Now what I'm going to do is let's just get started by first of all, doing a hit select, and I go to deselect these centerpieces. I'm going to add a quick jam here because I feel like it's quite important to just have a very clean bevel. That's interesting. Let's go ahead and first all. Oh, okay, I already see the issue. So over here, it looks like that I did backspace and not contrabgspace. Backspace gets rid of just the edge. Contrabspace, gets off the edge in line. Can happen. Basically, you just go to selection. So it's a nice trick. If you go here to edges, I'm going to set the edges to two and press select. What that basically does is it will select any vertice that is connected by only two edges because vertices are often connected by three or four. This automatically basically selects all of the messiness, but it does select any end gons. So I do want to just make extra sure that I get rid of those. Or, of course, if you want, you could also just Undo. But in my case, it's always nice if I can just quickly show another technique. You never know who is watching this and might really appreciate it. So, there we go. Okay. Now, as I was saying before, we have over here our Edge, let's give it a little bevel. It can be quite a strong bevel. I think something like that is quite nice. So now what we're going to do is we are going to focus more on the part over here. So, for that, you know what? Let's focus on this one first. I'm going to select this part, and I just need to have a check. So first of all, because as you can see over here, like, yes, it goes nicely around then it goes inside here, which that's no problem. That's really easy to do. The only thing that is a little bit less easy is that over here, it has like this roundness and I just want to figure out the best way to capture that. So let's first of all, put it in side, and then let's go scale it in. Think let's make it maybe a little bit stronger. I think something like that will work quite well. Now I'm going to add a swift loop probably somewhere here. And then over here. So basically, we have this part up until this part. So basically, this part over here. If we just go ahead and delete it, and then push it. Oops, and scale it flat. And then over here, let's go ahead and bridge it. Now, for this piece, I want to go ahead and well, you can just press make plainer. But if you want, you can also just do the scaling. So now we basically just have this piece cut out over here, that should work quite well. And then over here, we want to have this quite round. Actually, we want to have it round almost to the very end. So I'm going to see if I can handle that with just a chamfer or if we need some other type of trick. So Janva basically just hits it up until this point, which usually would be fine. You know what? There is an angled edge here, so I could probably work with that. But then you know what? Let's just see. So there is like this angled edge that basically goes up until this point, which then yeah, that reaches quite close to it. So I'm going to go ahead and I'm going to let's see. Let's select this piece and the angled edge goes here. So the angled edge goes in, but it basically also goes down. So I'm actually going to extrude this in. And then I want to just add X. I want to do a target belt like this so that we get this extra didn't mean to do it. So that we get this extra edge, I then move this one to be pretty much flat. And then if I just weld this together, I'm hoping that yeah, over here, it needs to have a little bit more of like a cut. Let me just for now, I'm just gonna split these two edges because I want to basically Here we go. I want to basically weld this together over here. Let's just do a collapse. Let's move this back. So then here we need to do another collapse. This becomes just like a simple cap ply. I have no idea what happened here. I guess I maybe I messed something up. Let me just clean that up. That shouldn't have happened. Let's get rid of that. But it does bring my point across. I just don't know what happened there. So now that that is fixed, let's move this in. I think that works. Okay, awesome. So then over here, for now, just do a Capli and then what we can do is we can kind of just, like, connect these pieces up. Let's go here, and then there we go. So we connect these pieces up, and that should be pretty good once we actually turn it into hipoly. So the other side is honestly quite easy because we basically just grab, let's say, up to this point over here, and we can just do a simple extrude on the local normal. Wow, that's quite a local normal. Maybe I can do it as a group. You know what? I'm not going to do that. I'm going to do it from the side view because it clearly does not look as good as I'm hoping. And I'm just going to stop it just before we, of course, reach this other wheel over here. So we have this. It's fine to have edges here because we're going to loop that round. So I think that will actually be quite all white. All I'm going to do now is just do, like, a cap poly, and I think that looks quite good. Let's just go ahead and connect all of this stuff up because we do want to give it a somewhat decent connection. I'm going to connect this one here. Yeah, you know what? I can just connect these ones. That's not really big deal. Because we're just going to do an inset anyway, so we don't have to keep this insanely clean the geometry. There we go. Okay. Awesome. So with that done, once we actually turn this into hi pold, I think that's gonna look very nice, but I'm on purpose leaving the outside like a giant end gun because it just makes it easier to deal with that. We are now going to focus on the key hole over here. So for that one, it seems like, again, we do like an extrude, but this time, the extrude is less deep, probably something like this. Let's scale this in And let's give it a little lip like this. Now, over here, I feel like this one actually has quite a strong soft smoothening around this area. There's also like these little small details that you can see over here, but honestly, I'm just going to do those in substance painter. I'm not really going to bother trying to select all of those. Sadly, for this stuff, I cannot select it because of the Ng, so I just need to kind of do it manually. But I think it will look nice if we just at least have one bevel there so that it becomes a little bit extra smooth. So we don't just need like a simple normal bel and do something like this so that it looks extra smooth. So, okay, we have this. Now for the keyhole, I'm probably going to go ahead and just make it as a separate mesh. I think that will look a little bit better. So it looks like a sphere, pretty much a hall sphere that's inserted. And then over here, we just have a little shape that goes into it, and that's probably as much as we need to create. So let's go in, create a quick sphere. I'm going to go ahead and it's 32 segments. Can I go for 18? I want to see if I can kind of line up the segments, but I, of course, forgot how many I used. 26, that would feel weird. I think it was 22. Nah. Well, it doesn't matter too much if we cannot line it up exactly the way that I wanted to, because we would be scaling it out a little bit more anyway. Let's for now stick with 22 because I also don't want to such a massive amount of polygons to something this basic. I'm going to go ahead and I'm going to rotate it ternal snap rotation, rotate it 90 degrees so that we have a more cleaner surface to work with. And after that is done, we can just go ahead and convert this to an dit Poly, thank you. Go to the top view and just delete. Oh, that's a bit stupid. I did an uneven number. There we go. 24. And let's go ahead and delete half of it. Now, the other half over here, we can just kind of like scale this in like this, and that should be fine. It might look a bit strange, but it should be fine. And I'm going to also go in and I'm going to select the outside, push this out a little bit, and then extrude this out like this. And, of course, to normal to basically flip it around. So at this point, I'm going to go in and I'm going to kind of maybe it's easier if I do it from the side view. I want to nicely place it into the center. And get these edges quite close, but not too close because else you can clearly see that it's a different segment amount. But my hope is that if we go here and once it is a hypol that you don't really notice that these are two different segments. So that is something that you will really see when you have the hypole. Now, we need to create this shape over here. And for the shape, we do kind of have already shape there. So we might not need to do a whole Boolean function. We might be able to simply grab these until yeah, up until here, do quick HNF on them. Look at it from a slightly larger angle. Yeah, I think that will work nicely. So we have that. And having that done. Yeah, I know that over here, it has, like, a little lip and stuff like that. I'm not sure like we could potentially art that by doing something like this. Maybe move this one up also. There we go. But I don't want to go too overboard because it's such a tiny detail to have. While from a distance, it will be quite difficult to even see that. So I think that will look quite nice. Let's just go ahead and turn this wide away into a hypole so that I can actually show you because it does not look nice in terms of what we're looking at now, but it's more like it can look nice with a hypole. So let me just go ahead, and I'm going to you want to be a bit careful where you place these loops because you don't want to place loops like this, as then it will break the roundness of your shape. So in my case, I'm actually just going to go ahead and I'm going to do quite a bit of manual work. Here, you can see, because I just want to keep all of those little etches intact. Um. And here I didn't mean to go like that. Okay, let's see if we now do a turbo smooth. Where does it break? It definitely does not like those edges. I can see that now. Hopefully, if we just kind of, like, smooth them out, because I'm really not in the mood to do, like, a very extensive fixing on it because it's such a small item. Yeah, there is just this little bit of shading still going on. And I wonder maybe just getting rid of this might already be fine. It might be fine, but if we swap things around a bit. So over here, let's just go ahead and place a loop like this that should not impact the shape as much as doing vertical loops. Because now basically we are still clamping the shape down just in a slightly different way. We are not really worried as much about the vertical lines because we assume that the horizontal lines, as you can see over here, they kind of keep everything still close shape. Don't know why I have so much trouble with this one corner. There we go. Okay, and that should work. There we go, see? So that now feels a little bit nicer. So we have this shape. Let me just turn off the default one. There we go. And now, for this one over here, I believe that we're also done with it. Yeah, because these are going to be non map details. Also the Bar Briar I hope Brill. I don't know. I forgot the word in English for it. But yeah, that all looks quite smooth. There is quite a smooth edge over here. But you know what? I can probably just do that in norm map by making the edges a little bit softer. So again, let's go ahead and do an addi pool. Let's select this and let's do a quick inset. There we go. And once you done it said, I want to keep the back open because it just makes things a bit easier. I'm going to place a cut here, a cut here. Basically, I'm separating this into different divisions. And the reason I want to do that is because I'm going to do automatic connections, and automatic connections are not always the best at understanding where you should and should not connect without breaking the mesh. So by dividing this up into little sections like you see here, it will lower those effects a bit more. So now if I would, for example, go over here to this phase and hold Shift to go to vertex, I can press and connect, and you can see that now it automatically connects. If we have double connections, like we can see over actually over here and over here, you can kind of just remove those. So let's just go ahead and let's see, we need this one, this one, this one, this one. Well, shift, connect. I'm not too worried, of course, about double connections. It's more if they are really stretching quite far out. Here you can also see that here, it didn't connect it the way that I would normally connect it, but it might still be good enough, and else I can always add some extra edges. So for now, let's introduce a bit more encons back just because sometimes encons do actually look a little bit better than having these strong triangles and stuff like that. Yeah, I'm fine with that stuff. I'm not fine with this one over here. That looks a bit bad. You'll see? Because these are so thin and against each other, that's what will happen is that it will just give really harsh smoothening, which is not something I want. So that makes me wonder if sometimes automatic is faster. Sometimes you actually realize it's not faster. In this case, it's still faster. But this is still for me. Like, of course, I did some playing around. But this specific shape is the first time that I make this shape, pretty much in my life. And then you always want to go figure things out. But yeah, this one, maybe. It should be fine. There we go. Okay, so for now, let's go with that. Let's go ahead and add a loop at the end and here. Over here. For this one, I want to make the loop a bit bigger, as I mentioned before, just to make it all a little bit smoother in those areas. And I think for this one, because, of course, the geometry is a bit messy. We just want to manually place that. And now we should be able to also place another loop here, which can be less messy. I'm gonna probably place one loop in the center over here. And I'm going to select bi angle and just select this angle. Oh, that's too much. Set this to five in the angle select. Select this angle, and I'm just going to go ahead and I'm going to do an inset. Oh, take some double vertices. So let's just go ahead and select everything and just weld it at, like, a very low level. See? We went 931-927, and now that is also fixed. So that just happens sometimes. Okay. I'm going to go ahead and I'm going to probably ended here. For this one, we kind of need to check and see how the edges respond because it's such a specific shape. I would not want to accidentally break the flow of the geometry. So let's go for this. Oh, no, there definitely needs to be another loop here. Let me just isolate this one piece. And then over here, I'm going to place a loop here, here, here and here. And I think if I now just go ahead and do a turbo smooth, isolate this play, set it to like two or three. Let's see. So that is now quite smooth. So there's a little arrow here. This one over here, I end up seeing well, there's a tiny, tiny arrow there, but I don't think it's that bad. And over here, we also need to add some additional supporting edges. So here we can just place a very quick edge like that. And you know what? I can even just connect it. There we go. So over here, there was a little arrow here, but maybe by simply connecting this, that will kind of, like, pull it away. And if that doesn't work, what you can also do is you can also just place additional loop around here. Here, see, and that kind of fixes that. The last one was over here. I wanted to merge this already at this point, because by merging it here, it is kind of Ooh, never mind. I was hoping that it would look a bit cleaner, but let's try this then. Yeah, I think that's not going to look very clean. Another thing that you can do is you can go from this point and then all the way like that. Yeah. I think that is more than good enough. I don't need to go too over the top. I feel like over here, there is probably on the inside that it requires an additional loop. And technically, although you can barely see it, it would be nice to also have a loop here. And here. Here. Yeah, but then over here, it starts to get some issues, which I do not like. So you know what I'm going to do? I'm gonna cheat a bit and see if we can literally just stop it here and see if because it's so hard to even see that part. Yeah, I think that will work a little bit better. So here I'm just going to go ahead and I'm going to place a loop here. Yeah, that should be fine. Okay. Awesome. And now, of course, we have the hypol but it is sitting inside of it, which actually, by seeing this panel, we will be forced to kind of move it a little bit more here, but that's fine because that's also what it looks like here. So I guess we just here we move it a bit. And that will also help us with this panel to see where we need to cut it out. I think that's the next thing that we will probably do to probably just go ahead and do a pop up cut from this point on. So let me just isolate these two pieces. We have a back face over here, but that backface is a little bit annoying when we need to do a bunch of cutting. So what I'm going to do is I'm just going to go ahead and I'm going to set my angle to five and just select this backface and just delete it. We will revisit that a little bit later. And over here, I'm just going to go not for my left, but for my right view. And I'm going to go ahead and I'm going to. Just do a rough cut. That is totally fine. And then, of course, go ahead and just also connect up. Oh, I need to probably do that. Yeah, let's isolate that a little bit more by hand. Cut here, cut here. Here, here. And for now over here. Awesome. And then what we can do is turn off angle. Let's just delete that part, and that should be hidden behind it so we can now see our actual shape. See? That all feels like it fits together quite nicely. That's nice. Okay. Awesome. I'm going to go ahead and I'm going to, let's focus on this piece, but I hope that we already kind of created it. Here. Yeah, we pretty much did. So let me just go ahead and copy this. Quickly throw it into a new layer and just drag this also into our hypoly. Oh, and this one can also be a hypoly. There we go. Turn off default. So we have this shape. Let me just go here and kind of move it into place. So the shape seems to already be quite close to what we want. But I can remember that we did this quite fast. So what I'm going to do is I'm going to go ahead and get rid of the extrude and the pool and all of that kind of stuff. And for now, let's just move this over here. First of all, we need to make this way more round. A board. Let's go to hi pool. So I'm going to go ahead and I'm going to just create a simple cylinder as a guideline. So we have a cylinder. I'm going to make the sides probably like 24, a little bit higher. And you just want to find a natural flow. So here I can see the dis point here at the top. And then at the bottom, something like that, that feels like it works quite well. Let's push this out. And then over here for this one, I'm going to probably for now, let's try to just do a smooth and then go to Bezier. So that kind of resets it because I want to go in there you go. Where you want to do perfect cylder you often just need to work with keeping things very, very straight at an even length because s it often messes things up. So here, again, I'm going to go smooth and then I'm going to go Basier because it just reset it, and then I can see if by just doing some simple scaling, I could move things Yeah. Okay. This one, I'm going to then make a little bit rounder and this is a little bit more straight. Okay, so it goes quite smooth here, and then here it right away becomes soft, so let's do a fill it. Let's make this a baser corner and see if we can but then she moved this a little bit more. Okay, so it goes around here, and this one is quite straight. And then here there is another very soft bit like it's Wi. It's just a piece of plastic. You can clearly see that. Um, I'm not so sure about this piece, though. Yeah, that feels better. Okay, so we have that. And then here at the top, of course, it becomes nice around for which I can probably just do like a double, fill it like this, and then select these two, and then you want to do a fuse and then a weld and that basically welds it all together into one singular point. Maybe rotate it a bit, make it a bit rounder. I think that should work. And then we do have these ridges, which will only be in the hipoly. And of course, these bumps, we are not even going to do those in the hypoly. We are going to do those in painter. But I think that gives me pretty good look for what I'm going for. Now, I'm just going to go ahead and place it here. And yeah, that's quite nice, where it's just before that looks good. So what I'm going to do is I'm just going to go ahead and I'm going to extrude this and yeah, in terms of the thickness, it looks like it's pretty much like just a little bit all at the same line or a little bit thinner. It's a bit difficult to see exactly. Oh, no, it's actually sticking out just a little bit more. So what I'm going to do is I'm just going to oops 0.55. Yeah, you know what? At this point, I'm just going to art and add a ply so that I can actually do some more manual editing. And also, let's go to our edge phases. This interpolation, it's a little bit too intense. So let's go back to our line and just show the end result and set the interpolation Oh, wait, sorry, I cannot do that with an added pool because you cannot go back and change segments when you already edited the added pole. I think that looks, that's a little bit of a better flow. I'm just going to go over here and just lower the amount. There we go. And there? Yeah, I think that will work quite nice. So we got this piece. I'm going to go ahead and I'm going to add a quick bevel to it. Like that. And I think at that point, we are ready to just turn it into a high pool. So for the cleanup, I'm not going to do too much. I think I will just place a loop here and here here and here and here, just to kind of, like, give. It's a little bit more support when we do our smoothening. But we can in the low poly, we can actually, like, properly clean it up. So we got this piece. It should not have a back. Oh, it does have a back. Let's just delete the back. And let's go ahead and add another added pool. And we're going to have a let's see, a swift loop here and here. I don't think I want to have a swift loop in the center of the bevel. So I'm just going to only select these pieces. Oh, and just go ahead and do, like, a quick inset. Oh, sorry about that. I'll select those. And I want to push it a little bit further. There we go. And then over here, I will need to go in and I will need to just do a very quick collapse. And let's do a quick turbo smooth because all of this is already smooth, so we should not need to do any type of segments there. Yeah, there was a tiny bit of, like, weird smoothing going on here. But that's probably just because of these segments over here. You could even try to literally just remove them here, and that already fixes that a little bit better. I think, oh, there are some more segments here, but that connect using by setting the iterations higher, that can also be fixed. I think that looks pretty good. Yeah, I like it. Awesome. So we got that part done, then at this point, we are pretty much, we are done with this piece. So in the next chapter, let's just go ahead and focus on these three elements over here, and then we just go from there. So let's continue on to the next chapter. 11. Creating Our Final Model Part6: Okay. So now that we have done this piece over here, our focus is going to be on these three little pieces. Now, these two are extremely simple because they're literally just cubes, but I do like how smooth the metal is that goes around it. Same for this one. This one is a bit more interesting. So it's a bit difficult to see. Now, you can see over here that this is actually transparent. We are not going to do that. The reason we are not going to do that is because just in general, for such an asset for us to also then start working with transparency, it just becomes a bit messy because they are separate materials that are highly specific and to add additional dirt and everything on top of that, it's not for a beginner. So over here, I found another one where you can really see, like, on the inside what it looks like. But for this, it's up to us, what are we going to do? Are we just going to remove this transparent piece? And create the inside, or are we just going to make this transparent piece, but basically have it not transparent, but then you cannot see the inside. I choose to just remove the transparent piece. So that's what I'm going to do. I am going to move this one over here. There we go, just to make it a little bit easier. So let's use this as my main reference, and let's get started with that piece first. I can see over here that this was pretty much like the width we went for. So if I just isolate that, I'm not going to reuse this piece. I would just want to create a new clean piece first. But I am going to use this as like a size reference. There we go. Let's make the size a little bit more even. So I'm going to go 8.3 and 1.95. There we go. Okay Let's push this back and let's just go ahead and isolate this one piece over here. What we are also going to do is I'm going to already change the location. So if I have a look on our reference, which is here, it is pretty much just at the straight part over here, and then it just has a little bit of space in between. Yeah, that should be fine. Am I still happy with the size? That's something I do want to figure out. I feel it's a little bit white, to be honest. I'm going to push it back a little bit more. There we go. I think that's a pretty good size. Okay. Awesome. So let's just go ahead and get started by blocking out this shape over here. So I will probably make this out of two parts, like the outer part and then the inner part. Let's go ahead and get started by converting this to an added poly. And for now, here, let's just it will probably need to be pushed inside a bit. So I'm going to just, like, leave it over here. And let's get started by placing a connect and do like a double connect so that it's exactly equal.'s 82. And then down here, it will basically bend down. So we do also have a loop here. And what that loop will do is it will push this piece over here back and then it's going to also create a nice round edge over there. And then again, we will have a loop probably around here. And then for this one, push this back over here. And then, of course, what we're going to do is we are going to smooth this all down. So for now, let me just delete probably this entire piece over here. I'm also going to isolate it at this point. Oh, and let's just get rid of the back, because the back right now it just going to sit in the way. Here we go. So we can just go ahead and select these tree over here. You know what? No. Select these two, even. Let's push this back. So as you can see over here, so we also have basically this indent going in here. And I do want to kind of, like, capture that effect also. So basically, this one will go up here, which should already give us a pretty good insight. If I just go ahead and add a quick bridge here and then ar a quick bridge here. See? No, that is not is that correct? Up until this point, it goes back, so that's correct. But then a little bit lower. We kind of want to then push it forward a bit, again, which is quite interesting. It's sort of slack by angle. So I'm going to go ahead. Let me just also bridge this because that makes it a little bit easier. Even though later, I'm going to remove it. Push it forward a bit again. There we go. Yeah, this is a very thin edge. That's something that we do need to be a bit careful about. But even here, it's like it's an extremely thin edge. So I think that's a pretty good look at this point. And then we have this gap going let's see. Yeah, so we have a gap going in here. So that's like an additional mesh that goes on it. Knowing that I will probably go and place a loop here. Oh, that's a bit annoying. Let me just quickly extrude this because I want to know where a loop here is. See? I just often use extrusions and stuff like that to kind of, like, measure things. So we have that, then I'm going to push this down. That's weird that didn't create an extra loop. Let me just go ahead and delete the faces and then push it down. Now it does create an extra loop. Also fine. So we have this, and now what I'm going to do is I'm going to delete this backside and I'm going to then extrude this. It's a bit of a roundabout way of doing it, but it's more because I'm thinking while trying to also while also doing this. So we have this piece over here and I'm going to then push this out. And I think that should be it, at least for this shape over here. So what we have now is we can over here a cali and here ta capl. Then for this shape, I'm going to leave this open because I first want to add some smoothening. So we do have a smoothing here and here. That's actually very extreme. So let's make that quite strong. Like that. Okay. This one will probably be covered by the hypol so we don't really have to do that, but we do need to go here on these corners. Let's make it a little bit less. You know, set it to two. There we go. So nice round corners. Let's see. Go in these little details again, they will just be done inside a substan painter. And we have this and we basically push it in. The only thing I feel is that it's a little bit too deep, to be honest. So I'm going to probably just select this piece and just move it all in a little bit. Yeah, that feels a bit better. I'm just going to also look at over here. I mean, it is quite deep, but this shape over here needs to be a bit, there we go. Like that. Okay, and this gets pushed further in, and then we have this another mesh, which it's a bit difficult to exactly see what it looks like, but we are going to focus on later on, it's probably, like, just like a lip going in here. And then here, this is a place where money can go in. So what we're going to do is we are going to create that receiver, and then we just have like a little panel that will have some advertising on it. But for now, let me just first complete this piece. So it goes down. I think we are ready to just add some smoothening to this. All I would say is also, yeah, we need to push this back. But I'm also going to go ahead and push these back. And then over here, we do need to have, again, some soft edges, but for that, we first need to bridge this one. And bridge this one, but I don't want to connect it there. I want to connect it to the back because the back doesn't have a face, so it will work a bit better this moving. This one is going to be in the way. Basically, if we try to make this round now, it will just not work well. So let me just see if just pushing it up is enough. And let's just add a chamfer. Yeah, there we go. Nice. So smooth, smooth, smooth. I think we got everything now. Awesome. So at this point, I'm gonna go ahead and well, okay, let's just connect this. Not sure if it's gonna be bad or good, but if we're now going to just add the weighted normals at this point, we can just weighted normals are supporting loops, I mean, we can now just add an extra at the poly and let's place a loop here, a loop here for this front, because the pieces are quite round, why can I not? Because I'm pressing the Wong button. That's why. Just for reference, my microphone is in the way of my visibility for like 10% of my screen and my entire keyboard. So if I sometimes press Wong button, that's the excuse I'm going to use. So anyway, over here, let's do a quick inset. I think that's probably the easiest way to deal with these pieces. I'm okay with just leaving that. I'm just going to go ahead and cut this down along down and along. I think we already have enough loops here. We want to have a loop here, a loop here and also a loop at the bottoms and the sides. Now, over here, what I'm going to do is I'm just going to manipulate it by hand a little bit because the loops are a little bit too far away for my liking. And then I can place a manual loop here and then also here, let's just, uh I'm going to probably end it here just because I'm a bit too bored to need to move the loop all the way around the ring, so I'm just going to connect it like this. And let's see. So that loop, it goes over here. That's actually not really what I want to happen. So I'm just going to go ahead and I'm going to deselect it on this side and on that side and just push it back a bit. Does it have to be perfect? I can also the over here. Now, you know what? Over here, I can push it. You'll see a bit further back. Okay. I'm going to place a manual loop quite close to the top, because as we said before, the top is going to probably give us a little bit of issue. But if we do this, that should be smooth enough that it wouldn't be any big issues or something like that. This one loops all the way around there. I do not like that. That does not work well. And also over here, there is some geometry that's a little bit messy, which I'm just going to very quickly clean up just for the sake of keeping things organized. And I was going to, I'm going to. So Col trick. If you do a quick cut like this, it will break a loop exactly where you want. And then since you need to be there anyway to do some manual work, then you can just clean up. So if I do a cut here and here, I can push a loop like this. And then I can just for that last little piece, give it a manual cut. And then just get rid of any of, like, the leftover pieces that might not have been very nice. Not sure why I add the loop there because we don't have a bag, so it actually doesn't really matter too much, but now you know, I'm going to also here need to push this one in. Yeah, sorry this is taking a while. Just placing loops, it's quite a boring task that, not a lot of excitement happening. I want to have a loop around here, but it looks like it's also one of those where it just is a bit broken. But honestly, we can just end it. Oh, no, wait, sorry, we cannot end it. We need to move it around here because else we don't have a nice bevel. So we're going to not end it. We're just going to wrap it around like that. Okay. So we have all of the loops there, maybe place a quick cut here and here. And on the bottom. And I think at this point, I'm just going to throw on a turbo smooth just to see what it all looks like. So first one that I notice is that I forgot to place, let's do double loop somewhere here. And also, this loop should also kind of continue down the base. So what I'm going to do is I'm just going to place a loop here and then just target welded to this side. You know what? I need another loop here. Yeah, actually. At first, I was like, Oh, shall we do it by hand to keep it clean but honestly, it would not make a difference. So you wouldn't notice it if it does clean or not clean in this sense, because I'm just going to merge the tops together, and the tops end in like a flat piece. And a flat is always a safe zone for smoothening. Okay. I think that looks pretty decent. Here, one more Loop around here. There we go. Okay. Awesome. So we have that. So now what we are going to do is we are going to focus more on the inside. And for the inside, if I just have a look at it, Yeah, okay. So I'm going to basically eyeball the inside a little bit. And then we can go from there. So first of all, I'm just going to make this lip, which pretty much looks like cube, but it's slightly angled. That's pretty much it. So let's go. And because it's all like a solid mold of plastic, I feel like we can just kind of push it inside of the actual geometry. Let me just move this in at these points. I'm going to go ahead and push this stuff all back and push this stuff quite far down. And actually, this one, I want to move a bit up. But I do want to push this down because I don't want to be able to look behind it, basically. So this will create, hopefully, like this thin edge that we have over here, and then we have these ridges over here, which we can also create. I'm also going to actually know what I'm going to move this a bit more in and then push it further in because here, there's going to be the mechanism where we have that money kind of goes in, and that's just something that I will create a Disney. But for now, let's just delete this phase. Honestly, we can also delete those side faces. You cannot see them, but I just invert my selection to select them, and you do the trick. So let's go ahead and create two connects. Probably like this. And then let's go ahead and create another two connects a bit closer. So now what we can do is we can and I'm going to just do this from the side because I want to keep it all nice and angled. Let's go to IR mode. I'm going to push this out, and I'm going to align the top angle, I think. Why should we just do this? Ah. Now, I feel like you want to kind of align the top angle. Yeah. I think I still I know it's probably not like this in real life, but I want to keep that top angle really flat. So I'm going to probably go for something like this. And then what we can do is we can select these edges, and we can just kind of, like, chat for those. Like this doesn't need that much geometry. There we go. Yeah, we also have these ridges over here for which we can choose to do it as a model or we can choose to do it or sorry, as part of the model or as a separate model. Honestly, it will just be so much easier if we do it as a separate model compared to needing to, like, properly split up this entire model and make the changes and all that kind of stuff. So I'm going to just be a bit lazy and do it that way. So I'm going to grab a line just because we are working from an angle and then it's easier for me to Basically place a simple line on this angle. Move it here, add a very quick sweep modifier. With a thickness, I think 0.1 is a pretty good thickness. And then I can also push it out. Probably going to push it out. Let's do 0.2 to push it out. And then this side over here, let's go ahead and nicely bring this down a bit more, it's at a slight angle. And then over here, we want to just go ahead and jam for it. And you know what? I'm also going to just add one small bevel here just because it's a hypol piece anyway. I think we won't even have this entire thing in the low poly I think in low poly, although it is still quite visible, but yeah, we might just then not have it. I'm going to delete the bottom face, and I'm just going to turn this into a very quick hypol. So let's just add added ply. I'm going to give it like quite a big smoothening like this. Select these insights and inset them h push them down. And here we have some messiness, but we can just collapse that. There we go to clean it up, and then also just push it down because else it will not give us a correct smoothening I'm going to add one more loop around here, and I think that should already do it. Yeah, there we go. Okay. Awesome. So we have this one. I'm going to go ahead and I'm going to place it. Let's see. There's one at the very let's make one at the very beginning. One in the center. You can see I'm not gonna do it like absolutely perfect, but I think this is fine. And then we will also have one that's a bit more near the end over here. But that one, of course, we need to add some small adjustments to it. Mostly that I grab this piece and I'm just going to push it back. There we go. And same over here. Okay, awesome. Let me just hide that panel over here because that's a bit messy. So we have that stuff done. Let me just select it and isolate it again so that we can work on it a bit better. Yeah, this one, at this point, I can also turn this into a hi poli because I don't think we are going to make any other changes. I want this to be extra smooth, so I'm just going to place only one edge here just because in the actual here we go. In the reference, it's also a very smooth edge. I think that's what it is, because everything else is smooth, so we can just do this. There we go. Okay. Awesome. So next is we have these ridges over here. Now, you can see that it has a lot of little ridges. We're not going to do that. In the hypole we are just going to do that inside of substance painter. So all I need to do, basically, is I need to have a very simple cylinder. Like, I am going to simplify design just a little bit, because it's not like I'm making an exact digital double or anything like that. And digital double just means that it is identical to real life. So it's just it's not slang, but just a matter of saying. Yeah, I'm going to go in. I'm going to make this 18. Added ply, push this from here to here, select this and contra I and then delete. And I'm going to kind of move this just a bit up. I do want to leave a gap here, but we're just going to text that later on so that you cannot look through it. I'm going to make it a little bit bigger because, else, it's going to be quite difficult to even see the mechanism. And I'm going to move it forward a little bit. Just move it up a little bit more. There we go. Okay, awesome. And then also I want to have another one of these, but of course, they are not going to be textured the same way, just to have some type of detail here at the top. Okay. Like that. And now, all I need to do is I'm going to create that little advertisement sign with the 100 yen text on it. I'm going to move that probably somewhere here. And I'm going to push that and I will displace it here, but let me just have a quick look, see if there's by any chance, a slightly different angle. If I can see how much it is angled, for example. Mm. Yeah, I don't think I have any really good angles. Yeah, you can see here that there is quite a bit of space at the top, actually, that might also be nice. If I move it up a bit and then add an insert to basically add another line like that, And all I want to do is, you know what? I'm going to angle it a little bit, because I just want to have this all a little bit closer together. So let's do that. Let's select these two, and let's do a nice little fillet or something like that, just to make it all is that too smooth? The fill a bit went a bit crazy. But honestly, I think that's fine. So we got something like that, and now all we need to do is, I think we just need to do an extrude. I don't think you are going to be able to see bind it anyway, so it doesn't need any depth or something like that. And a nice thing also is that if I I have this and I push it. Here, let's hard and quick at a poly. I push this all the way down. It immediately allows me to texture behind it that you cannot see it. Push this way all the way in over here, this one over here. And, of course, well, you don't even need to use non modifier. You can also just select all of the faces, and in the edit elements, you can flip it, and that will flip the elements around. I want to over here, there is like a double loop. Let me just get word of that. An artiquiTurbo smooth and isolate display. It technically doesn't even need the turbo smooth, but oh well. So we have that. We have the money thing. Um, I'm not sure how much I like how high it is, so I might want to still push it down. Yeah. I feel like that looks a little bit nicer. I think that's enough, at least for this little detail. So we have this now ready to go. Now, what I'm going to do is I'm just going to go ahead and just quickly hide the site so that I can select everything. Right click on night A and I'm just going to have a look at how deep it goes inwards. Yeah, honestly, that is actually already quite good. And I believe that we already put it into its correct place, which we did, yes. Awesome. So we have that one. Now, for these ones, they are just simple cubes. So all we need to do is let's go to our your side view over here. The first one, I'm going to go ahead and place it here, and it's going to just be like a small screen. And the screen is sitting just above. And I'm mostly just eyeballing this. I feel that's a little bit too large. I feel like we want to make it a little bit smaller. Yeah, I think that will work. So we have a small screen for which we're literally not going to do anything. We're just going to push it just above this shape over here. Maybe we are just going to give it a few round corners, and then we'll just turn into hypol. So let's push this back in, delete the backface, ring it so that we select every corner and let's just go ahead and there we go displace or make it a little bit round. And honestly, I think that's already it. At this point, all we need to do is we need to just add a quick added poly and start by adding a quick inset like this, along with two supporting loops and a turbo soot. Isolate this place at to two. I guess if you want, you can very quickly place a cross selection here. And just add a few additional loops. There we go. Awesome. And now this one it's pretty much the same thing. It's just that this one is going to be exactly square. So let me just move this down. And just in the added poli we should be able to still just edit this. I'm going to let see, it needs to actually be a little bit smaller. So I'm going to push this back, push this in. I'm going to very quickly create a box and make sure that the box is say, ten by ten, and that allows me to quickly then go in here and make sure that it is exactly square without me needing to create an entire new model and stuff like that. There we go. Not broken. Looks a little bit broken, to be honest. Yeah, I think that we certainly do need to redo our edges because it is a little bit too broken to be copied over. But let me just quickly do that. Cut, cut, cut, and cut. There we go. Two little loops here, one, two, three, one, two, three, turbo smooth, isolate zero. So you get quite efficient at it after a while. I'm going to move this one also only just above the shape. And it looks like we kind of want to place this probably like in the center. Like that. I think that will work quite nicely. There should be like a cube still here that I'm going to delete. So we have these pieces here. Let's end this chapter off by just placing a nice cut out in our panel for these few pieces. I think that will be a good moment to end. All of this is now already long broken, as you can see. It looks like that I am able to move this one safely, but I need to be a bit careful simply moving my vertices around at this point. Here, you can already see that it starts to break quite quickly. Yeah, I think that's about it. I'm going to go in and I'm going to place a cut here and then I'll just connect this. Another one here. I'll do another one for now here, don't worry. I'm going to make these all perfectly straight in a bit. Okay, so you can simply select these, make them perfectly straight by scaling them, and then moving them into position, which is going to be very close to shapes over here. There we go. That one was already placed correctly. This one can be placed correctly like this. And this one I cannot see where the end is. Oh, I was way off. Just connected like this. And I think that's all of them. This did not have a backface, right? No. So I should be able to just kind of delete these. Yeah, that works. And in this case, for these ones, I do need to select them and just extrude this out because we are not covering it. We are just, like, having a panel, basically. Let's do this. And yeah, we do want to make this nice round just because it seems to be like I really like the look of it. That's basically why I want to make it. You can probably get away with it by not doing it as actual jom try, but I don't like that. I just want to make it a bit nicer so that if we happen to have some super up close shots, that they will still work quite well. There we go. That should do the trick. Yes, it as some messy geometry, but we can clean it up later on. We now have these few pieces also done if I turn off my edge and faces. So that's looking pretty good. Then in the next chapter, what we're going to do is we're going to focus on this little guy over here and on this inner panel over here. And I believe Oh, no, and we also need to do the log. But after those things are done, we are pretty much ready. With the front side. And then all we can do is just, like, some finishing touches like, Well, of course, you need to create the buttons, but I'm talking more about, like, finishing up this panel. So let's go ahead and continue with that in our next chapter. 12. Creating Our Final Model Part7: Okay, so we have now completed over here all of these elements. So now what we're going to focus on is over here where you can grab your change, and after that, we're going to go and do the lid over here. Now, for this, the shape, it's not too difficult. Only this bottom part over here is a bit annoying. So let's have a look. So we have a blockout but it doesn't quite match the shape. So what you can clearly see here is in our blockout that this one is quite round, while this one over here, it's a little bit less. So that is something that I want to kind of keep in mind. And also, of course, it moves up over here. So let me just isolate my blockout. And let's go to our top or sight view. Let's turn on the frame because we should be able to still use this, but just go to alter the box a little bit more, but I do want, of course, keep the same size. So I guess it was not exactly square. No, it definitely was not. Or maybe it is. Let me just scale this up. Yeah, you know what? It was so close. We are just going to make it exactly square. I feel like that is a bit nicer. So we have this shape over here. Let me just move it to the side. And first of all, we need to define the general flow of things. I'm going to go in and let's art and add a poli and I will just stay in my side view. But basically, just go to Edge mode, and I'm just going to select these two corner edges, and as you can see over here. And we are going to start by doing a simple chem fond a bunch of segments. I do want to actually sometimes check on the outside to make sure that the segments are not too much. And then what we're going to do is this one is going to basically push until we have a little straight piece, and then it just goes quite round. I'm going to give it a few more segments. Like that. Now the top segments over here, I probably want to make those rounds after I altered this design over here. Let me just move this forward. And to alter this design because, of course, we already have now segments here. I probably would want to go in and I would want to place a few cuts. So if I just place a cut here, here, so that will move up. And we could cha for it, but you know what? I'm going to place another cut here and here. Then Ooh. Doesn't have to be exactly straight. Continue these cuts. But what I do want to do is I'm going to get rid of the back because the back will just be in our way. There we go. So we have these cuts now, and now we should be able to just kind of, like, carefully move these up. Oh, yeah, it definitely needs like a cut in the center. Place another one in the center. Um, I think I want to move it up a little bit more. And, of course, later on, when we turn on the hypol this will all become extra smooth. But we do need to always make sure that the lopoli is quite close to the hypol because else it will create strange artifacts if it doesn't match as well. Let's go to the side view again, and let's do a chamfer. And this time, it's gonna be, you know what? Maybe I need to do this in a few. I think something like that will work quite well. Now, over here for this one, and maybe also for these ones, what I'm going to do is I'm just going to move this a little bit further out like this. And let's see if I can simply do another champ on here just to make it all a bit rounder. But this time, it's just gonna be a single chamfer or Barro or whatever you want to call it. Um, or double. I don't really like this dip over here. That's the only thing where I'm like, so I think double is fine. Well, let me just go in and quickly no, you know, it's this one. I know it's very small details, but they bother me. I think for now, that should be fine. Yeah, that should be fine. Okay, cool. So we have this. So now what we have to do is we do have this front over here also. And for that, I think it's best if we just already like place a mesh and then later on extrude it. So I'm just going to go ahead and I'm going to place a cut from here to here, and that should already give us this mesh over here. And I believe that I could already just extrude this out because when I extrude this, the only thing is over here this little point. Let me see if I have. There we go. That's a better angle. So this point, I just need to make sure that it doesn't because right now we are extruding it away from the face. So something we need to keep in mind. But for now, let's just focus on extruding this out, and we want to go ahead and we want to make this also a bit bend. So let's go to our top you and kind of do the same thing where we just push this out over here, you can see that the bottom gets a little bit too messy for my liking with that. In that case, another trick that we can do, although, yeah, it should work for this one, is, first of all, I'm just pushing it out so that I have a bit more space to work with. And let's start by connecting these. I guess they really didn't like the connection. I was hoping that the engons would just kind of, like, deal with it, so to speak. But it seems nuts, so let me just place a careful grid here. But when we do a grid like this because it is uneven, we sadly can no longer do it by hand. So then what we do is we kind of move over into modifiers to create a crack band. But it's always risky because you never know how modifier reacts to a single plane. But it's a nice trick. So when you select a polygon, you can go ahead and you can just add some modifiers that will only work on selection, including the bend modifier. Here you can see that the bend modifier now only works on this selection. I think it's the X, the X axis. And now you can see that we can instantly give it this little bend. Now, over here, yeah, as you might notice, it's a little bit scooted, but that should be fine in general because we are going to merge it down. So that's actually yeah, that should be okay. Something like, something like this should work quite well. And also, you can click once to go into the Gizmo, and I might even be able to Ah, that's too bad. Okay, I cannot rotate it, but I can art another adipol and then it will still remember my selection. And I'm just curious if I do this, and move it a bit if that might look a bit nicer. I think it actually does. Okay. And then over here, for now, let's leave this one because first of all, what we need to do is we kind of need to do an inset. I'm just going to get rid of these podgons because right now, they're just not needed. And I'm going to select this stuff. Yeah, I will do an inset on this. I kind of want to do it at the same time, but I just know that there's going to be issues here, but we'll just see. First of all, let's just do an inset. And just focus over here on making this the thickness that you want. So I will do 0.15. It's probably a good thickness. Press okay. I'm just going to move this quite a bit for the back. Nice thing is that if you select with different modes, like, for example, your border mode, it will still remember your selection like this. So we got this. Now, I'm going to pretty much, that is still good enough. I'm going to push this back and I guess there will be like a lit in front of here, so we won't be able to see it, but we will be able to probably see this bottom. And I wonder if I could I don't think so. I don't think if I do this. I mean, it's not as bad as I expected. What if I then scale it out a bit? Honestly, not as bad as I expected, but I do feel like we would need to have another line to kind of, like, push it further back. Let me just move this further back because here, move this further back. Then this one, let's move it down because yeah, we're pretty much working on something that has such a little visibility. I'm going to move another one or another line here, and then deselect just the top pieces because I just want to grab this and I want to kind of like move it down. Like this. And if we want, we can even move forward a bit art a quick cha to really drive home that is like, oh, uniform try, maybe. I think now it's really starting to pinch. But, here, here, if we do using triangles that, yeah, I think that will work quite well. So we have that going out. That's fine. I do see over here that there's, like, some very slight bumps. Um, You know what? There is a little bump here. We can add that one, but I don't want to go too overkill with this because it can quickly complicate the shape. So I'm going to go ahead and add. I think C want to do that with these. Here we go. I want to go in and just add one of these and maybe then add a very quick chamfer. Yeah, where do you like that. There we go. Okay, so we got that one. Um, I think that's about it. I think I'm just gonna keep this straight. And once we turn this into hypoly that will look quite a bit nicer, which is probably something that we're got to do now. I know that yum try is quite messy right now, but I feel like that it shouldn't really be an issue. I'm just doing a triple check. Just give me a second. I'm not very happy about this stuff, still. Let me just move this also on one line. Let's see, does that feel better? Yeah, that does feel a bit better. Okay, let's go with this. And now let's go ahead and add another added poly, and we're going to just turn this into a high pool. So let's add some supporting loops. I think here we want to do a double loop but have it still quite far away from the edges. Here another loop. Let's make this one a bit smoother and another loop here. This one, we sadly won't be able to just flatten it because that will probably, here, see it will mess with the shape. Let me just see if I can move it from the furthest point here and then flatten it, and then yeah, here, see, that doesn't really change anything. So that's good if we do that. Over here, yeah, we have this insight. Let me just see if we can solve it with, like, a simple inset. And since over here, it also didn't really work out. Let's also do an inset on this end. Like this. At this point, it definitely is, like, overlapping, so I'm just going to go in, and I'm just going to collapse these pieces. And I'm also going to place a quick, if it allows me to, a quick loop Come on. It sometimes has some trouble to define where the edge needs to be. A quick loop here. I also will need a loop on this side, on this side, and then over here, I'm just going to go, Oh, I don't know why after a while, you just get blind to a material view. So I don't know why that was open, sorry. I literally did not notice because it's just not where my focus is currently. Okay, we do need to have something going around here. Then over here, it kind of takes over. So if I could just merge this together and then get rid of this part, Merge it together, get rid of this part. What do I want to do with this? Let's just see how it reacts. This pinching it will most likely not give us a good look, but we will see. Then we have over here, we do have a supporting loop already, but we kind of need to alter it. It's probably easier to alter it than place a brand new one since it is on a straight line. So I'm just going to go ahead and move this deselect the part, move it, deselect. I like that. And I think at this point, let's just go ahead and turn on turbo smooth and see if we are missing something. So the inside, yeah, the inside, I'm honestly fine with. The outside is also pretty nice and smooth. And over here. Yeah, you know what? I'm totally fine with that. I think that will work fine. So now all we need to do is we have this little lit over here, but we are going to keep that very, very simple just because it doesn't need to be anything special. I'm going to probably use a line for that. And let's see. I'm going to move the line probably up until this point that you don't really or you cannot really see too much outside. And I'm just going to manually trace around the shape because the lid will simply just be embedded into the shape. Here we go. And we're going to do a quick extrusion Let's done on edge faces. Let's do 0.20 0.1. Yeah, I think 0.1 is fine. So we got this one. I kind of do want to have some segments here because I feel like there is something here, but it's a bit difficult to see here that the lid is kind of like pushing forward. You know what? I'm going to do that in a slightly different way, I think. So we have this. I'm going to actually scaled up a little bit more. Let's add and added poly and get rid of the back. And place a cut along here so that we basically now are able to place a cut freely at this point. And I'm going to place a cut freely here and here. And let's see if we can literally just move this edge forward like this. I think that alone should already do enough. I'm going to then select these edges here, and I'm just going to cham for them to give them a little bit more smoothness like this. And maybe let's also just cham for this edge because it is like a soft piece of plastic. I wouldn't want to give it like really hard edges or something like that. And let's see. So we would place this here, which we want to angle a little bit. Yeah, you know what? I do want to angle a little bit. But let's first of all, just turn it into a hypol. So for the hypol version on this one, I think we can again just go with a simple inset. Make sure to add a new added pool, which is something I often forget, and then I end up wasting a lot of time by needing to clean up the original, but I will. There we go. So not. So we're gonna keep it quite sharp. We need to place a cut like this and like this in order to keep the corners intact. Same over here and here. And let's go in and place a double loop, and that might already do the trick. Yeah, yeah. Okay, that works well, it seems so we have this sitting in here. Let's push it forward a bit. There we go. If I turn off ation faces, I think that looks out fine. Awesome. So we have this. I'm just going to go ahead and move it into the correct location, and we're going to go ahead and turn off isolate. And let's also turn off our original blockout. And I need to just double check right now. Because the locations have moved a bit, and it looks like if I look at my reference, it needs to be a bit around this point. Turn on ancient faces here because we have this lid here, and then it will be just outside of it. Yeah, that looks good. Awesome. So let's just go ahead and finish things off by cutting it out, and then we can move on to the next. So for this, I was wondering if we can okay, sadly, we cannot do a swift loop, but that's fine. Honestly, with this one, I can reuse this one over here. But it's such a thin edge it's probably better if we do actually do a cut. So I'm just going to go ahead and I'm going to, first of all, place a cut here. And that allows me to a little bit more accurately cut along this side. And I'm also going to place a cut, um, here. And I believe at this point, it will just be in the back so we can be a little bit more rougher with our cuts like this that goes down, down and like that. And as you see, if I delete it, that seems to work quite well. Nice. Let's just isolate this piece because I do want to clean up the jum tree a little bit. To keep it a bit more intact. Yeah, let me just doesn't have to be super clean, but I do want to at least have it connected. And also for these bonds, yes, technically, they are connected, but it doesn't really count. They need to be properly connected and not connected by an etche on the same line. That feels to me always like it is the same as just having only two loops. And this one, I'm just going to move over here, and then this one, oh, it's already correct. And I think that works. I do notice over here that Techy there is like an edge around here. But in my case, I'm not going to do that, just because that feels a bit overkill to exactly trace around this entire shape, and I think that will not look as good. So what I will probably do is in paint I'm just going to place, like, a normal edge around it. So that is that one done. Awesome. Now we have arrived at the last piece on the front, I think. No, still have the lock. But let's focus on this one first. And let's have a look. So yeah, it's basically just a lit. That's fine. The inside, we already have. So we have the inside, so it would be a lit with, like, a mechanism at the let's see, mechanism at the top. And the mechanism looks like it's just like a cylinder that has, like, a little gap, and then it becomes a thinner cylinder and then becomes bigger. I think that should not be too difficult. So let's first of all, focus on the cylinder mechanism, and then we can go from there. So let's go in and create a quick cylinder. I cannot see where it is, here it is. There we go. And I'm just having a close look at A, this poly a bit too thick. I think something like this should work. So, this cylinder, essentially, it hangs. I don't know exactly where yet, but let me just, first of all, run it all the way along the other side. And let me just check from a distance. It's done of edges and faces. Yeah, that's way too thick. I don't like that. Because we are going to have a thick piece later on. That feels better. Okay. So yeah, we have the cylinder, and then in the center, what it's going to have is going to have a place where it becomes a bit thicker. So let me just place a double connect in the center, and let's push it back in because we don't want to have it that big. That should work quite well. Then what we will have is we're going to go ahead and probably just do, like, a simple extrusion on the local normal There we go. What I'm going to do is I'm actually going to go ahead and I'm going to just add a little bit more detail. I'm going to go and do a very thin edge, and then I'm going to press the plus, and that will basically add an additional extrusion on top. And I'm going to make that almost as thick as we want it to be. And then another plus. And then, again, a thin one. I know it's probably overkill, but I had the idea of just, like, pushing that one I. Oh, or extruding it in. Not too far, but just that we have enough shape. And then for these ones, we can actually also go ahead and we can make these ones a little bit more bevelled like this. Just to give it something there. Once I've done that, oops, I can select these and these edges. I'm going to have another connect. But this time the connects are going to go quite far until they are at the end, like this. And then I'm going to only leave these two connects open, and I'm just going to add a quick chamfer I think 0.1 should be fine. And Let's do a quick extrusion down. And I'm going to also bend it in a bit so that it's a little bit easier to see because where you do an exact extrusion down, unless you're looking at it from the side, even with baked normals everything, it's a bit difficult to see. And also, there's some phase here on the inside, which you can never see. So I'm just going to go ahead and I'm going to delete those also. I think that makes up a pretty okay tiny piece that you will probably never even notice. But let's just start with something like this. I guess let's turn it into hypolilway before we move on. That one is quite easy for this one, so I'm just going to place a loop here, here, here, here, here, here and here. Another one here, here, here. Here in the center. Sorry about that. And also here in these centers, which I know are a bit annoying to see. And you can, of course, also use connection techniques, but right now, they're not that annoying. So it's still fast for me to just place everything by hand. Like this. And turbo smooth it. And there we go. Okay. That's fine. Now, let's go ahead and see. Can I happen to use the blockout one? Yeah, we have this line, so you know what? I'm just going to steal that one, throw it into a new layer so that I can properly drag it into my hypo layer. And let's see. Let's only select these pieces over here. And I'm going to go to my side view, and I'm going to start with just like a simple line. And I want the line. So over here, let's do I have? It's a bit difficult to see, maybe on the other images. Pretty much everywhere, it's a bit difficult to see, but I feel like there is a straight part sticking out in front of the cylinder. However, as you know, we also want to go ahead and we want to push this just out. So what I'm going to do is actually, I'm going to move my cylinder back a bit. Then we have our line. So I'm going to move down. Let's move it up until that point and forward a bit. And it looks like it is quite close to the edge. So I'm going to do this and Yeah, it is just straight, but then it does. It has like a little lip around, I feel. It's a bit difficult to see, and you probably won't even notice it, but I think it's just nice to have something around over here. So I'm just gonna do an inset. Oh, I'm gonna go ahead and get rid of all of that other stuff. I only care about the line. A little inset like this. You know what? And then let's also make an inset going up a bit. I do want to make sure that this inset is exactly straight. Okay. So we got that. Now, when you place an inset, while we already moved it, this tends to happen over here. Easy way to just fix it is to just oh, I guess, not in this case. Normally, easy way to fix it is to scale it flat, but for some reason that didn't work, but you can also just go to the front view and pretty much just move it. There we go. And later on when we turn this into an actual geometry, then we will then we can double check. So I'm going to go ahead and I'm going to place a nice fillet here to make that actually. Yeah, let's make it, like, pretty much just pure round. I'm going to fuse and then weld these centerpieces that it becomes one piece. I'm gonna do another fillet. Here to make that round and another one here because I feel like everything should be pretty much like a soft roundness. Oh, that's very sensitive. Let me just see if I can carefully because I wouldn't want to make it super round there we go. I think that works quite well. Now the next thing I need to do is I need to add a sweep modifier. I'm going to move the pivot point. Wait, let me just first reset this. I'm gonna move to pivot point on the inside, I think. Yeah, I would want to do that. And I'm going to basically move it here because this is the most important spot where I want to make sure that it, like, pretty much intersects with it. Let's do that. Okay. And for the thickness, what do we have now? Width of two. Let's do 0.25. I think that should be fine. And I'm gonna go ahead and I'm going to move this all the way up until This end over here, just in front of it so that we have still a tiny gap, but almost nothing. And let's art and add a pool. Oh, let's select it up until this point. There we go. And let's go ahead and move this again over here. There we go. I think that will work quite well. I think now if we just turn this into a hipoly it does have these non map details. But again, those ones I'm just going to go ahead and do in substance painter, because they are such specific Like, I don't think it's really worth doing it on here, even for close ups. Yeah, I don't think it's worth it to make it as actual geometry and to keep it in geometry. So having that done, let's go ahead and isolate this one, add another dipolar. We're just going to go ahead and make it hypole. We don't really have to do that on these ends, maybe here at this part. And maybe over here on the side and also give it, like, a few segments in the center, just to catch up. Just turn on turbo smooth, isolate display. There we go. I think that works pretty good. Let me just turn off my view. Also, what we can do at this point is, if you want, you can just select your entire hypol and just add one material to it so that it all feels a bit more connected, and then it's a bit easier to see what it looks like. I think that looks pretty good. So since we're at 30 minutes, I think it's also a good moment to take a break. So in the next chapter, what we'll do is we'll finish these logs and I guess we can also finish, like, the back grid over here, that's litty plane, pretty much, with, like, some bevels. And I will also add this little detail over here, but I will not add a cable. Yeah, I think I'm not gonna do the cables. You can, of course, do it if you want, but not for me, and I think after that is done, all we need to do is just feet, and then we are pretty much done with the modeling. And then, of course, need to turn into the low poly, you unwrapping, all that stuff. But for now, oh, I keep forgetting about the center. Of course, also need to do the buttons in the center. So let's go ahead and continue with all of this in the next chapter. 13. Creating Our Final Model Part8: Okay, so let's go ahead and continue. And let's just start with just something a little bit smaller and simpler, which is this stuff over here. I don't know if this one up here. We'll probably just go ahead and do that inside of subs painter, but I feel like not even having it, because what I think is that there used to be an old system in here, and then they just placed the metal plates around it, and then they did a new key system. So I feel having the old one also, it's a bit overkill. But let's just go ahead and let's go to our front view. And it starts off quite simple, as far as I can see. It's literally just a Cylinder. Let's make the sites a bit more. Let's do 24, probably, and make sure that you have a point on this side and on this side. Um, I do notice I don't think it's like a fill cylinder, but I'm sure that we can figure that out in a bit. So let's just convert this to an dipole. I'm just going to delete a bunch of these here, let me just move here. I was just going to delete those center lines. Sorry. Sometimes I move faster than I'm talking, and I'm going to delete the back, so that basically we just have this as a general shape. Yeah, that is quite a bit rounder than what we have in our reference. But it also looks like I can literally just scale it. And that kind of seems to already fix it. The only thing that I don't like is, of course, I think I want to probably do like a symmetry because else I cannot be sure that it's exactly identical to the top, but let me just sorry. Sometimes it accidentally switches to a different scaling mode if you press the scale button too often, but you can just change it. I think that is correct. So let me just symmetrize it on the Y axis. Next, I'm just going to go ahead and I need to scale this properly. So it's quite close to the edge. I pretty much in the center. I think that will work quite well. Yeah, that seems to be quite good. So let me just go ahead and use this as a base shape. I'm going to get rid of these center lines over here. And we're just going to go ahead and this can literally just sit on top. So that's quite nice. We don't have to do any kind of weird cutting or something like that. The shapes around it are quite specific. This line over here, I'm probably not going to do it like that. That feels a bit overkill. Instead, I'm just going to change it up a little bit more. Let's start by just doing a cap poli. Oh. Why don't you work? Capli. There we go. Then I want to go ahead and I want to select this edge, and let's start with just like a simple chamfer because it looks like it has quite a strong one, so I want to have this in the actual geometry. Once that is done, I'm just going to go ahead and I'm going to do an inset. And then for my line detail, I'm just going to here, let's have an inset like this and then press a little plus again to have another inset, and I will probably also remove it in the low poly, but for now, I'm just going to leave it here. Let's do something like this. And then, of course, when we smooth this out, that should look a lot softer. And I think at this point, this bat is already done. I'm just going to add a quick added poly and I'll already go ahead and turn this into Hi, Poli. So we have one here. And because I want to have this very soft, I'm just going to have only an edge here and one over here that is also quite far away. And for the rest, I'm actually going to also place a loop in the bevel. And you know what? Let's also place one here, here, here and here. Maybe place a quick cut along just to give it a bit more support. Should already do the trick. If we just have a look, see? So that definitely will bake quite nicely. I'm going to push this a bit further in. Yeah, I think that feels totally fine. So here, it's a cylinder with like a tear drop effect. And then inside of it, it has another cylinder that has, like, the actual key. We should be able to make that without too much issue. Only the teardrop effect is always a bit annoying, but I have an idea of how to do that. I'm going to start by just drawing out a shape, and it looks like the shape needs to be quite large, something like this. And in this case, because we need to have a teardrop effect, I'm going to set the sights a bit higher, maybe 30. Because I'm more focused on the bottom side that it has more than enough geometry. 32, maybe 42, yeah, let's do for 42, something like that. Okay. I'm going to scale down a bit. That was a bit too big. Let's go for something like this. Now, what we're going to do is I'm going to delete these centers. I'm going to select just this phase over here, and I'm going to go ahead and do a soft selection. As you can see in the soft selection, you can already see that it automatically comes with, like, more of like a tear drop effect. Only thing that we need to figure out is the file off, and we want to have the file off to hit probably around the center. I think it needs to be a little bit less. Like this. And I know that it is perfectly straight in the reference. Now, we could have a look at that. I'm checking if this is, let me just first turn off soft selection and see if we want to have it straight, and else, I'm going to change design. So you can press M plainer. And that basically makes it straight like this. O And so that's like the first design that we could do. And the other design was where we just go back and we actually make it like a more smooth or teardrop effect. And I think I actually prefer that one more. So I think we actually want to push it up a bit and just give it, like, a small effect like this. Like, it's a little bit more simple, but I think it just reads a little bit better. So it depends how acra to real life you want it to be. But I'm going to go for something like this. And let's turn off soft selection. And then I'm going to push this in because it's like, quite a thin piece that's sitting on top of here. And let's do a cap poly. It's a bit difficult to see. Do we have some Oh, we cannot see that one, sadly. I guess I mean here, this one is, again, like they are all different. That's why I'm not really too bothered about getting the exact shape, but I do want to have a look and see. Oh, this one is pretty much the same. So do we have some type of close up for that? Oh, yeah, here. So it kind of goes inwards, and then let's do this one. This one feels like it's a little bit easier. So it goes inwards. It looks like it also goes inwards onto the back shape. So let me just go in and start with a simple cylinder and do a boolean. And it's not too close to the side, so something like this. And then this one, we do want to go a bit lower. So let's go for, like, 18 maybe 24 because everything else is already quite hipole. So we have this, and I kind of want to cut this piece out of both these sites. So let me just duplicate my cylinder and right click Height selection. Then we have this one. And first of all, we're just going to go ahead and we are going to do a compound objects, Pro Boolean, remove only visible and pick. So that's number one. Then we have this one over here. Now, of course, we already did some supporting loops, but in this case, we are just going to later on just optimize it again. And what I'm going to do is I'm just going to go ahead and also do P Boolean here. Oh, sorry, make sure you unhide. The other pieces. So pro BollionRmove, click. There we go. So that one basically goes all the way to the back, and then we can create our own piece next to it. Let me just isolate this. So for this one, yeah, I think that's already good enough. So let me just convert to ad pool. Only thing I want to do is I want to overhear, and I want to push it back in so that it is sitting in front of our back panel, just in case that we want to make a texture. We don't have any weirdness going on. And since we already broke artpology, we can just as well not add another dipoli just have it in here. Have another inset here. Like this. And I guess in this case, it's too dramatic that we cannot leave en guns. So I'm just going to play some connections Here. And if you want, you can also just cut all the way. Oh, wait. Of course, because of that line, it doesn't cut it. Let's just see if there's already. Yeah, that was kind of expected, to be honest. Let's go ahead and then just place a more precise cut. I'm just going to place a swift loop here and here because that's honestly easier to cut it that way. And if you want, you can go ahead and select these pieces. Shift vertex and then just do a quick connect. It seems to be fine except for this part over here, which seems to be one of these connection points where we would probably want to just place a connection here. And here, breaks. It's still a little bit. Also, Oh, no, wait. I'm not going to do that here. I was going to say there is a trick where you can use a slice, and sometimes you can literally just place a cut like this, but I have a feeling that that would just break it more or not in this case. Okay, in this case, I feel like, yes, there's a tiny arrow here, but honestly, you're never gonna notice that. So, yeah, you can place a slice along there, which would help. Then we have this final piece over here. Convert to add a pool. We can just delete the back, and all we need to do for this piece, I believe is to just turn it into hipoly. So I'm just going to go ahead and I'm going to a addi pool, inset this place a loop, here, here, here and here. And for a bunch of this stuff, what you can also ty, in this case, because it's quite even is you can delete this phase. And instead of using the connect technique, you can place a few bridges like this. So that's another common technique where we connect it. But depending on the amount of faces you have, it is a bit cleaner. You then do a border select and you just basically delete these two, and then you just bridge it. And you can see that sometimes it bridges quite well and sometimes not. So let's see if we also have a well one. Yeah. But of course, we have an uneven amount of segments between the bridge, and that's why it is starting to connect like that. If the segments were exactly even, then it would be a lot cleaner, even. So let's turbo smooth it, isolate display. There we go. Okay, so that's the general key hole, like this. Let's save our scene. So now all we need to do is create a key, but that's literally a cylinder with a bevel and an insertion in the end. So it doesn't look too difficult. Let's go ahead and create a cylinder. Of course, don't have it go all the way to the end because then all of that nice work that we just did would be wasted. Here we go. Convert this to add a ply. I'm going to get rid of that back face just because I don't need it. And I'm going to go, let's see, let's push this out just over it. Something like this. I need to start with a very simple chever like that. Now, the next thing is, that's a bit annoying that I did not do a good connection. Depending on your segments, this can go easier or less easy, but I want to place a connect here and a connect here. I guess it's still fine. Normally, if you have a good amount of segments, you can also have exactly two loops already here in the center. In my case, all I need to do is I just need to inset this. And here, see, I'm just going to inset this like this. Looks like I'm going to scale it in when looking at my reference. And the only thing I want to do is over here for these pieces, I'm going to target about them because I, of course, want to make sure that everything is exactly straight. Although it does have a roundness to it. You know what? If we are going to have this only in the hypoly the actual keyhole, we might actually cheat a little bit. So we can have some roundness here, and what we are going to do is we are just going to make the hypole force this to be very, very smooth. So I'm going to go do this. I'm going to scale them down a bit to give it a slight bevel. And the reason I do this is because then it will read a little bit better in high poly because a high pool or low poly high pole baking or the other way around, it always looks at the front, you can see that over here. When we bevel it, we can see the front a little bit better, and we can see all of these shapes a bit better. So I think that's already fine. That's more than enough for what we need for this. So we're going to go ahead and turn this into a high pool. So let's start by placing some support loops. Also one over here. And to here. I'm going to go ahead and place an inset here, and I think I'm just going to do an entire inset on this side. And like I said, because I want to force this smooth, I do think over here, I will probably need a loop because this stuff needs to stay straight. So let me just connect this up And let's see if I now do a turbo smooth, here, see? That's what I meant. Where basically we are forcing it to smooth completely round because we don't add any supporting loops. And at this point, you can, of course, if you want to rotate it a bit, just to make the key look a little bit more visually interesting. I think that's good enough. Let's go ahead and save our scene. And next, I want to end at least this chapter with just creating this back panel. And after that, we will have another chapter which is a bit larger where we are just going to create the entire inside structure. And once that is done, I'm pretty sure our model is ready to go. So first of all, back panel. Super, super easy because we're not going to create any of these actual details in here. We are just going to go ahead and well, I'm just gonna start by just like a simple box. Here we go. Edges and faces. It looks like that the box is actually quite a bit larger because it's sticking out just above the other panel and just below. So let me just quickly convert it to added pool. So it looks like it's well, we changed the way that we made this a little bit more. And also, I feel like we did make everything a little bit higher. So I'm going to actually probably keep it to this height. I do want to keep it above this panel over here because that gives a nice separation. Push this one until it's just touching and then this one just in front of it. I think, something like that. And it looks like we had two etches, which have, like, a sharp bevel. Like this. And then the bottom two edges have a round one. So we can go in here, chem for this one, but this time, add a few segments and also make it a little bit less large. There we go. So that seems to be our panel. And yeah, so for these details, it is technical to you, so I can see because having this into the doing this inside of painter, like, it might still be a little bit annoying because the patrons, they are at a different size. So what we are going to do is we are just going to change up the design a little bit, but you could also go ahead and actually make this into hypol by just cutting it all out, similar to how we did it over here. Or you can use a technique which is called floating geometry technique, where basically, please I'm not going to go over it now because that's not what this tutorial is about, but you can look it up on YouTube, for example, where you basically have the jom tree floating on top of it. And once you bake it down because it bakes down exactly from the straight end, you won't be able to notice a difference, and it will still bake in those details. But yeah, I'm sorry, I'm just not going to go over that right now. We have so much other stuff to do still. It would be a bit overkill. So all I'm going to do for this one is I'm going to well, delete the backface. We don't need that. It's called an inset over here. And place our supporting loops. There it is already around, so I don't think we need to do anything there. Hopefully, that's already enough. Mm. I think I want to place one loop here, one here, here, and then, um, let's just place a few connection points because it's such a large tin panel. There we go. Yeah, that feels like it reads a little bit better. Okay. Awesome. So the back panel is now also ready to go and we have our log. So then in the next chapter, well, we have this little hole over here that we also want to do, but for the rest, we are just going to go ahead and focus first of all, on the front, and we'll continue with everything else after that. So let's go and continue on to the next chapter. 14. Creating Our Final Model Part9: Okay, so let's go ahead and focus. Let's do the center first over here. So we're going to focus on that one. And after that is done, then we'll just wp up the small stuff like the feet and the back panels and all that kind of stuff. So for the center, yeah, you know what? I'm first going to create just like this back infrastructure over here. Let me just have a look and see our blockout. I'm just going to hide that plane. So I think this one and this one I can reuse. And this one, although I might not reuse it, I still want to just kind of like, keep it so that I have something to look at. Let's turn on IHP as my main layer, and let's isolate this. Turn on edge and pass. Okay. So yeah, we have this initial panel, and all I'm going to do is I'm going to make it quite basic where I'm just going to make some brackets at the end. Over here, you can see that they do kind of, like, cut it all the way to the side over here while here they kind of end it. You can do that if you want. I'm just not sure. Um, yeah, you know what? That's not handy. Let me just quickly move this to a new layer. There we go. Okay, so yeah, I'm not sure if I would like the look of that. So I'm going to just keep it a little bit more nice and basic. I'm going to go ahead and it kind of depends how much you can see. So over here, of course, yeah, you can barely even see something behind it, but just for the sake of pushing the quality a bit, I am going to make this piece the way that it would be made in real life, because in real life, they would not use a solid chunk of metal because metal or aluminum or whatever they use, it's expensive. So what they would do is they would have something like this. Oh, let me just turn on a smooth modifier because that looked very strange. They have something like this, and then what they would do is they would basically place, let me just do a ring. A thin edge here and another thin edge here, and they would just cut out the center. And that's basically how they would deal with these kind of pieces. And the reason why I want to do that is just in the event that we are looking at it like this from this angle, that you can at least see that something is slightly different. So that's why I want to focus on it. Now, I'm just going to go ahead and then bridge. Sorry, I need to deselect these center lines, and then I can bridge this together. And honestly, that's why the for this one. So what I want to basically do is to create that bracket. I have, like this quite general idea. Let me just see if I can do it this way. So if we just go ahead and duplicate this and rotate it 90 degrees, let's move it here. And I don't know yet how far I want to move it, but we'll see. And let's push this in to be below the bracket. So I kind of want to just, like, re use this piece over here. Now, there are various ways that we can do this. What I had in mind was to actually just use a symmetry modifier. And the nice thing about symmetry modifiers in side of trees, Max, is that you can just click once on the symmetry to go into the mirror. You can actually rotate it. Now, right now it's broken. This is because we need to reset the X form. So it looks like it just messed up a bit. So let's reset the X form, and let's also just center a pivot just in case. And now it should work better. So if I now again do it, here see. So we can basically rotate this. I wanted to basically get a bracket similar to this, where we have this bracket that sits to this side, and then what I wanted to do is another symmetry modifier and this time on the y axis and flip it around. Make it a bit thicker so that there is an actual spacing in between. There we go. Basically have a bracket like this. And if you want, you can also add some bolts in the back. Not sure if we need to do that because you won't be able to actually see the bolts, but you can definitely do that. Here, down here, you can even, I think, see, like, one of the brackets. But, yeah, this was basically the idea I had, and then maybe on the top view, if I just ask add a poly, I want to make this a little bit thinner. And then I'm just going to select both of these angles, and I'm just going to push this in by scaling it because I don't want to make it too thick or obvious or anything like that. And let's just do a smooth modifier, and let's see how that looks. I think that works quite well. I'm just going to go ahead and turn off isolate and let me just hide this selection. You'll see, you will barely be able to see it. But having this, let me just push this into the actual back so that it is at least connected. Yeah, I think that will work totally fine. So let's go ahead and turn this into a hi pool, and then that one is already done, quite nice and easy. But then again, it's also just like a very basic bracket, so it shouldn't need to be this difficult. And I'm just there we go. That's all of those sites. Then here, and I'm just gonna also place a bunch of segments along this side because it's such a long bracket. Hey, you know what? Maybe two here. Let's do turbosmoot. I feel like I'm missing something on this side. Let me just check. I don't know, I guess it's just like this line over here, it needs to be a little bit closer. Yeah, that looks a bit better. So that probably means that over here, we also want to move it a little bit closer. There we go. Okay, that's that one. And then for this one, let's just isolate it alone because it probably has a backface which I do not care about, let's get rid of that. And over here, I also don't care of these ones, so let's get rid of those. And now we can art it at a poly. And let's start by just having it. One here, one here, here, here, here, here. So just basically all of these corners we kind of want to cover. Then we have this corner here where we need to see, we need to clean up that final edge there. But that's not really a big deal. I need some line here and here. Let me just quickly connect this. Connect this line and this line at the bottom also, connect this, this, and this one. And let's do a quick one here. Let's have a look. Turbosmooth it. I see that I forgot to place quite an important loop on this end. And you can also always just stay on the at the podium and just turn on and off the final just to see if it isn't becoming too smooth because we do not want to have it too smooth since then it will look very good. But I think that should actually be fine. So we have that one also done. There we go. Okay, so what is next? Let's go ahead and focus on the pricing information. I think that's a good one to focus on next. So for the pricing information, I just want to see from the side what it kind of looks like. I think I want to simply push this down a bit, and I don't think I need to create any infrastructure in the back for this to that will indicate how it is all made or something like that. I am going to go ahead and I'm going to move these pieces a little bit forward. So it's going to be just like a very thin lip like this. And we might even in our final lopoli literally not have any of these details. In lopoli we will probably just have a simple cube. So I'm just looking at my reference right now. But honestly, there isn't too much to say. I'm gonna actually move it down a little bit more, or there isn't too much to do, I should say. Yeah, there is like this separation in the center. I guess that these things are modular themselves, but we don't really need that separation. So yeah, not much to say. I'm going to push this back as far as I can to make it extra thin like this. And I think then we can already also just turn this into an dipole. So for these ones or turn this into a hypoly I mean, let's make a This I'm going to do a double loop and also loop here. It's probably still faster if I just literally by hand, do some clicking like this instead of trying to automate the entire process. Because in the end, yes, it might be a boring thing, which makes it feel longer, but in the end, we're only spending maybe like ten or 20 seconds just placing some loops, which isn't that much time when we consider that this entire model takes us hours to create Here we go. I probably forgot something, but let's just add the turbo smooth and see what I forgot. Oh, no, I might not have forgotten anything. Okay. Then I guess that's already is. Awesome. So, we got that one also done. Nice. So we have arrived at probably, like, the buttons. Let's just focus on those first, and then after that, we can do these whole brackets over here, which are a little bit more details, but not that difficult. And, of course, we need to do these little holders for which we need to create also a slight system, but that should also not be too difficult. Um, okay, so since these buttons are one of the main focus points when you look at this type of vending machine, we do want to make sure that this looks extra good. I think what would be best is if we literally create like one section of a button that we can then just duplicate over and over again over here because I want to also do some booleying so I can just make one section really well and just, like, have a nice boolean and just make it all ready to go. And then we just duplicate it a bunch of times. And then all we have left is at the end, we would just have one unique piece that we could litty over here. We could literally end it here, and then we would just put on this little cap at the end. So knowing that, I do want to go ahead and use my block out here, but I mostly am just using it for the size. So let me just isolate this one. And let's go to our side view. So it is like, it's basically round on all ends. I probably still want to make that using a box. For now, I'm just going to drag the box here, but I also here you can see that everything here is uneven. So I'm going to make that a little bit better. So we have this height, and I actually don't care about the thickness for now. So let's just go ahead and convert this to add a pool. So yeah, you can see we have, of course, a dip like this for the smoothness, but we also have some roundness on multiple angles. So let's first of all, just create the dip for which I'm going to go ahead and let's create a Yeah, let's do a sing or connect. Select both sides. We need to make sure that we work very even. Yeah, I'm going to make the dip not as deep as we had it before, something like this. And then select the center line, and then we're just going to chant for it, which are binch of segments that are also even. That's not It's removing it a little bit too much, so let's just go ahead and push it up a bit and then gener. Yeah, there we go. That feels a little bit better. So we got this over here. And then later on, it will be duplicated over here. But later on here, you can see that this is quite harsh. But what we can do is we can just remove this cent lline to give it like a softer bevel, but we do that after we have combined everything already. So that creates quite a nice soft edge there. Now the next thing that we want to do is we need to also make it a little bit around on this end. So I'm going to start by just creating a few connection points. No, you know what? I'm going to start by creating one connection point. That's probably easier. And then push this quite far out. Then we are going to do the same technique where we just chamfer it down like this. You can see that over here, it did create some double lines, but you can just post control back space because those happen to be the last lines that are selected. So we now push this out, and if you still want to alter it, you can go in and you can, like, here, see, move it a bit, like this, and we have it round. Now, all we need to do is we need to create these or select these top pieces and make those also round. There we go. I think that works well, and then I would get rid of this line and this line because they're too close and not really needed. There we go. I think that feels nice. So we got this piece ready to go. And then, of course, the backside, I guess we would also want to make this round. That makes sense to me that this would be round and then it would be attached. So this is kind of like what it would look like. So we got that stuff done. Now, next thing that we need to do is we need to add the button to it. Can we just steal this button? No, it's not enough poi boons. In that case, we're just going to go ahead and create a new one. So we want to use a cylinder? Yes, we want to use a cylinder for that. Yeah, let's make it roughly this size. Uh, 24. I think I want to go for, like, 34, probably. I want to make it a little bit smoother. And we do want to make it oval. So let's go ahead and make the size. Perfect oval is this because you can see because down here, it was saying 100 and then a scaling of 200. So that arithmetically makes it the perfect oval. But it is also a little bit too large now. So I'm just going to scale this back down. In here. So one of them will become our boolean. Now, to make your life easier, try to not have this mesh exactly on the edges like this because then you have these really thin edges that you would need to clean up. So I'm just going to go ahead and do it like this that they're still quite a clean cut. And I'm just going to go ahead and duplicate this because one piece I want to turn into the actual button. I can then select this back piece, and let's do pro Boolean, remove only visible, and just pick this one. We go. So we got that done. Let's just isolate this so that we can have a look. You can see that we have quite a bit of messy vertss right now, but we can go to selection, again, set the edge to two and then do a select, and then you can just press control backspace to already get rid of those. Now for the other ones, because we want to make this quite clean, that's why we spent so much effort to just make this piece wide away that we are going to duplicate it. I want to kind of like merges together. Here, this one cannot quite reach, so you want to sort of merge it to the closest possible phase. But you do want to be careful because there is roundness into this entire shape, so I want to make sure that I'm not pushing it so far that it breaks the nice roundness that we might have created. So here it's like pushing it just to the limit. Okay. And then for the few that are still left, we can do a quick connect or cut, I mean, like that. Okay. So we got that. Now the question is, do we want to have a bevel on here? But I feel like the smoothening alone should already be enough because it is quite close together, everything. So I'm just going to go ahead and at this point, I think it is ready to go. Technically, this site over here on the low poly, we would want to do something like this, and then we would collapse it down. However, that is a bit annoying the hypol. So for now, that's just we will just clean it up later on. I don't think it's going to take that long. The only reason why I give it more tart this time is because every cleanup is going to cost us a little bit of extra time if we do not properly think about this because we are going to, of course, merge this together and everything like that. I just want to select all of the vertices and do a quick weld because it looks like that it has some overlapping vertices. So that should do the trick. And now here, see, now you can see that we can place a swift loop. So we got that one done. Now, I also want to No, wait. I don't want to play swift loops on the ends because those are going to become merged together. The backs also don't need any. So I guess all we need is we just need to have a quick manual loop going around here because else it will break the shape too much. And this one I want to try and place quite accurately. There we go. And all I need to do now is I just need to do a quick turbo smooth, but just ignore the sides. I want to see the center. Nice. Okay. Perfect. That works well. And now I'm just going to get rid of my turbo smoot over here. So we got this piece over here. Now what we need to do is we need to create the button, and after that, we can start the duplication process. So this button, we can basically just move it also in here. I'm going to scale down just like a tiny bit like this just to give it a little bit more of like wait here. Let me just turn on Turbo smoot for this one. There we go. To give it like a clear edge around it, still. And for this button, yeah, we move it in, and this button does have some roundness to them. Yeah, you can see. Actually, you can see that this actually even bends back a bit, but we're not going to go through those levels. But this button, I do want to make this button stand forward a little bit. And we can do that quite simply by Oh, no, wait, here. Perfect. That actually does have the same effect. So it was just optical illusion. Let's go from this point and then extrude this out and then scale it in. I think that's fine, and I guess you know what we're gonna do Shift and convert this to an edge, and then again add a chamfer. Like this. So envas are really your friend when it comes to this model. And I'm just going to get rid of that final one there. And also, in this case, I'm going to also add a bevel just because it looks very soft. Here we go. So we add the bevel, and I think that you do the trick. The backside we can delete. We're not going to see that, and we're going to do it added Polly. Although I do realize that probably we will actually lose these added poles the moment that we are going to merge it all together. But let's just add a turbo smooth over here. And oh, let's just isolate this and let's have a nice look. Yeah, I think that reads quite well. So we got that piece done and ready to go. Now, let's just go ahead and temporarily get rid of our turbosmots. This one I can probably keep. Yeah, this one I can keep. It's just the back one that I'm going to merge together. So right now, I want to let's turn off the default. I want to move this here. And I'm just going to move one here because I don't have it in the back like this. And then we have one, two, three, four, five, six, seven, eight, nine, ten of them. So we can move this till this point. And then what we Oh, actually, sorry, I'm going to make my life a little bit easier by getting rid of these side panels because else I would have to remove those later when we merge them. So let's get rid of those. Quickly, I'll also do it here just to keep it consistent. There we go. And now we can go in, move it, and set it to ten of them. There we go. A bit like this. So you can see, there is some slight changes over here, but I think I would rather alter the pricing than these buttons. But honestly, if I look at it, I feel like I could just move them, and that should be enough. So give me 1 second. Still need to select all of them. Let's go to a side view. Here, does that feel a bit better? Yeah. I think I think it's fine if we just find like a slight balance like this. Yeah. Okay, I think that works. So all we need to do now is we need to just merge all of this together and then get rid of that centerline, and then it should look nice and smooth. And we need to create this little end gap, also, which can then go to both sides and then this is already done. And we're not going to duplicate this this time because we would do that later on, of course. So first of all, go in here and I guess all we need to do is just go ahead and do attach and just attach all of these pieces together. Now, once that's done, we're going to go to our vertex mode. We're going to go to weld, and we want to set this to probably not big enough that you get rid of any supporting loops, but still big enough that every single piece over here is welded and then press okay. And then for this one, simply get rid of the center line, which will automatically smooth it out. And then when we turn on a turbo smooth, it should all look quite nice. Not sure why I'm doing it one by one, when I can also just do this, but and you will know soon enough if it didn't weld correctly because then you wouldn't be able to do a double click on it. Nice. See? That's looking good. Save scene. And now for the end cap, we do need to go ahead and work on that. I'm going to go in here and just do, like, a simple cap poly for now and also give it a edge. I know I'm doing this on the added poly, but I will just keep that in mind when we turn this into a low poly. An inset here. Let's see. Does that still give us a Yeah, that is good enough quality. And this one it's gonna be a new piece. And I'm just thinking because I think it's just a cube where we basically round the entire corners and then round the sides, also. The only annoying thing is that, of course, it needs to line up identically with this. And that is a bit of a pain. So I'm just thinking if I can use this technique or use this piece. So something that we could try to do is, let's grab let's see. I think I need to grab this edge. Let's select this edge and then right click and there is here a create shape and then press Okay. So what that basically did is it created a line exactly following this shape and following the amount of segments. So if I would now extrude this line, you can see that Oh, that's strange. It's not supposed to do that. Let me just reset the X form. Convert make sure to say convert edible spline. Huh. It usually doesn't do that. You can add extrude and then add a mesh and then push it out like this. It's just a bit weird that sorry, add added pole and push out. It's just a bit weird that it did that. So this takes care of part of it, but, of course, now what we have is that we would want to also make the smooth on this side over here. Now, my idea that I had not sure if it's going to work is to just do a cap poly. Does that work? There we go. And then just add like a giant chamfer on here. It's a bit buggy. Let me just convert it to an added poly and reset the X form. Be always like, when you work with lines, it's a bit messy. And what I can also what I also want to do is I probably want to go ahead and select one and do, like, a dotted ring and just there we go, get rid of, like, some of it. Maybe I can even get rid of more. Yeah, let's do that. So it's a little bit more manageable in terms of geometry. So we select that and do a HEMFR let's see, quads, no triangles, not much better. Maybe radio. Yeah, I guess we are just pushing the limits a little bit of what we can do, which is annoying because this is clearly not the way that it looks over here, because here it's also around in this side. Now, there is a way that we can do this, which is basically just doing some type of a boolean. And I do think I want to get it just because it is quite an important piece. So if I just go ahead and select the line here, select line down and then Control O, sorry, then click and drag. Like this. And then over here, you can just kind of like merge this together to make it one shape. Then we have a shape that we can use as a boolean. So we can go ahead and we can extrude this out. There you go. And you want to make sure that you just cover one entire side. And then if we have this piece, we should be able to just do compound objects, pro Boolean, remove only visible, as always, and just there we go. Cut it out like this. The only thing I don't like is that it's not enough segments, so I need to go into my line and set the interpolation to bit higher. Let's do 14 and pick it again. There we go. Okay, so that's already a little bit softer, and I can also then push this out, which is what we were going to do anyway. Convert this to add pool, select this side, extrude this inwards. Like this and extrude this in like that. There we go. Okay, so that will be smooth. And then the last thing would be that this corner over here, we also want to make that smooth. Of course, we now have quite messy geometry. We do need to keep at least one connection because s often it breaks. Like, that is fine, but if they are very close together in order to do a proper bevel, it's often cleaner to just connect them to at least one end. I guess like that. And I'm just going to go ahead and select these faces over here, convert this to an edge, and let's try one more chamfer. Yeah, that's really annoying. It's really broken in some places. Let's do contra a weld, and let's do a weld here that looks like that. We had some duplicate vertices. And let's go in, and we need to kind of, like, connect everything because it's already broken, and then I don't really trust trying to mess with that. So just on the horizontal side, except up until probably this point because else it becomes too many etches where we need to place a bevel. Let's go ahead and connect. This. I'm going to get rid of one of these edges because it's a bit overkill. 1 second. I'm just going to isolate this. And continue these to the end. Ironic that the little endcap probably ends up being more difficult than the entire rest of the model. But let's do something like this, and then we still have this phase selected so we can convert them again to edges. I'm going to just in case you do reset X form again, just to make extra sure. And let's see. Can we now chant for it? There we go. That already looks a lot cleaner. Now it's just a matter of seeing how far we can push it. So we also have radial, no try, no quad. Okay, so we can really only use uniform. The only thing is that over here, it looks a little bit strange where it is not smooth. So I'm going to go in and I'm going to basically here smooth is a bit less. And I want to only select this center line here and let's just get rid of it. And also, here, see, merge together some of these broken places. But I think, honestly, for something this small, that should be fine. I guess, a quick trick that I can show you if you are a bit lazy like me, and the jump tree is not quite or white. You can go to freeform, and you can select the softened brush and set the size like quite small, like zero comma t or something like that. And then you can basically click and it will Oh, maybe set the strength to zero comma five. You can click and you can kind of, like, smooth it out a bit. Like here. And then I do see that here. The jum tree is a little bit broken, so I'm just going to do some quick welding. There we go. And I think that should kind of do the trick. So sometimes just working with less geometry, it's just easier. So I feel like that should do it. I'm going to go ahead and art and add a pool and I'm going to turn this into a high ply, which means I basically only need to place edges here and then everything else should flow quite nicely like this. There we go. Okay. And you guessed it. Center pivot, duplicated. Add a quick mirror. Place it here and also here. This one can also have a turbo smooth. And there we go. So that is that piece, pretty much done. So the next one would be, Oh, here, you can see that's actually quite a bit ticker, but we are just not going to do that. I'm just going to leave it like this. I think that's fine. The next piece that we have to work on is these pieces here. But since we are already at 36 minutes, I'm going to end it here. And in next chapter, we are going to work on this panel and also the holders for our branding. So let's go ahead and continue with this in the next chapter. 15. Creating Our Final Model Part10: Okay, so it is time to first of all, just create this piece over here, which is just going to be a simple slab of metal. I do know that over here, they have a bunch of different holes in here for the connection points and stuff like that. We are not going to do that. That's such overkill for something that you're barely going to be able to see. Of course, it makes total sense from the perspective of creating these metal panels. It even saves money doing it that way, but it's not what we are going to do. I'm going to make this one probably as long as the metal bar that we created here. Something like this? It's pushes forward, also. We need to make it a bit larger and stuff. And we need to have a just above our pricing, probably somewhere over here. I think that will work quite well. For the height, 0.5. Oh, wait, that's not the height, sorry. Here, 0.15, I think, because, of course, here it is extremely thin, but in three D, we always want to make it a little bit thicker because if something is too thin, it actually starts giving you arrows. So I think something like that should be quite alright. And then what we're going to do is we're going to go ahead and convert this to an added pool. I want to push this back in select the front and move this to the right thickness. Do I happen to have a more angled version, by any chance? Oh, no, that's a very different design, so that's a bit annoying. Okay, then I'm just going to eyeball it. And my eyeball is saying somewhere here, just in front of everything else. And also, here, I do notice now that maybe this one is a little bit too thin. So I'm just going to very, very quickly. Here, because we should be able to still keep the high poly and move it out. There we go. Okay. Anyway, I was working on this one. I am going to go ahead and seeing as we need basically a bend on every angle, I'm going to show you a little trick, super simple trick. So if you just go ahead and select all of these phases over here, then what you can do is you can do an extrude, but just simply set the extrude to bipolygon and then it will just do an extrusion out for each polygon. Now here, it seems to give me an error, and the reason for that is probably that I need to reset my X form again. And now if I try again, there we go. Now it's working because things like extrude are very sensitive to the reset X form stuff. So we now can do an extrude again, 0.15 seems to be fine. And then, in this case, for this one, it's going to be quite a thin extrusion down. For these angled ones over here, it's going to be a bit further. And I'm just following your reference. So in the reference, this one is quite a bit lower over here. And then for this one, it's actually going quite far up like this. And I need to move it forward a bit now. There we go. Um let's see. Do I think I want to move it a bit further up, even somewhere over here. Okay, that's pretty much it. Now, all we need to do is we just need to give it some angles, some round corners, stuff like that, although they are a bit of a pain, to be honest to do on such a thin mesh, and then still need to clean it all up. But I'm going to start by just over here, angling these in. For the round corners, I'm just thinking if it is worth even doing that. To be honest, I don't think it is worth it because it's gonna just make it more complex when we want to turn it into a hypol. So instead, what we're going to do is we're just going to use the height map or sorry, the height map, the hypol to make it feel all a little bit softer by just basically having a bit more or bit further edges, so I can speak. For some reason, I always fall into, like, deep concentration whenever I'm just placing a simple edge, which is a bit silly, but Oh, well, that's also over here, just already a few because I just know that that's going to cause issues later on. Another one here, here. To here, to here. And should that already do the trick? Let's just see isolate display. Yeah, here, see, that's already gives me more than enough smoothness for what I need. And over here, yeah, it has, like, a little bit of, like, weird smoothening going on. I guess the only thing I need to do is I just need to add one more loop on this side and probably also on the other side. Oh, no, on the other side, it did. Yeah. Awesome. I think that's already more than enough, so that should do the trick. So we got that piece also done. So now all that we need to do is we need to create these just one of them, honestly, one of these holders with also just like a plane in it for, like, the piece of paper and stuff like that. And then this part is also pretty much done. There is some paper that you have here behind it, but I think we are just going to do that in a slightly different way. We might just place, like, some simple planes there to give it some more branding and advertising, but let's focus on that a little bit later. Oh, for these ones, we should be able to actually just grab one of these because that one was already fine. And let's just add this to our hipolylayer. Oh, it's annoying. I'm actually gonna do a little bit of cleanup, if you don't mind. Yeah, let's just get rid of's select all of these. Throw them all into the HP and get rid of all of these empty layers. There we go. Okay, so we have this piece. It's already actually in pretty good location, maybe a little bit further back. And it kind of depends, most likely, we won't be able to even see the back. So what we want to do is we probably want to just create these little holder pieces here and there, and that should be enough. So I might be able to actually use this one. Let me just copy this and convert that copy to an editable poly. Move it down. Let's do this. I'm just going to add then a quick shell on both sides. You know, let's do 0.15 on both sides. And I'm just going to go ahead and let's go to my top view. Just trying to think of, like, the easiest way to do this. Add a poli let's push this out just like a little bit. And also here. Now, if we go back to our original added poly, we can just get rid of Oh, I don't know what happened there. Our original Added poly. Come on. There we go. We can get rid of these pieces. Oh, and then this added poly would, of course, not work, so we need to actually delete it. So we got this, and then we also want to have a little lip at the bottom. Give me a second. I'm just going to alter it a bit more because basically, I like to have this lip, and I'm just going to hold control shift, and I'm just going to push this down and then clone it to the same element over here. And then you can also just quickly bridge it up. There we go. So we have one element just sitting there. It might all be a little bit too. Oh, I used that shell. Um, I might want to just push it all in a little bit more. And then, you know, that's just by hand because at this point, I accidentally edit it. It's using the added poly, so I'm just going to go at them manually by hand. Do this. Bridge, bridge. Move it in a bit. Like, at first, I was like, Oh, we're going to make this really complex and stuff like that. But honestly, I think literally just doing this is already enough. I think once we have this, like, from the side here, there's no way that you're going to be able to see, like an actual structure behind it. So I'm going to do this. And then I'm just going to give it another added poly and just some very simple turning it into high poly. So here, And here. Let's also do center one there. There we go. I think that's already enough, something like this. Okay, so that basically takes care of those pieces. And later on what we will do is we are going to basically create like a texture that is just a bunch of branding, and then we will alter the UV. So for now, we're not going to copy this. We're not going to copy it up because all of this is just going to reuse the same stuff. So I think at this point, we have those things done. I know that there was on the back a tiny piece that I do also want to quickly create. And after that, I'm just going to have a quick look to see if I forgot anything. But I'm going to make this back piece quite simple also. So start with just like a simple cylinder. Yeah, push it into the back. I don't need that many that much geometry, so let's start with 18. And let's convert this to an added poly. First of all, delete the backface Push this in. Let's give it quite a white trim. Push it in like this. I'm going to select probably upper tilde and just do a connect. It's basically the same as doing a cut. And push this in further. I think that already is it for this piece. Now, all that we need to do is just turn it into a hipole. So again, loop loop And for these pieces, I'm just going to go ahead and I'm going to probably inset them. And I just want to give them a bit of a cleaner connection. I think that's should I do Trick. So let's just go ahead and turn on isolate display. I need to add one more loop, but I cannot do that completely because then it will break the flow. So I'm going to manually art a loop like this. There we go. Easy, does it? Just have that extra little bit there. And then finally, what we need to do is we need to create our leg, and I believe just do a double check. So we have the shuttle where you can get all your stuff. Of course, we have the body. We have the coin systems, money systems, those extra thing advertising. The top buttons we have completely with the pedal behind it, pricing panel and the support panel along with the advertising, and, of course, the entire inside, so that will take care of all of that. We have also the key hole. There is not really anything on the center except for that extra line which we got. So I believe that's pretty much at, like, the right point. The only thing is that over here, this one is supposed to be in the hi pol, so I do need to move that. Oh, and this one also. Sorry. So I did notice missing that one. So let me just here, move this in here. To lead those, let's unhide to make sure that I don't have anything hidden. Yeah, I got the things over here. This one, I can remember it had some ridges, actually. I'm just checking if I want to make that, you know, hi pool or no, I'm going to do that in pain, so that's too small. Yeah, I think that's about it. Cool. So all we have left is our legs. So let's go ahead and save our scene. And let's go in and see how much of this we still need to make. I'm going to set my rotation axis back to zero for this one, just to make it a bit easier. And for the rest, the shape, it's not too difficult. It's just like a disc, square. Here, it does have some non map details, but we can do those later. And then it also has these classic bolts that we have over here, which we can also create and maybe then we can even later on, although we will not texture, we will only texture like one bolt, but later on we could potentially place those bolts also in some places just in the back, just to add a little bit to it. And then, of course, we have the leg. Okay, so let's go ahead and start simple. Turn on my hipoly. I'm going to go ahead and create a cylinder. And I'm already going to position the cylinder a little bit better so that I know exactly the size. I think that will work quite well. So the cylinder is, as I said before, very easy. All we need to do. I'm just gonna make it a bit bigger is turn this into hypol. Just going to be a plain cylinder that's more than enough because honestly, the feet are such a small detail. Like, you won't be able to see much of it anyway. Then I'm going to duplicate this. And this is going to be a six bolter. So six sides, scale it in. Push it down probably up until this height, and it's also scaled in. We can have a look at our blockout. Maybe we can move our blockout a bit so that it becomes a bit easier to just do all those measurements. But let's for now leave it up to this point and first of all, continue on with the lag. So for the lag, I don't actually like the size of my blockout. I think it was a bit too wide. So let's go ahead and actually create a new cube, scale down, and I'm going to make that a little bit thinner. Let's do something like this. And let's do another blockout. Yeah, I think that will work well. I'm going to go ahead and I'm going to just create a double connection. By up until this point, another connection probably roughly here and another connection down here, that all that we have left is just this piece over here. And I'm going to go ahead and I'm going to just extrude this down, collapse these pieces, create a quick Capli here, and then I'm going to go ahead and select these backsides if I can. There we go, and just do a very large japa. Like this. And let's just connect these ones up here. Okay, so we have that stuff done. We do need to create a bevel around here, but first of all, I have a feeling, although it's hard to see that these ones are pushed back, so let's just do that too. And also over here, these ones Oh, I need to do a reset X form on them. There we go. These ones also want to become a little bit more smooth. Okay. Good. Let's select by angle, five, select this top piece, and then convert it. And let's add a quick chamfer. Ah, again, some issues. Let's see. What are the issues? I think, in this case, yeah, double vertices. Let me just do a quick weld at like a low level. And let's see. Does that already fix it, or do I need to also do a reset X form? No, I think that fixes it. There's only here, like a tiny Uh error where I just need to push this a bit back. But I think that's already it for the low pool. I'm not yet going to turn it into a high pool because I'm measuring everything out, still, all that kind of stuff. Definitely, there is also a hole in here, which I do also want to create. So what I'm going to do is I'm going to probably just use this as a boolean. That's why it's good that we didn't do it as a hypolet. I'm going to scale it to be slightly bigger probably as the bolt, something like that, and just move it down and let's just go ahead and art a compound object pro Boolean. Oni visible, there we go. And just push this down. I think that should already be enough. Of course, we're going to clean this up in a bit, but first of all, we now have this one done. So now we also need to create a bolt, and we need to create a piece sticking in between the bolt and the rest. So for the bolt, I'm probably going to let's see. I'm going to make it like one of the simpler ones. And noticing that I'm going to also actually here, make this hole a little bit smaller like that. Okay, so for this bolt, as you can see, the bolt, yeah, it's also six sides, and it has always like these little edges that are shaved off. So we can quite easily make that. All we need to do is just select top, and we can do a chamf on our actual vertices. And as you can see that very quickly just creates some small triangular edges. Then often you want to just select the bottom ones and just push those up a bit because they are not at the same size. And at that point, if you want, you can also then go in, do an insert and then push it in like that. And on top of that, we will also have no, sorry, we cannot use this one. We need to use this one because it still has segments. We also can place this. And inside of painter, we will actually do those ridges because that's a bit overkill for such a tiny mesh to spend a lot of time on using the hypol. Also, for the bolt, almost forgot that when you have a bolt like this, you often want to go ahead and you want to do a symmetry modifier. On the opposite direction, there you go to also have it well, on the opposite direction like this. And then you can also still see some of these details a little bit, everything like that. So let's put much it for the bolt. I'm going to go ahead and probably already turn it into a hypol. Let me just quickly go to the added poly. Turn on show end result and this pushes down so that you can clearly see that it's going through. And yeah, so turning this into a hypol is probably the best next step. So first of all, let's place a loop here, here, And on these ends, I think what I will do is I will actually inset these phases because I want to keep a little bit of space on those triangles, but we do want to keep those triangles intact. So we inset those phases. And then what we'll do is we are going to, let's do it like a quick connection so that it makes it easier for us to place supporting loops. Here we go. And let me just quickly check already the turbo smooth. Because of course, I cannot place loops around here because that would break the bolt formation. There are often multiple ways that you can create these type of bolts, and I tend to always just go wherever I feel like with them. But normally I of course reuse bolts. I wouldn't create them by hand because you make them once. But if I just add an inset here that might already except for this cut, which we can also quite easily keep by just doing this, might already give us good enough connection. Um, Well, it's more like this. I want to kind of keep this point in if I just do this. Yeah, that keeps the point in enough that I'm happy with it. So let me just isolate this and just do that. It's a bit messy, but at least it's quick compared to, like, doing everything man. Here we go. Okay, I think that will work totally fine. This piece over here, it does not really need a high poly, but I guess what we can do is we can just go ahead and convert it to an added poly and just delete the top and bottom, and then just add the turbo smooth. There you go. Just for the sake of having it there. And then what we have is, yeah, we have this bolt here, but I'm just going to go ahead and focus, first of all, on getting this stuff in here. Yeah, it's quite a bit smaller. And it also needs a tin base. I guess something like this, and then let's make it a bit thinner. Push these in and let me just center this. I think that's already enough. And then for this one, let's just get rid of the turbo smooth. I want to move it. Here, let's do a cali, and let's also do a quick champer. Oh, I need to reset the form on it. Okay. And I think that already gives us enough detail for what I'm going for. Let me just add and add a poly, do a very quick inset. And this time, I also want to overhear where the bevel is, place another loop just to really keep that bevel intact. So we got this one, and I know that there's like a double knob over here. We can do that without too much issue, but let's first of all, turn this into a high pool. I'm just selecting the top and the bottom face and then doing an inset, also. And we'll smooth it. And let's go ahead and move it up, move it in a bit, and then just move these ones up. There we go. And for this, we can also copy the way that we turn it into a hypol and we can directly paste this on here because it's an identical mesh. So then pretty much all that we need to do is for this one, we need to also turn it into a hypol, but that's again, not too difficult. We're just going to inset the top. But in this case, we do need to keep the edges intact. So we inset the top we add some corners. And at the bottom. And then hopefully we don't need to connect those. So let's just have a look. Yeah, it looks like we're lucky. We don't have to connect those, but I do want to place a few more loops here. And finally, the very last model, as far as I know, of course, yeah, you could also make something below here, but I'm not going to do that because you're never going to be able to see that. And for tutorial, that would be overkill. I am probably going to, of course, use this model for scans matter. But still, let's add and add a poly. Let's start with like an inset here two loops. Another inset here. And let's see. Let's place a Ah, that's surprising. I need to do some manual cutting because it doesn't like this giant gun, which I guess, makes sense. And also here, make sure that you cut it down because else, it will not keep that corner properly intact. Let's start with something like this, and we'll go over the rest later on. For now, I'm just going to place some loops in all of these locations. Let's weld this together here. And do we want to have a bottom? That's also a question. Like, do we want to bother with that? Because that's just well, I don't really care about extra geometry, but it's extra effort. So let me just delete that because I don't think we will ever get in a situation where you're gonna even see it. Over here, I probably want to do another inset. I can see that it does break a little bit in these areas. Let me just see. I need to merge all of this together and all of this together. This one needs to be merged here and this one here. I think that works. Not sure. Let me just quickly do a turbo smooth, and it looks like it does have some arrows here, so we want to turn off the turbosmoot, but I think most of the arrows are just me needing to place an additional cut here and here. I think that should already be fine. Let me just do a final check. Yeah, I think that's a nice looking leg. So, we got that done. We got all of these pieces over here, ready to go. I guess if you want for this, although we used it for weighted normals, of course, because it is going to be baked down in a unique texture, you can just kind of, like, turn it into a hypol also. That is not really an issue, and it will still push the quality just like a tiny, tiny bit, probably not a noticeable bit, but it's still you never know. And better to just spend a few seconds doing this now if it will improve the quality than to be disappointed later on. Here, the loop, for some reason, doesn't get placed, so I need to check that in a bit. Just finish placing the other loops. Okay. Why are you not being placed? Because you have random vertice, and probably all have it on the other side because we mirrored it. There we go. Now it should. No. Oh. Let me just go to selection and just select by two. Just double click this. It seems to be working fine. Come on. It was supposed to be a quick thing. It's always frustrating when you just want to do something quick, and then it ends up taking longer. I'm just going to manually connect up these ends. And I also need to place two loops here. Connect them up on this end. And it's do the same over here. That's where the arrow was. Here. Hmm. That is a bit messy. Let me just place another connection point like this, but collapse. There we go. Okay. Turbo smooth it. Nice. Nice and smooth, also. So I think we're ready to go. I already did a check on everything else before we started with our final leg. And I don't see any other issues. So I think we finally have a final model. It doesn't look like a final model yet, but we got all of the elements of a final model, and that's the important part. And everything also seems to have all of their high polis turned on all of the turbomots and everything like that. So, awesome. Gonna go ahead and do a final apply material on it so that it becomes one material, and that's looking great. So having that done, we are now done with the general model creation chapters. Now, in the next chapter, we are going to turn this into a low poly model. However, that is literally a timeless of me. Removing the added poles and merging some vertices together or removing any supporting loops that are leftover. That's literally it. I don't feel like I would need to go through that in real time. And once that is done, we will move over to the UVNwapping chapters, and then we're going to go over the baking chapters and then finally the texturing chapters. So for now, let's finish things off here and let's continue by turning this model into a low poly model. 16. Creating Our Uvs Part1: Okay, so with our low poli done, we are now going to move over into UVN wrapping. So UVN wrapping is quite a repetitive task. So part of this chapter will be time lapsed. But, first of all, I want to give you just like still a proper narrated introduction. So for the UVN wrapping, now, as you probably know, you can do this in any Tree modeling software. Max, Blender, Maya, doesn't matter. And if you are using Tres Max, and you want to do it in TS Max, I recommend using a plugin called text Tools. In blender, you also often need to plug in, and the Maya UVN wrapping tools are pretty good already as a base. What we are going to do, however, is we are going to use Rhythm UV because Rhythm UV is a lot faster. It's a lot more flexible in order to make these UV unwraps. But for that, we need to do a little bit of preparation. So the first thing I want to do is with my model over here, I made sure that I made a new scene called Underscore UV. I wouldn't normally do this when I'm just creating an asset. I would just keep working in the same scene. This is more for you guys, so that we separate the modeling from the UV, and later on we will have another scene that's really like everything coming together and the final. Um, at that point, we need to go ahead and we need to export this. So I guess that's the first or first, the next thing that we're going to do. So for our exporting, we basically only want to export the low Poli version over here because we need to import it inside of Rsmv. So I can go ahead to file Export and I can do Export Selected. Oh, it's already here. I'm going to call this UV, but what I want to do is I want to not have this as an FBX, but as an OBJ. I always personally export to sum UV using an OBJ. And the reason why I do that is because the FBX, if we even have a small issue with our geometry, it tends to just completely triangulate the entire model, which I really don't want. I want to keep those quads because we need to later on, use this mesh as our baking mesh, basically, for our hilobly baking. So we can just press Save. In my case, I will do a preset that is Maya, but you can just do, like the default, basically, save for OBJ. You don't need anything special like that. There we go. So that's now exported. Now, what we're going to do is we need to give you a little overview of how that we UV unwrap our pieces. And for that, there's a very important thing that I want to show you first. And for that, I want to do a quick test bake. So it is about how to avoid seams from your high ply to your low poly on your edges because it will dictate how we UV unwrap everything, basically. So first of all, over here, I will just use this mesh as like a sample. You know what? I'm going to select everything, and I'm just going to do smooth and out of smooth because I forgot that I want to turn it on. And let's just go ahead and temporarily export this one piece. And honestly, you can this one I'm just going to export as FBX. And I'm going to call this low poly on the Scot test. Here we go. And then here we also have the hi ply and just make sure that isolate display is turned off. And just ignore this part. I'm doing this because I accident needed a reset X form on it. So here, let's just delete Turbo smooth. Convert to add a pool. When you do a reset X form, you cannot just keep building on top of it because it will break your model. I'm going to go ahead and export this as my HP test. Safe. Okay. So why am I showing you all of this in real time? This is because it's also a little introduction into Resume U V. Although we will go over, as I said, part of it is going to become completely real time. So here inside of Resume V, I'm using 2024, which has quite a new updated UY compared to the previous versions. I personally love the 2022 version. You can actually download the old versions if you want. So it just means that I might sometimes need to a double check myself where exactly the UY is because there are currently not a lot of tutorials out there on the new UY. Anyway, let's just go ahead and start by loading, and I'm just going to go ahead and I'm going to load in my LP test over here. Blue means that the normals are flipped. However, it also shows it basically means back facing. Don't worry about that because remember how we removed the backface. So you have this model, and if you are used to UV unwrapping, then what you would want to normally do is you're like, Okay, I need to save space. That's all I need to do. I need to save UV space. However, with this model, I'm going to show you what happens if we, for example, would save space. So in this case, I'm selecting the model by going over here to select, and I can press the Unweb button. Now, because this is a very thin edge going around it, it is able to basically cover this edge without any stretching because you don't want to have stretching on your UVs because your textures are also stretched. Now cooling of rhythm V is that with spacebar and your mouse, you can do a lot. So with Spacebar, right mouse button, I can rotate this to make straight left mouse button or spacebar left mouse button, I can move it. And I can also spacebar middle mouse button, I can move it in this way. Sorry, scale it and move it, yeah. So I'm just going to for now just leave this mesh like this because it's an example. So what happens now? I have done this mesh and I'm going to go ahead and file and save. So what it will do is it will actually just overwrit your FBX file. So keep that in mind. You're not saving some type of special file, you literally just overt your FBX. If we go into marmoset, and over here, I already have, like, a basic bake turned on, and I'm using marmoset often for baking just because the quality is often a bit better, and it's a little bit more visually nicer to look at. So what we have here is we have our hypol which for some reason, did not export the turbos moot. Let me just check. That sometimes happens, although my export settings do show Turbos moot, don't they? Hiboly test, yes. It has turbosmod. That might just be a little buck. So in that case, what I'm going to do is very quickly convert it to add a pool with the turbosmod. Export it. Hypol test. And then a little trick is that after that, here we go. You can just undo it. That's it. So that's always a quick way. And now, Mom said it well out update, and here we go. So here we have this hipoly model. It might be a little bit difficult to see. I can go ahead and just for you. Make my sky completely black so that it's a bit easier maybe to see here. So we have a nice round hi pol, and then we have our very harsh looking you'll see low poly here. So let's just go ahead and direct this into high, this into low, and then in my low poly, set my cage, which doesn't need much. Just the cage is basically here. I'm going to go over this later on, of course, during the baking chapters. But the cage is here to make sure that it will engulf your entire hypol so that every detail of your hi ply is being baked. So what's next? I'm going to go ahead and do a very quick test bake. Test, and I'm just going to make a PNG. There we go. So at this point, we literally are doing a height low poly bake. I'm going to turn off my high. That will just hide it, but it will not literally turn it off. Set my baking motor offline, and I'm just going to press Start. When I preview the material, it will apply the norm map, as you can see over here. And what do you notice? I hope that you guys can see it. You should be able to see it when I check. You can see that there is this harsh seam, and that doesn't look very good. And that is because we didn't split up our hard edges. So it's the same deal as weight normals, pretty much, and that is that you need some type of buffer zone. So as you can see over here, there's no hard seam because this is a really hard edge. However, there is no buffer zone for normap and you can see the buffer zone as the padding over here to smooth it. So essentially, what we need to do in these instances is we have, up here, you can go between Face select and all of that stuff. Over here with this one, we want to place another seam. So press C to place a cut or a seam. So that now this hard edge basically creates a buffer zone in the edge. So you can almost see this is like your bevel in using weighted normals. Now there's one more issue, and that is that this line, if we do this, if we just move it, this is an incredible amount of waste space. We don't really want that. So what we're going to do is we are going to place another seam just to straighten things out a bit. So I'm going to place a seam here. And probably also a seam here, just to straighten it out. And now, if we have this piece, you can try to unwrap it, but it will probably still look like this. What you can also try, although having it like this is fine, honestly. But what you could also try is you could try to go, do we have it here? If you don't have any of these windows on the right side, you can go to window, and in here, you can see all of the windows. Um let's see, Misk transforms. There we go. So here in transforms, we can go to straighten and we can use this button over here to straighten our rectangles. Now, this will straighten it. In this specific case, later on, this is a great way of doing it. But of course, right now, that's a very, very long piece, which might lower our resolution a bit, but it should be fine for something small. It's just a demo. We will make this really clean later on. So ideally you would want to have them, of course, roughly at the same length so that you can kind of split them up better. You can, of course, if you want to always displace another seam here, but the more seams, the more they might become visible. Here, let me just split up this one. Now, I'm just going to do a very quick automatic packing. I can literally just go up here and press this little button fit. Just press. Okay. Oh, sorry, don't have only one selected. So everyone. And then go ahead and then just do like an automatic packing. There we go. I'm going to scale this up. Hot space. There we go, just because I need to show you an example. So now we have placed those seams around here on our hard lines. If I now save again, and now go back over here and do another bake, what you will see this time, if I bake. See? Now it is nice and smooth. Of course, if you go extremely, extremely close, there will always be a seam because there is a seam. That's the whole point of it. But the moment that you move a little bit further away, even if I make this quite shiny over here, you can see that it all has a very nice smooth edge. And what you can also imagine is that when you add your textures, you will be able to see that even less. So that's the general concept behind this that I used to always have a sentence for it. Hard edges means splitting and soft edges means no splitting. And when I say splitting, I mean by cutting it, basically. So having showed you that, now let's go ahead and actually open up our model. We are going to UVNwp a few pieces, and then after that, we move into the time labs. So we can just throw this away. We don't need this one. We can go to load. I'm actually going to go ahead and I'm going to get rid of all of those low polen hi pole tests, and I'm going to use my UV one. So with this model, okay, I don't know why such extreme smoothing. The first thing I want to do is that you don't have any blue objects, which I don't have, that means that they are flipped. If they are, just reset the X form inside of Zbah or applied transforms inside of Blender and Maya. Oh, no, sorry, Maya, it's remove history. Oh, they all use the different techniques. So that seems to be fine. We do have some extreme smoothing going on here. So let me just here, let's not go to high poly low poly. That's a bit strange. I'm going to go ahead and just for our UV one. I think I'm just going to set my smoothing to just smoothening modifier, sorry, but don't press anything. Basically, everything will be heard shaded or hard smoothing. Let me just go ahead and try it again. So OBJ and maybe there's some type of setting that I missed. Well, now smoothening groups should not give an error, so we can just go ahead and export. But what you can see is that now it's also nothing here is triangulated. See? Well, except for the parts that we triangulated ourselves, but you can just press Reload. Uh, that's strange. Let me try one more thing and Nelson need to have a check because it normally never does this. So it might be something that has to do when I just updated. So let's turn off smoothing groups and normals because all I need is I just care about the data. I don't care about smoothing and all that kind of stuff in this case. There we go. Okay. So, for some reason, it was exporting something that it did not like. Anyway, so we have these pieces. Now, the next thing I want to do is I want to go up close and look for bugs. I think I already see one, these kind of bugs. Basically, when the jumtree has been broken, just a little bit too much. And it's really difficult to see here. But here, basically, it's about overlapping, overlapping geometry. So what I'm going to do, I'm just going to go ahead and delete those. And I think I want to just place a cut like this. This and this. I think that should fix that one. So you want to look quite up close because if we don't fix this now, we basically have to ignore them until we finished UV, and then we would have to go in and fix it again. So it's something that you kind of want to just do an extra double check, make sure. But usually, we don't have a lot of arrows because we, of course, make sure that we work in a clean manner to avoid those errors while we do our actual modeling. So I think that was just like, one that slipped through the cracks, but the rest seemed to be fine. So at this point, our model is pretty much ready to go. We can go ahead and we can do one more final pot. By the way, RSU V does have plugins that you can literally switch between them. I just don't have the mean start right now. So, to be honest, lately, I just Oh, wait. I turned on, I think I accidentally had normals turned on again. Let me just see. Oh, no, no, no. 11? Reload. Yeah, I had my normal turned on. Sorry about that, guys. There we go. Okay, so yeah, the Rhythm v does have plug ins to switch between them. I sadly lately, I'm actually not doing that much modeling anymore, and that's why I don't have Install. So with this piece, I already showed you how to do it. But let me just show you like, in general, how I would go about via wrapping this entire piece. So we select a piece, and I like to press isolate so that we are only looking at that piece. In this case, I'm just going to go ahead and double click here and I'm going to press C to place a cut. And then I'm also going to just place cuts in this case, just before the round pieces. That's often like a good place. Like, at this point, you can see that I'm doing this a little bit quicker because I no longer need to explain it. At that point, we just do a UVW web. If you want, you can even do, like, a very quick pack like this, just to place it all in one line. And I'm already happy with this. I'm going to leave it like this, and I always like to press space and just move it outside of our square. And then I can press show again to show everything. So everything in our square is basically that we remember, Okay, everything plays in there, we still need the UVNmp. So that's that one. Now, here we have one that has a smooth corner, at least doesn't look smooth now, but it will become smooth because just like weight normals, it has a bevel. So if we just go ahead and isolate it, as you can see, it's such a basic shape that has a smooth corner, so we can literally just unwip it excuse me, Unwrap it. There we go. And that's already it. So that's already done as you go see, because the line around here, it's very short. So without any distortion, you are able to notice or you are able to just UV unwrap this. What you do not want to see, I think I can oh, no, I cannot move it, I believe. What you do not want to see is that you can see red because over here, we have distortion turned on, which basically means that if there is extreme stretching, it will show it in the direction of red. And if there is overlapping, it will show it in the direction of blue. So that's just something to keep in mind. Overlapping. I'm not sure I say that right about overlapping, but we want to focus on red, basically. So that one is already also done. Very easy. Just move it out of place. Now let's go for one that is a little bit more complicated like this one. So this one has a bunch of stuff. So over here, as you can see, uh, sorry, I have I think a setting turned on that I Yeah, here, there we go. I still had an old setting turn on from previous times. So over here as you can see, like, yes, we have an edge here, and then it becomes smooth. However, this not edge. This row, it's way too white. If I would go in and I would I'm well, that's actually a really annoying way to show you. If I would go in and I would let's see. Okay. This is difficult to show you, but trust me, it will not be able to loop all the way around. I can show you, but first of all, what we need to do is we need to do some selecting. So over here, when we do a double click on our faces because this geometry is a little bit broken since we have all of these connections over here, we need to do it a little bit more by hand. So that's a really, really nice feature of rhythm. If you select one edge in hold shift, it will basically go to your cursor using the shortest part. So you can see that over here, by me just moving this, I have a lot of control into exactly where I want to place my edges, no matter how messy jom tree is, but even more important, no matter how hypol the jom tree is, so ism UV is absolutely amazing when it comes to also hypole models. And that's why we often use them, because we often work with scans, which are very hypoly hundreds of thousands, and then we still want to UV unwrap them. So we're also going to go around here and see to cut it. And now I can kind of show you this. So normally you would be like, Okay, so let me just unwrap this as one piece, but that wouldn't work because if I show you now, here, you can see all of this distortion because it is too there's too much space on this row over here. So what we need to do in that case is even though it's a smooth corner and we wouldn't want to cut it, we still need to place a cut. So we are going to place a cut pretty much like the furthest away from the best point of the camera. That means that if you look at this model, this edge over here clearly is like your hero edge. It's the one that you see first, and it's the one that will look nicest. So we are just going to go ahead and here, place a seam. At that point, I'm also going to place a seam. I want to place a seam in a hidden location. Now, this model is often shown from a bit of like a side or top view. So I'm going to go all the way down here and over here, I'm actually going to place my seam. Even though it's on a round edge, I feel that that will be a lot more difficult to see, see? Because you almost never really see it. Now over here, we also want to place seam. And in this case, I'm going to place it at the top, because again, when you look at it from the top, you can barely see this seam, because you always want to try and hide your seams because there is always some even if it's very slight visual defect in those areas. So we have that done. Now, if I would, for example, go ahead and select this again and unwrap, you can see that now it has become two pieces, and now there is no more distortion going on. For this piece over here, I can also unwrap that Oh, why does the unwar button not always work and place it? Now, for this piece, as you can see, that is quite round. No, it's no issue to have round pieces in your UVs. However, you do want to be a little bit careful with it if you, for example, have a really specific texture that has patterns in it, because, of course, if the texture is straight and your UV is round, it will show warping. Actually, I can literally show you. If you go up here to checkerboard, and I need to make this a bit larger so that you can see. This, if you can imagine, UV with a pattern like this, it will show as having a nice straight UV. In RsmUV, you can go, and if you don't have it, it's in Window and then it is in what was it select? No, it is just in the Misc transforms. I might have already shown you. I don't know. I forgot. In miss transforms, we have a straighten, and then over here, you have a rectanglize polygons vertically, and that will straighten your eeland. And now you can see that that already looks a lot nicer. The only thing that you need to be a bit careful about is that sometimes it causes distortion. So you don't always want to do it, so just keep that in mind. Now here we have the centerpiece. So I'm going to show you another technique. I'm really like pushing in a lot of techniques into short bit before the time lapse. What you can do here is if you go to your select, and if you then go ahead and go into your Where are you? Select. Am I blind or What's going on here? I literally just turn it off. And now I cannot see it. Huh? I must be really blind. I am very blind, guys, because it is in select, and then it's like a selection tool. Gimme second. 1 second. Oh, yeah, I am very dumb. We are in element select. We need to be in polygon Select. Oh, God. Sorry about that, guys. So yeah, if you go into polygon select, I mean, then over here we have the polygon magic wand, and we can set that to planar. And what that allows us to do is it basically allows us to select planar faces like this. And it will place a C if you press C on the end of your selection. So if you press C, and now select away you can see that it will have placed a seam over here. So I just want to show you that. Now, if we just go ahead and go to our edge mode. So this one is a little bit more tricky because there's a lot of stuff going on. I basically want to give it a loop. I'm going to probably go around here and press C. So it will loop all the way around, but then over here, it cannot deal with this kind of stuff. So I'm going to see, here, I need to go around here. And this inside part, I'm going to separate that completely. There we go. So what it should now where are we? Here we are. So over here, we have placer seam here, so when it unfolds, it should loop nicely around over here, and then it gets to this point. And then this point, it kind of also needs get rid of this edge here like this. Now, we come with a slight issue in that over here, this is such a very obvious edge that needs to be smooth. So I kind of want to also place a cut here because these two edges, they are going to become very, very smooth, so we want to again separate that. So now if I go ahead and just select everything that was left and just do an unwrap's move it over here. Let's see what we have. So let's get back to that piece later. We have the center. We have this chunk here, and we have this center chunk on the inside. So over here, it seems to have gotten a little bit confused, and I think it is because of this edge. I think what we want to do is probably because this needs to be smooth anyway, we want to go ahead and place a seam here and here. And let's see, that shoot. If I just unwrap this one, so that becomes one piece, and then this one over here, that already fixes that. But then over here, for some reason, oh, that's why. Because I missed this tiny polygon. C. There we go. Now, it should do a pretty decent unmap. Over here, you can see that, yes, we do have some stuff sticking out, but that should be fine. The only thing that you want to make sure is that it is not overlapping. However, what you can also do is you could just cut it here to keep it a little bit more clean, where we just, like, separate it out. That's up to you whatever you want to do. So this piece is now also pretty much ready. It's unwrapped. Later on, we, of course, need to pack everything together, but that will not be done during a time lapse. We will do that in real time. So I can show and I can move this also over here. Over here, we have another piece that I just want to explain one thing about, and that is there is some thinking involved. So over here, technically, there is a hard edge, as you can see. By rules, we would have to split that up. However, it is such a tiny, tiny edge that I feel that it's complete overkill to split up and to add additional UV space. So what I'm going to do is, I'm just going to do a quick unwrap. And that's already, like, fine. Like, you will never notice such a tiny seam, especially when we have our textures on it. So the way that we did this technique, we are going to do it every single panel that you see here. We are simply going to split it all up like that. And these UV unwrapping techniques, we will go ahead and we will also apply those to all of the more complicated pieces. I guess the only thing that I will do is just for you guys, let's just UV unwrap something like this. So let's go ahead and do that and then leave it because it is quite a bit of polygon, so I want to just see if we find anything special about that. So over here, what I would want to do is I would just double click here, and as you can see, you can hold Control, by the way, and just get rid of all these edges. Oh, I have left supporting loops, but don't worry. You can remove supporting loops without altering UVs later on because control back space does not alter UVs as long as the shape doesn't change inside of trees max. So I'm going to press C and now you might think like, Oh, yeah, but there's a hard edge here. Yes, but remember, we have a button in front of it. You are never ever going to be able to see it. So we are just going to leave that because I don't want to introduce more space. I do not, over here, I forgot some supporting loops. So that's something I'm going to fix later on. So basically, we now have this cut. This right now it's basically a giant loop. So what we do want to do is we want to place a cut in the back because the back is a place that at least you don't really see. I'm actually going to place the cut at the lower end of the back because that's even less visible. Shooter where they do the trick, honestly. If we now go ahead and just select everything and do unwrap move it out. Look at that. That actually looks quite clean over here. And then, of course, we have all of our centre pieces which we are going to work on later on. Seems that we have Oh, yeah, wait, sorry. This is the side pieces. Yeah. Awesome. I feel like we are missing some, to be honest. Oh, here we go. They are overlapped. That's why. Don't worry about overlapping. We are going to, like, fix that later on. So that's already unwrap very easy. Now, again, you can just go ahead and save, and then it will over white your FBX using these pieces. I think that's a pretty salt overview of doing our UVOmpping. So I'm going to go ahead and just UV unwrap this entire model and then using a Taps which is some nice music. And then after that, we will come back and we will go ahead and in real time with narration, do the actual packing because that's where Rhythm UV really shines, where the packing is so much better while also being automatic compared to any other software. So let's go ahead and cotter with that in the Taps basically. 17. Creating Our Uvs Part3: Okay, so we now have our general UVs done. And before we go into the packing, we do need to go ahead and do some bug fixing because I found some issues that are a little bit too bad to leave. And also, I found some vases that we end up removing in the high ply, but I forgot to remove them in low poly. So having this done, I'm just going to go ahead and I'm gonna save. And most of this is just me remembering where they are, and for zoo, like a general check. In my UV scene, I'm going to go ahead and in the low poly actually select the old low poly and just delete it. And then I'm just going to go ahead and quickly re import the new one. So the UV one over here. And just input it as an eligible bool. That's no problem. There we go. If you want, you can just quickly throw on a smooth to reset it. So a few issues. One really bad one, which I have no idea what happened is with this one. And I think what happened is that this used to be the hypole I guess, and somehow and then we collapsed it, and then it broke because if you collapse a hypol while it has isolate display turned on, it completely breaks the mesh. So I'm just going to go ahead and I'm just going to very quickly copy my high poly mesh and just throw it into the low poly. Now, just go outside of isolate display. I want to delete this one. And then for this one, just go to get rid of this and the smoothing groups, and that looks a lot cleaner. So once we import that, that should already fix that one. Now, next to that, we also had a bunch of ones where, oh sorry, I'm no longer in resume v. I'm going to go ahead and convert everything to add a pool to make it easier. So this one over here, I accidentally include this one, but I don't want that, so I'm going to delete it because that one is actually going to do some different branding. We have a bunch of faces, you can see here, where they ended up not being needed. So, for example, all these back faces and stuff like that, you will never be able to see them. And I'm not going to waste all my UV space on something that I cannot even see anyway. There could be an argument that Nanite doesn't like open back faces, but Nani doesn't like open back faces inside Unreal, at least. If you don't do this for Unreal, then this doesn't matter. Nani doesn't like open back faces that are directly visible. So that's still a difference in there. So I'm basically going to go ahead and get rid of any back faces because that all saves UV space that I might not need. I believe that this one also had Yeah, this one, I believe I said No, no, this one did not have a back face. Let's have a look. So these small ones seem to also be fine. I remember that this one had a lot of issues also. Let me just go ahead and contra A it and just do a quick weld. Okay, so that was not the issue. Then maybe it was actually the other one. This one. So I just want to double check. Make sure that there aren't any really obvious issues, but it seems heres, duplicated vertices. There we go. So that one is now also fixed. All this stuff over here that went fine. This one went fine. Oh, yeah, here, this one. This one had a lot of back faces where I believe I can pretty much get rid of anything behind it. But before I remove it, just while having the face selected, you want to kind of like heres, see? And then you want to deselect any faces that you can very clearly see, like those faces, and everything else can pretty much be deleted. Over here also, once the label is on here, there's not really going to be a way that you can see these few backfaces. It's small, but it will still save some UV space. So those are done. For these ones, technically, you can not see the faces behind it, but because it's one chunk inside of our unwel engine, I think that's fine. This one over here, again, oh, sorry, where they did it. Sometimes a bit difficult to see. So that one doesn't have a backface. Does this one have a backface? Yeah, this one does. But once again, that is not needed because you're never Oh, no, wait, you are. Never mind. I'm gonna leave it because you can technically see it. And I know that then this vase right behind here, you cannot see. But because it's all one chunk, it's not gonna take up so much UV space. So I'm not gonna bother with that. These pieces here also had back vases, I believe or not. No. I can't remember some of these had something. Maybe this one. No. This one did have. No, it's so difficult to see. But I still want to just double check it all to make sure because these are such large panels. And also something that I need to do is we do need to do a resolution test because these panels, they are basically just like long straight panels, and I need to do a test to make sure that we get enough resolution out of those. Because else what we need to do is we need to start splitting it all up. So that's something to keep in mind. Okay, so, oh, yeah, here, this one, I can remember. You had an entire backface which was not needed at all, because you will only be able, well, okay, I guess. Technically, up until this point, it is not needed, 'cause you can still see that tiny bend, but that's about it. Oh, and this one also over here. Oh, else, no. But it does have these side panels, which I also don't need. Honestly, do I even need the bottom and top panels, if I look at it? No, I don't, wait, I only need the top panel I don't need. The bottom panel, I do need. Over here, there was another one. These pieces. In the end To should also not be visible. Yeah, because if I turn off isolate display, you cannot really see them. I could make the argument that over here, this is visible, but what I'm going to do is I'm going to place a quick loop here and a quick loop here. This does break UVs probably. Oh, no, no, wait. No, this should not break UVs. But I'm going to go ahead and just select all around here. The lid. There we go. So that will again, save quite a bit of space. And inside of here, yeah, I am just gonna keep those. That's no problem. So, I think that fixes most of the bugs that I saw Was it this one? No, this one still had. No, also not. So that's also fine. Yeah, I think that's about it. So having that done, you can go ahead and save, and we are just going to export it back again over the same OBJ. So here we have OBJ, yes. Turn off that smoothing stuff. And let's do a quick export. And now inside of Rsm UV, we can just go ahead and we can reload with UVs. And then we have this piece again. Now, we just need to check to make sure that the pieces that something is broken, in this case, this one over here, it is flipped. The normal is flipped, so that's something I need to fix first. Let's go in here and let's do a reset X form. That should already fix it. But yeah, that should already fixed it. You don't have to flip the normals again. Let's export that again. Let's try again. Reload WGI Vs. No, I don't need to save changes. Okay. I turn off. I forgot to turn off the smoothening. But before I do though I just want to double check that there wasn't anything else left. Let's see. So this piece, I'm just going to select these pieces because then I can kind of see, like, where are the arrows. Okay, that seems to be fine. So let me just quickly export again. But this time, turning off the smoothing and let's go ahead and reload with UVs. Okay. Awesome. So let's go ahead and select this one, and we're going to just wait, it's still, yeah, yeah, it's correct. Isolated. Looks like that actually it ended up generating some UVs. So what I'm going to do is I'm just going to go ahead and select all of it. You know what? I can literally just select everything inside this box because that's why we move everything outside of it. Isolate. With this, when it already has UVs, I just like to go ahead and press the weld button over here on the seams, which will turn it into one solid chunk. And that makes it a bit easier for me because I want to be able to by hand or completely redo the UVs. So I'm going to select the top and the bottom, and then I'm going to place one seam here, and that should do the trick. So if I now do it unwrap, we should have a nice straight piece and those pieces also. Awesome. So that's also done. Let's show and move this out of the way. I think that's about it. I just wanted to triple check these pieces over here. Yeah, it seems to be correct. Okay, cool. So what we can do now is we can get started with the packing. I'm sure that you can see over here, by the way, that there's a little bit of redness from the distortion, but because this is weight normals and because it is going to be quite a plain texture. I'm not worried about that in that area. Way. Everything is now done. So time for the packing. The packing comes in two stages. We are mostly going to do it automatic. However, then what we do want to do is we want to go ahead and balance some of it out where we want to make some scaling smaller in order to save resolution. I'm going to go over that, well, pretty much right now. So first of all, what we want to do is let's just go ahead and select everything. And I want to go up here into my Misk transforms, which remember, you can find it in your window. And I want to press this button. What this button does is it basically aligns all of our panels vertically. And since we mostly are working with vertical panels, that just makes it a bit nicer to work with. Then if we just go ahead and let me just go over here into my packing settings. Where are you packing settings. What I'm going to do is I'm going to set the padding to four. Here and the padding is basically the distance between the panels. And for the orientation, for now we can go ahead and keep it to automatic. It means that some of them might rotate, but they will only rotate by 90 degrees. Over here, you can probably press 90, but for now, let's just try off and we'll see, Oh, is there a way to anhydra? There we go. So I'm going to go ahead and first of all, press this button. So what this button does is it will rescale everything to properly fit based on its correct scale. What I mean with that is that right now, for example, this piece, it is way larger than even this piece. That doesn't make sense, because then the taxodnsity between these two will be very different. And when I say taxodnsity I basically mean that the resolution of this one will be much higher than the resolution of this one. When you're texturing, you will be able to see that difference and that breaks the overall quality of it. So I'm going to go ahead and go up here and press fit. Okay. Never mind. I need to go ahead and first of all, do a pack. Where are you? Give me 1 second because I cannot find the setting. Scale, I want to go ahead and packing scale initial. I don't want to keep the scale. It's over here. Keep average taxa density. I believe that was the one, so let me try another pack. There we go. I'm just got to double check. Make sure that that is correct. So that doesn't feel Oh, yeah, yeah. That is that line. Which is way too large. There are some packing stuff and everything that we need to do later on. For now, Squattin set this to four. I'm going to go and the rotations are correct. Just because they move the settings around, I just want to quickly check this one. I feel that is more correct. So this one is follow the average textil density, basically, just keeping the average based upon all of the island scaling. And I feel that that is a bit better. But I want to make extra sure because I don't recognize this specific setting. So I just want to double check, of course. But that looks about are white. Like, everything seems to be in a correct scaling. So what I'm going to do now is time for some optimization, and then we can again do, like, a proper repack, but you can see that the repacking actually works quite well. The only thing is that I'm not used to having so little small pieces, but I guess if we really look at it, there aren't that many small pieces. But what I do want to always like to do is just double check by selecting it to get a general sense for the scaling. But that seems to all be logical. So if you have, for example, this panel and compare it to this one, here, I can literally show you even. You can see that the scaling matches. So that's something that you basically want to keep in mind. You know this. Now, let's go to our edges. I'm going to split this one in half because this one is creating one massive line, and I want to try and avoid, like, extremely long lines. Like I don't want to have them longer than the actual machine is. And the actual machine is basically like this line over here. I think that's the only one. So now if we would go ahead and, for example, do another pack, Did I not select it? Oh, sorry, there was a tiny, tiny edge still left there. Let's try again. So another pack. Here you can see. So now it is split up a little bit better. So the next thing that we need to do is we need to focus. First of all, why is the packing not going all the way to the top? Accuracy is high iterations we do in Yeah, you know what iterations we can do now. Iteration, basically, how many times will it calculate the packing density to make sure that it is absolutely correct. Now, the only thing I want to do is I want to in moved it. So now it has become this button. So this button basically scales everything up correctly. And I feel like that my padding is a little bit too much. Might be my margin, but I used to do four, so I'm quite surprised about that. Now, you know what? I'm going to go for That's bedding to three, and then you can do another pack. And here you can see that now the spacing is a little bit less. People always like to leave a lot of space, but I feel like often it doesn't need that much space in between. So the packing now is going quite well. First of all, I'm going to go ahead and select my element select, and over here for these pieces, for example, I'm going to start scaling things down. So right now, the taxodnsity is perfect along our entire mesh. However, some pieces simply don't need this much resolution. This one, you can barely see anything. And the reason for that is because if we go over here, we are also going to just have some planes and stuff like that for the branding. So there is very little taxiC behind here. So I want to go ahead and for these ones, I want to hold sorry, I need to re select. I want to go ahead and I want to select all these pieces. Hold Space Bar, and I'm just going to scale them down a little bit. Not too much, but just a little bit. So, yes, you break taxa density, but you break it in very calculated places. Same over here for this one. Whatever is behind here, you won't be able to see that. And we really need the resolution. So I'm just going to go ahead and lower that one also down. Another one is, for example, here at the bottom. I'm going to lower that one down quite a bit because you're also not going to see that. And for the back panel, so the back panel, of course, you're going to see it, but it is quite a plain texture as far as I can remember. Here. So there's very little going on except for some leaks. So because of that, we do technically have like a sticker here, but you could even have that sticker as an alpha if you want to. In my case, just to really save the resolution, I'm going to scale it down just a little bit like this. Then we have the top panel over here again. Going to scale that down just because you won't be looking at it too much, but also not scale it down too much because, yeah, we still want it to look somewhat nice. Then what we are going to focus on is we are going to focus on the pieces that have very tiny non map details. So for example, here, you can see that these pieces, they have quite small non map details. So in those cases, I'm going to just go ahead and I do want to select the entire amount. There was one more here because I do want to I like to keep textil density correct based upon the entire scale. This one, we also want to scale up. This one, we also want to scale up because they all have these nor map details. So I'm just going to make those a bit larger. The same for this piece over here, and this piece has a lot of text on it. You know what this piece, to be honest, also? Yeah, at that point, I can just well scale up this and tie up piece. So, yeah, you need to kind of, like, keep in mind, and it's something that comes with experience, which pieces might need more and which pieces might need less resolution. Um, this piece will have a lot of text. But yeah, you know what like the site also. And I'm just having a quick check. There will be a lot of branding on the front, so that's something that's for now. So we have these pieces. Nice thing is that we actually have a lot of space. So even if we scale these up like this, it won't matter too much. The front panel over here, I actually want to go ahead and scale that one up a little bit more also just because it has so much branding. And this one also, it has quite a bit of branding, so let's scale that one up. At the bottom here, we have quite a lot of non map details, let's scale that one up a bit. And there's no real, like, specificness to scaling it up. I'm just basically doing it by feeling. And I'm also going to scale up you know, it's like this. I'm also going to go ahead and scale up this one because Act I'm going to scale it up quite a bit because it's a TI piece that has a lot of a very small text. So else if we don't scale this up now, what will happen is that the text will just become blurry, and that's not something we would want. So I think that's about it. There's a small here. You also still have some norm map details. So let's scale that up. There we go. And I think all of the side panels and everything, this back panel over here might also be scaled up a little bit just because it has a lot of little non map details. I think that's about it. So basically, keep looking at your reference, see which pieces you might want to scale up and which ones not. This one over here might also want to scale up a bit. And once you have that done, you can do another packing. But this time in the scale, we want to go ahead and want to press keep. So what it will do is it will keep the scale that we have set over here. And that should be corrected if we now do another pack here, see? I kept these pieces to be a little bit bigger. So that's great. I think at this point, that's pretty good. Let's just go ahead and fit it now. There we go. Fit it. And yes, there is some empty space left. Now, it's up to you that probably if you do everything by hand, so you can click, and you can start moving things around. You can do it by hand. You can probably get an even better quality in terms of resolution. For me, I'm going to kind of, like, leave it at this point. I feel like this is enough. I do maybe want to, like, scale this one up, but they can literally do that in here. There we go. I think in my case, this is about enough. I don't need to go too overboard. The only thing is that maybe maybe these side panels that we have over here, and it's mostly just like the main panels that we I would then also need to go in and select these. I think if we just scale these up a little bit, that should still be able to pack correctly to give us a good resolution. So let's try another pack. See? So here, basically, what happened is that it was not able to pack everything in correctly because we scale these pieces up. So then what we can do is we can be like, Okay, so these side panels are probably the least important. Let's scale those down and try another pack. See, and we're getting closer. So like this, you can keep balancing it out until everything is able to fit correctly. Let me just pack this. Let's see if we can set the iterations a little bit to four and the accuracy to higher, see if it can maybe. So it's getting there. It seems to be having a bit of an issue with this one. And I believe what is this panel? So this is the back panel, so we wouldn't want to lower that one much more. And now I'm just going to go in and just manually see if I can maybe fit some stuff because this is what is this. Here, this is the insight over here. We can definitely lower the scale of these quite a bit. So over here, I will also lower the scale of this one. And let's see if that alone was already enough to pack it. No, it still has this large chunk over here, which is a little bit of a pain to work with. This one, we can Oh. What was it? Hold Shift? Oh, no. Sorry, I'm just gonna use this one. I forgot the shortcut for it. This one we can rotate. But this one, this one is a little bit trickier. Um, I'm going to make the side panels probably a little bit smaller. And then maybe make the top panel a little bit smaller also and the bottom panel even smaller. Also, we have actually this panel over here, which you won't be able to see also. So let me just make that quite a bit smaller also. And having done that, I actually made it so small that I believe that I can make the side panels a bit bigger again. Let me just see if that works. No, yes. Okay. Awesome. So now we have it. So now, basket was able to pack everything nicely together, and I think that's about it. So our packing is pretty much done at this point. What I'm going to do now is I'm going to go ahead and just do a quick save. So all of our UVs are now correct. So one thing that I do like to do just to end this chapter with is like, yes, you can improve it if you want more. I'm going to leave it at this. But I want to make sure that my resolution is actually enough. And the way that I basically do that is by going, in this case, just into marmoset. It's a very quick I wouldn't say old school trick. It's just a very quick trick where we just import our mesh over here. I still has some weird no maps, so let me just do this. And we basically just want to throw on a simple texture on it. I believe that although I normally do something else, but marmoset over here, it does have some textures. You want to have a texture that has quite a specific pets one to it. So let me just find a material. Normally, I just track something in. It doesn't have to be anything special. Like, for example, this is some leather, for example. I can just double click it, and it will download. And then I can also just go ahead and apply it to our model over here. And I want to go in my texture, and I can set the tiling a bit higher to, like, three. And basically, all I want to do is that when I look at it, pretty much up close, it doesn't feel extremely low resolution. That's the general goal. So actually, set it to one. Because we can do some tiling, but, of course, what tiling does is it does like manipulate the UV. So it's just something to very quickly check and make sure that here you can also clearly see the textil density now between these pieces and, for example, the top. But I think in general, at the four K resolution, this should be doable. This one is quite low resolution down here. We might want to go ahead and just scale that one up a bit. And down here, I think we can also scale those up since we have the space for it. So let me just finish things off by doing that. So Let's see. Here we have those. I'm just going to move those out of the way. And I'm also going to go and select but of this. I'm just going to deselect these pieces. So these are all the legs, I believe. Oh. Let me just also move those. Nice thing that you can do is you can also just select this, and then you should be able to do a pack, and it will only pack. Oh, wait. It does pack like that. That's annoying. Let me just move this out of the way. There we go. So because it tries to pack around whatever is in the shell. But that's a bit annoying because we are trying to, of course, work with this a bit differently. This one, this button over here, it will just fit it back to the shell. And now, basically we have these pieces. So what we can do is we can scale this all up a little bit. I'm going to set my I know why I cannot set my padding because we already moved it back. I'm going to pack it slightly different because I need to create basically a bit of space. Oh, I keep forgetting the stupid shortcut. Sorry. There we go. So that just scales it up a little bit more. I think that will look nice. Here we have some tiny pieces, but I don't think Yeah, I'm not gonna bother with those. I think that is pretty good. So at this point, I would call my UVs done. Let's just go ahead the file and save it. That is now correctly saved. And then if we just go into our three years Maxine, we can delete the old one, do a proper import. Import the UV one. There we go. And if you want, you can just add the smooth, and this time, just add a normal outer smooth. Convert there the pool. And what we're going to do in the next chapter is we are just going to prepare our model for baking, double check all of the smoothing, and then we're actually going to go ahead and bake our seen or bake our model. So let's go ahead and continue with this in the next chapter. 18. Baking Our Texture Maps: Okay, so let's get started with the baking chapter, which is actually one of my favorite chapters because you will see the model come together, like the final low boiling model with all the bakes, everything is coming together really nicely. So, for that, we need to do some preparation. So first of all, easy preparation is I want to turn off my extra face and make sure that there is no overly dramatic, weird smoothening going on. As you remember, we didn't outer smooth, and that is good. That's what we want to do. But I want to just make sure over here, this one, for example, remember that here we need weighted normals. So let's add the weighted normals to that one. Then there were some pieces like this one. If your mother can handle weighted normals, just add it. It will improve also the baking. So this one can handle weighted normals. This one probably does not. So this sharp edge over here, I actually did want to keep this this edge smooth. So what I can do is I can do it manually. So let me just go ahead and, you know, I think I want to First of all, select all the way around it. Also, why am I doing this so difficult? I can just select this grow and grow again, and then select everything that's remaining. So if we make this smoothing number one, control I and clear Oh, no, sorry, and do outer smooth on the rest because we do want to have some smoothing down here. Then do weighted normals, but this time, press use smoothing groups. What it will do is it will keep that smoothing intact, but it will still outweight normals to our bevels, as you can see over here. So like this way, we can control the general smoothing. I Maya, this is more difficult to do in blender also, but in blender, you can split the normals, I believe, in order to create any smoothening. Here, all I can remember, I believe it was on this one, that we had to do some cleanup over here where we had some additional loops. I'm just thinking how I want to do this cleanup. I think I could technically just collapse. But then this does not look very nice. So we would want to then add like a cut here and let's just end the cut here. I know that it might look ugly, but it is technically correct because technically, everything is connected. And then this last to see although it has a lot of connections, it has a clean connection going towards the back like this. So I want to do that. And I believe actually there was also an extra edge loop. Here we go. These ones, control backgspace will not have edited the UV, just so you know, because I'm not changing anything to the geometry. I'm just adding to the geometry in a very careful way. So we got those done, I think. Oh, wait, this one over here can also use some weighted normals. And I believe that that's about it. Yeah, everything else seems to be totally fine. Okay, so smoothing is done. Now, I like to use this technique, which it is an old school technique, but I still feel like it's the best technique. And that is that I want to use an exploding technique in which I basically move the high poly and low polyps away from each other in order to avoid any weird occlusion or baking errors. Now, there are many ways you can do this. Like nowadays, marmoset and painter, they have like ways that you can add specific naming to your models in order to bake it separately and all that stuff. But then you would need to add naming to your models. And I'm not really someone I just don't want to do that, basically. So what I like to do is I like to have my hypool lowpol turned on. And now I'm just basically selecting both the hypol lopoli and moving it apart. I only need to do this to a few specific pieces, just so you know. So we have this piece over here that I just want to keep separate from everything else. Probably over here our leg. Let's also keep that separate, but we can leave it like this. So we're going to go ahead and do this. Only thing is that later on, we do need to move this all back again. Here on the inside, it's up to you. I'm probably going to leave it here because then it creates a bunch of occlusion on the inside to make it look dark, which is what I want because we don't have a nice looking inside. Pretty much all of this, we can leave. The only thing is that over here, these pieces, I also want to move those. And the whatever it is called the plane over here, I'm going to create a new layer and call that branding, and then I'm going to turn it off because we don't want to include that one. We're going to do a bunch of other stuff with that later on. So I think, all of that can stay. So all we need to do is just go to probably our front view, and I'm just going to do a quick click drag and then also deselect everything except for these centerpieces. And I want to go ahead and move those. Move these ones apart and these ones. I don't want to have any interaction within these pieces. And if we would have left them here, we would have gotten occlusion on the back, so that's why we are moving it. I think that's about it. Everything else can kind of just, like, stay in its own location. That's totally fine. So that's the technique done. So our low poly is pretty much ready to go at this point. Let me just quickly over here, set the colors to just like the same wire frame color. You can do that simply by over here, selecting color just because it looks a bit better. So I think my low poly is ready to go. Yeah. Awesome. Now, for our hypol, we still need to do one thing, and that is that we need to go in and we need to turn off the isolate display. Normally, I use a script for this. However, sadly, that script, right now, it's no longer working in three years Max 2025, which means that we would have to go in and manually kind of, like, get rid of all of these turbo smooth segments. So basically, all you want to do is with your Turbosmod you want to leave the turbos mood on, but make sure to turn off isolate display because you cannot export something with isolate display turned on. We have seen that bag in the past, and then what I tend to do is, like, I tend to turn it off. And then I just like to hide it. And then at one point, there will be only one thing left. Just make sure that when you quickly click this, you don't accidentally move anything because everything needs to stay exactly in the same location. So since this is quite a repetitive thing, I'm just going to pass the video. This one here is already done because, yeah, you don't need to see me clicking this button 50 times. Luckily, we don't have too many assets, else, I would go in and probably, like, use ChaiTP to write a script to do it for me or something like that. But for now, yeah, we don't need to do it. Wait and almost, you can leave on. Let me just pass the video, and I will come back when all of these are turned off. Okay, here we go. So that is our hi pole model also completely prepared. Wow, that's a lot of iterations on that one. Let me just lower that a little bit. I felt like that was a bit overkill for such a hi pole. Okay. I think that's all looking good. So what we're going to do now is we are going to go ahead and at this point, save our scene. We can still use the UV scene, and we are going to start by exporting. I'm going to start with my low poly. Export selection. And we're going to call this simply LP. Go to make it FBX this time and press safe. And it should be all correct, all of these settings, so we can go ahead and press Okay. Nice. And now for the hypol, remember how we had a small issue where for some reason it did not export Drbosmot. I don't know why it does that. The normally never does that, but I'm just going to very quickly convert everything to an added poly and then I'm going to export it. It's called this HP. And once that is done, I'm just going to go ahead and undo it. So that's a very easy quick way to avoid any issues like that. There we go. See, now it's all back. And then we can save our scene again. So we have a high poli low poly. Now, if we just go ahead and go into Mm set, let's go ahead and give it all a brand new overview. So let me just get a new scene. There we go. So I'm using Mom set baking. You can use the same techniques for painter. The only thing that I personally like the cage in Mamo set more, although painter has been catching up, but I find like it has the baking in Mamo set is slightly higher quality, and it's also a little bit more flexible to use, just in general. Because the model that I want to texture inside of substance painter later on is going to already look exactly like our completely final model. However, if you have this, if you want to do that, you would have to baking painter, export the maps, import the new medal, apply the Babs, all that kind of stuff. And it's just a little bit overkill. So but use whatever you want. I'm going to go ahead and Imams, quite easy, we press little bread icon. I'm sure that many of you already know how it's bake, so I'm going to not really go too in depth over it because there are so many videos, but it's super easy. We're going to drag in our high pol and our low poly. Give the second the load because the hypol is, of course, a bit large. There we go. And drag the hypolen high, low polen low. We're also going to turn on the hypol. And now, if we go into low, we want to go ahead and adjust our cage because right now it's way too strong. And in general, we kept our hypol very close to the final. So we're going to basically, you don't want to push your cage far out because then you might start to get issues. So only as far as you feel like it's needed. Over here, I can see, like, a tiny issue coming out here. I don't know if this can be fixed by just moving this a little bit. Now, see. I think the issue has to do with that it actually collapses into each other. That's often a geometry issue. It means that we don't have enough geometry in that specific part for the cage to be able to push things out. Same over here. Over here, you can see that we actually need to see, push it out a little bit more to get those details. And over here there are also some issues. Now, part of these issues, if I just have a quick look, can be fixed directly inside of Mamset. But give me a second because I still need to check everything else, make sure that the cage is not too large. And no other issues. Okay, so fixing those issues. The first thing that we can always try to do is paint in the offset. So if you're painting in the offset, if you click on the area, you can see that over here, it paints the cage out a little bit further like this. Oh wait, sorry, I need to let me just clear it because I think I actually want to go for white. There we go white, which pushes it out. In this case, over here, pushing it out does not seem to work well. Actually, in general, it doesn't seem to work quite well. Another trick that we can do. So let's say that pushing it out probably does work over here. Let me just Here, see? Over here, it seems to work on these ends, where it kind of covers the base. So we can definitely leave that. Over here, all we need to do is just add a little bit of extra geometry. So we're going to go ahead and go into our low poly, and we see that here was the issue. I'm just going to like a quick swift loop here and here, and that hopefully helps that one. Over here, I'm just going to go ahead and place a connect. Like this, and that will hopefully help that one. So let me just go ahead and export this again and see if that fixes some of the issues. It might already instantly fix the issue that we don't have to do any offset painting or anything like that. Go to Mm set. Here it seems to have mostly fixed the issue, and here it has completely fixed the issue. And this issue is still correct that we painted it. So all we need to do is maybe we can now I think I need to go for black value. Let's try that and just see if we now bake and see how it goes, then we know if we want to fix it or not. So we have a hypol low poly now pretty much prepared. I can now hide my hypol. And in here I am a baking mode. I like to go to offline so that I just press start and it will bake. The next thing is that I need to create a new folder called textis and in here, I always like to make a folder called bakes. And this is why I like to leave all of the bakes. So we can go up here. And in the output, we can go to bakes and we can call this vending. Machine. And we want to set this to PNG, in this case. That is often one that works the best. I'm going to go for 16 samples, and I actually want to bake at eight K resolution. Now, in this case, I'm going to start at four K because I don't know yet if there are any bugs, but I like to often bake higher and then reduce lower. And normally, back in day, it was bake at four K reduced to two K or one K. But since I sometimes also make assets for cinematics, you sometimes want to push it even more, and it's easier to go down than up. So let's start with four k. In the configure, we want to have a normals, object space normals, not position y, curvature, ambient occlusion, and we can turn off the material ID. All the other maps that might be needed, we bake inside of substance painter. And I will tell you later on why. So for now, I'm going to go ahead and I'm going to only do the normals and the ambit seclusion. And let's start with our very first test bake, which is often very, very fast. Now, we can go ahead and press preview material, and this is our initial test bake. So that's looking very, very nice. It has, like, this nice softness going on. It has our ambideclusion in there. Let's go over here and let's have a look it did create a little seam down here, but not, it's not to a point where it's bad enough. I'm also going to lower down my roughness because there, in general, wouldn't be that much roughness. I think in general, there isn't that much resolution on these bolts. So I might actually want to go in and just alter those a little bit. Everything else seems to have rendered out quite nice. Let's go over here. So that in general, seems to be fine also over here. Our panels have baked quite nicely, quite softly. Let's have a look here. That seems to have given me a pretty good result. The only thing is that I can look through it. I believe that we actually end up not making any back faces over here, which was a little bit dumb of me to do. But that is something that I can just, like, cheat it to fix it a little bit. I'm going to go ahead and first of all, let's have a look over here. So over here, like, it's also baked the keyhole in quite nicely. And all of these shapes. So let's start by just fixing things one by one. First of all, is that if I have a look here. Yeah, that's just me being Willy Willy dumb. I just completely forgot about it. Not really issue. I can just go ahead and and place a plane pretty much behind it because it's something that you are not really even gonna see, I would say. So I'm going to move this all the way forward. Over here, we actually need to push it back further. So let me just go ahead and set this here, and we're gonna make that like a separate plane. So, let me just move it here. Push this back. Okay, so we have that plane, and I'm going to make another plane over here, and this one again, push it all the way back until it just hits the backside. And there we go. And for these ones, all I'm going to do is I'm going to select the entire texture over here. I'm going to do UVW map on web, which is basically the traditional texturing tool of three Max. And I'm going to go ahead and go into face mode, and I just want to select if I can turn off Ignore backfacing so that they can actually select it. So we have this one over here, which Of it's been a while since I did this the traditional way. So I'm going to go ahead and I'm going to do just like a flatten mapping over here. There we go. And this one also flatten mapping, which actually, I could have just used this tool over here. Sorry about that. I wasn't thinking about that because, yeah, I always use to plug in normally, but I don't have it installed in the latest version of T Max right now, and I don't want to introduce also an entire new tool to you guys. So we have this. We can just place it in here, and then we can basically texture it later on. That should be fine. Or if you want, you can literally find a flat area like this, and you could overlap it over here, but that might be more prone to bugs. So for now, my three Max host. There we go. For now, let's just leave it there. So that will fix that issue. Another issue that we had was over here, these pieces. I felt like they were they weren't quite matching up to the resolution that I had in mind can happen, especially like the floor. So I'm just going to see I think what I want to do is I'm just going to pack this all a little bit better. Because even though I want to not spend too much time on wpping just because it's quite a basic topic nowadays, I do want to do this right because it's very, very important to get this right the first time because it's way more annoying to go back in later and try to fix any issues. So I'm going to go ahead and I'm going to 1 second. Let me move this here. Nicely pack all of this together. I know it doesn't go super fast, but here, if we just do let's start with this piece, and then the other ones are going to become packed together in their own little area. Serve these ones. Now pack these ones together. And you just mostly note it in the AO. Of course, like I said, yes, I am going to bake at eight K resolution, but that doesn't mean it should only work at eight K resolution. That's a very different thing. You always want to make sure that your models look good at least at two K resolution. And this one, it will most likely also look good at two K resolution, although it will be slightly on the lower end feeling wise. But that's just because I choose to go for a such a, I choose to not go for two taxi maps, but two taxi maps would still also read as two K taxi maps would also read as a four K taxi map. So it's not like it's going to be a performance difference, per se. There are very other things that we could also do to further improve the resolution, but we're not going to bother with that right now. That's going to be a little bit too complex and not for this specific course. Here, let me just move these out of the way so that we can scale them up a bit more. Oh, I forgot these. Okay. So let's go ahead and collapse all of this. There we go. So that it just becomes one mesh. Now let's go ahead and go back into Mm set, continue checking. So over here, that end up reading quite nice. Here, also, that's just one of the things that when we do lowly or high pool to low poly baking, even if we place the seams at the correct place, if there is not enough resolution, then it can often still break. So that's why I'm also just focusing on still adding a little bit of extra resolution to some pieces because I rather want to make sure that they look correct. Then there is like this very small difference in taxodnsit because you won't notice that difference, per se. Let me just move this a bit closer here, see. This line over here, it's just too thin. It just wouldn't read that well. So then it's better to just scale it up a bunch like this. Okay. And this one, of course, does read well because we already scaled it up. I feel like this, it's a little bit on the low end. So let me just go in. I do still want to be careful because if we make this too much, then you start to really notice the texto density differences. But I will during texturing make sure that that doesn't really that is not noticeable. You're not going to get like all of a sudden large textures and very, like, small textures and stuff like that. The general etches over here, nice. Like, those all seem to work quite well over here also. Like the edge is a little bit harsh on the top. That's probably because we scaled the top down a bit. But I don't think I want to change that. This one reads quite nicely. The bottom reads quite nicely and the sides over here. All these details down here, they have also included in quite a nice way. So you don't really notice that it is not actual geometry. Let's go over here to the buttons. The buttons are doing good, too. And over here, there is some small seams here, and that's because here we did not place a cut. I thought that it was not going to be such a big difference, but I do notice it quite a bit. So I guess that's the last thing that we want to change, and then we are pretty much good to go. So I'm going to go here. Where are you? You are here. I'm going to place a cut, in this case, just a break on that end. And after that, you can select it, and you can just move it apart a little bit. I'm also going to place a break here. And I still like at this point because I don't want to redo too much of the UV, I want to be a bit careful, of course, about it. And I'm going to place a break here. Okay. So those are now also placed. And yeah, we don't have a huge amount of resolution, to be honest on this entire piece. But I also don't see any place where we would potentially be able to add more resolution to it. So I'm just going to leave it now because I don't think it's going to be that notable, especially once we have a textures, because we are looking at it, of course, from this distance. So I think at this point, we kind of, like, push it as far as we can. The only way to push it further is to, of course, have higher resolution, which we will bake in just a bit. So having that done, let's go ahead and convert everything back to an adipo. And now we can just go ahead and we can export this. And sometimes, yeah, sometimes for small stuff, it's faster to actually do the UVNwpping inside of your modeling software instead of going all the way back to is Mv. So I'm just going to go ahead and save. Now, over here, this is just because we moved some stuff around. So if we now go ahead and just double check that the cage didn't change, should not have. No. Was there issue here? Yes, I know. It's a bit difficult to see. I'm just gonna just in case I'm going to set this to white. No, I think it's just optical illusion or something like that. Like a visual bug, I should call it. So I think that's fine. One more thing. We have one more issue, and that issue is that we have flipped normals in our hypole. See? I only I just noticed that over here, some of these pieces, the normals in the hypole are flipped. It's a bit difficult to see, but you can definitely see by if you press call back face. Here, you can see that they are switched around. I'm going to go ahead and I'm going to go into my hypoly over here, right click object properties and turn on backface culling. This way, if I now go to Edge faces, it doesn't do that. I was hoping that it would show it, but I think the turbo smut or something is causing it to not really show as well. Yeah, you don't really notice it. In that case, it's a bit annoying. But basically, we want to go ahead and reset the X form on it. And then we want to go ahead and then just, like, re art the turbo smooth. You can also see, like, a tiny, tiny issue over here. There we go. Let's fix that issue right away. That means that becomes a little bit more difficult for me to see. This piece is correct. This side panel does not look correct. So let me just go to the side panel, delete the turbo smooth, reset X form, and then we will have to cover it soon at a Poly if we do that. An reopsmod back. Oh, turn off isolate display. Please be careful that I don't fall into that habit, because we have now just been always doing that, so I might forget. Um, everything else seems to be fine. I'm just really looking for, like, that weird lightness. Those pieces are correct. The back panel, I'm not sure if the back panel is Hmm. I don't think so. No, I think the back panel is correct. I think it's just like it feels lighter, but I think that's just the lighting. So I think it's only those, too, so let me just go ahead and having that done, select everything. Let's save our scene first. Always before we do this, and then convert everything to an added pool let's go ahead and export it. It's a hypol. And undo that. And when it loads in, it should give us there we go, correct panels. I think that's correct. Awesome. So everything is now pretty much fixed. And we also exported our low poly. Correct? Yes, yes, we did. That was what was causing those issues. So at this point, we can height our high pool, and I'm going to now set this to eight K, and I'm going to also turn on the normals and curvature. And first of all, I'm actually going to save my I will just call this baked scene and place it into the bakes folder. There we go. And let's do a full large scale baking, which again, is like, it's very fast inside Mom set. And give it a second. There we go. Okay, awesome. Let's have a closer look. So now, with eight K and full resolution, you can also see that it reads even better. Over here, also, like it reads very nice and smooth and everything like that. So that is quite good. And it's good that we added that extra resolution. So these pieces are correct. I do feel like this is, to be honest sticking out a little bit too much. So that's something that I'm just know it. I will not fix it in here, but I'm going to fix it later. There's also, like, a tiny error, it seems. But is that error in here? I don't notice it in here, so I'm just going to leave that for now. Yeah, everything looks very nice and smooth. Over here, it has baked those shapes. It didn't do a super amazing job at baking them. That is something that we can focus on now. So if we go into our low, we can paint the screw, and painting the screw basically allows you to tell the direction of the normals. So if I go ahead and paint this here, this means that it will instead of trying to bake from this angle, it will make sure that it bakes from this angle, and that should usually give you a slightly better result where you're trying to bake details that are only in the high poly, also into the low poly. All of this here, super nice and smooth. Awesome, great. Over here, it also baked it in quite nicely. It's very convincing. You can barely even see that it's not actual geometry. And everything else seems to have baked splendid. Yeah, I think, over here, the skew is also a little bit off, actually. So I'm just going to go ahead and paint it again. And I'm just going to drag these to make sure. See, I can pretty much just go in here and drag this attire. Now, you know what? You know that. I'm not gonna do that because it's also grabbing pieces that I don't want to. There we go. Let's bake this last bit or fix this last bit. Okay. So that's done. These Man now reading better? Yep. Those are reading also better. I can see a slight arrow there, which is a bit of a weird one. I honestly don't know where that arrow is coming from. Like, it seems something that we can paint out. I'm just a bit curious that maybe it has something overlapping, and I want to make sure that I have nothing overlapping because that could cause issues. And this is exactly what I mean. Look at that. No idea how? But that stuff definitely does not need to be there. Here, it's that ring. So that would have caused also quite a bit of issues. So it's good that we figured that out now. So let me just re export the low poly one final time. So that would have fixed that. The back is fixed. I think that does the trick. Let me just save my scene. Go in here, and all of the skewing should still be baked. So let's just do one more bake, and I will pass the video until that is done. Okay. So let's have a closer look. Yeah, I feel that already now looks a little bit better. In the end, I guess, yeah, it would have been nice if maybe we made it as geometry, but I'm not gonna really bother with that right now over here. That has also baked a little bit cleaner, so that's also good. Okay. Awesome. So that is now done. So what I want to do to finish this chapter off is to actually create our final model that is ready to be put inside of substance painter. So I'm going to go ahead and already save this scene. And now, because, yeah, every issue is fixed. The reason I'm so paranoid is because every issue has to be fixed before we do this stuff, because s going back is again, quite annoying. It's doable, but it's just annoying. So at this point, let's go ahead and copy our lowly and place it into a new layer, which we'll call final. So I'm now also going to go in here and I'm going to do a save as on this one and call this vending machine underscore final. But that's just for you guys, so that there is like a separation between them. I'm then going to go ahead and I'm going to move all of my pieces back into their correct placing. But that's not really what I'm excited about. I'm excited about the fact that we are now going to basically place everything correctly. So we have Oh, I should have maybe not moved that. Let me just check. Yeah, I was just above it. So pretty much here. Actually, I can probably measure it just by doing this. Okay. So we have that. We also have a branding. And since the branding is still in the right place, that makes it actually very easy for me to move this correctly. It is too low. So I actually need to move this up a bit to give it a little bit more space. Think. Let's just go to the front side view, move it a tiny bit back over here until it's in the center. And I think that does a pretty good job. So I'm now going to go ahead and also these back brackets over here. I realized that I only made one of them, but I want to have two. So I'm going to place one here and one here and just do like a simple copy. Okay, cool. Now, for the branding, again, we are just going to go ahead and we are going to from the side view, praised this branding, and I think it was something like 11. There we go. So 11 of these little branding pieces. I know that they are not identically aligned. I think what I will do is I will just go ahead and only select them to select everything else and make sure that at least the center one is aligned. That's quite important. Because now here it feels aligned, here it feels more aligned, and then in the center, it also feels quite good. We can always change the branding later on because it's not part of what we are currently focusing on. So having that done, we don't have a blockout anymore, but I want to go ahead and I want to just select that entire structure over here. And I'm going to have a look, and you can see that these ones are higher, so that is something that we want to also focus on. I'm going to move this one up up until, let's see. So we have, that is actually a bit tricky. It's probably up until, like, this point here seems good. And then those will become a little bit higher. And then the last one is going to be in the center pretty much like this. Let's see what that looks like. If I now go ahead and turn off, yeah, I think that feels quite good. Again, this is something that we can change later on. I'm now going to go ahead and just very quickly. Even though the branding is going to be something completely different, I'm just going to push this up just because it's like a placeholder. And also something that's quite important that I want to do is I want to make sure that my branding has a separate material from everything else because in marmoset, or sorry, in substance painter, it reads materials based on like each material becomes one texture. So I want to go in here. Call this branding and just apply that and then contra eye it to select everything else, and that one should still have the correct vending machine material. Awesome. So we got those things done. Now what I'm going to do is let's just first of all, focus on the feed over here. Sorry, let's focus on just the panels, which give me a second. I'm just looking at it. And I'm going to like, Oh, do that whole like slight rotation stuff, moving it a little bit. Also placing it beyond this part and maybe like a rotated bit back. And over here. Now, another thing that I want to do is I want to go ahead and turn on my snap rotate, and I'm gonna rotate it 180. Move this one here. And I'm also going to probably rotate this one. Just like 180. Sorry, let me just center the pivot. Sadly, centering pivot doesn't Oh, yeah, it does work. I was thinking that it probably wouldn't work because yeah, here, because of this piece here. For some reason, it Mmm. It should have it. I'm just going to go up here and press this little plus sign. Basically, what it does is it makes sure that the pieces stay combined. Normally, it doesn't actually complain that much about the stuff. Oh, sorry. I cannot do that because this piece needs to line up. Then I'm just going to go ahead and I'm going to do it with this one. This one is actually the most logical one to also rotate. So let's rotate this. And for now, let's focus on actually placing the legs, and then I know exactly how and where I'm going to place everything else. So we have the legs. I'm gonna rotate those a little bit to the side and then move it into, like, a nice position. Same over here for this leg, I'm going to rotate it a little bit, place it into nice position. Copy it. In this case, I'm going to leave it a bit like this and see, move it here. Copy it again. And this one I'm going to place probably like something like this. And then what you want to do is you want to make sure that over here, these pieces, we now turn off snap rotate, that they are somewhat aligned with the legs because that's how how it would go in real life. They are attached via leg, so I'm going to basically play around with them until they are all kind of, like, lined up. So something like this will work quite well. This piece over here, I'm going to move it out a little bit like this. And this piece, I think it's already quite good. We have the leg going. You know, also move this a little bit to the side. There we go. So we have a leg going here. And I guess we need to actually, for this one, move it and rotate it a little bit. There we go. That looks quite good. And in this one I'm also going to go at to rotate a little bit more so that is more like aligned to the other piece. I think that will work. I think that will work. So we have over here this piece. And as I said before, Oh, God. I had the low poly turned on. Doesn't really matter now. It's just dumb of me that I had a low poly turn on. But as long as the final is correct, the other low poly, we have a backup of it. I'm going to push this back because, as I said before, like, I feel like it was not quite at, like, a distance I wanted to. And at this point, I think we pretty much have a final looking vending machine. Look at that. And of course, we have some glass. But for the glass, all we need to do is just create a very simple plane here, and here, if it's There we go. And I'm going to add a glass material to those. Actually, for now, I'm just going to add materials so that I can see what I'm doing, even if it's something like this, which I know looks silly, but it's just that I can properly place it into position, which is roughly here. This one needs to be moved a bit further forward. And then we can go ahead and we can apply our class, and I think that is pretty much our final. So we can go ahead and we can save our scene, and we can export this as an FBX and call it ending Oh, actually, no, sorry, we are going to export it as the vending machine because I remember how we did for the blockout. I always seem to forget that one. So we can go ahead and now export it. And now, if we go into our bake scene, we can quickly drag in this final locoli Let me just turn and hide the entire baking stuff. So we have the vending machine. And with the vending machine, we have our glass for which we can go ahead and go to transparency and set this to Ditter. And then here you can see that I can instantly set the transparency, and also over here 19. Creating Our Texture Maps Part1: Okay, so with our baking now done, our goal is now to basically start with the texturing process. And for this, I will first of all, load in the model into sub spranter because we will be using sub spaner for texturing. I'm pretty sure anyone that is currently doing texturing in industry uses sub spaner although there is some tools like Mary and technical phone shop, but yeah, let me just go ahead and create a new scene. And then for the template, normally, we have a custom template that just makes everything a little bit more accurate, but just for the sake of this tutorial, I will use the PBR metallic roughness template. And then for the file, we want to go ahead and we want to grab the vending machine file. And document resolution, we can go four k, norm format OpenGL because MamastTbek bakes in OpenGL, and painter bakes in direct X A through note, Unreal engine also works in direct X and unity in OpenGL. So it's nice how they just decide to change everything. Then in the Import bake maps, you guessed it. We can go ahead and we can select our maps over here, and we can press Okay. And then it will automatically assign those maps. Oh, no, wait, sorry, I will not do that. Yeah, it will not assign them, but you can very easily select them. Let me say it like that. So we have the normal worldspace ambient occlusion and curvature. Object space and worldspace is the same thing, just so you know. And then when you move around, we will get our asset over here. So the way that texturing pretty much always works is that you want to work from large to small, just like you do often with blockouts and with general modeling. We are going to start by defining our base materials. That is the large part in this case. And once we have defined those base materials, we are going to work on defining all the branding, and after that, we're going to dive in and we're going to add small details. So these can be things like little leaks, as you can see over here, like little leaks. These are going to be like little well, more directional scratches, I would say, because in the base material, we will add some general scratches. I'm not sure if I'm actually going to do anything like this with like all the scratches, but we can see. And especially like here, I can remember on the side. No, on the back. Here on the back, it has like some leaks. But in general, we are going to keep this asset quite clean. We are going to make it a little bit more dirty than this because I just want to add some paint chipping and stuff like that, just to add some visual interest. So throughout this process, we might actually go in and find some different references, also. But just to keep that in mind. And after we have done all of those small details, then it is going to be a back and forth between marmoset and painter to basically polish everything. But you need a good foundation. And for that, you need to base materials. If you don't have a good found there, you are often going to mess up quite a bit later down the line where things just aren't working. So, first of all, in here, we have our text chat list. If you don't have any of these panels, you can always just go to Window views, and in here, you can find all of them. And I'm going to go ahead and turn off the glass, and I'm going to turn off the branding for now because we are only focused on the main body. Branding will come quite a bit later. The next thing I'm going to do is I'm just going to go ahead and improve this general scene a little bit more. So if we go up here, we have over here in our display, I we have our Environment map, and we can choose some slightly different maps. So often, there was this one that's like studio timoco. I think that was the one. Although unreal scene is actually new, which also works quite well. But I think I'm going to go for studio Timoco. Like, it's quite as strong as you can see, but oh, it's frozen a bit. Yeah, it's quite a strong one, but you can also basically control the intensity of your shadows a bit more. Studio soft white, actually, also is quite nice. I'm just playing around with it to see which one would work best. These ones over here, I would avoid because they are way too orange. So I I would go for, like, some more soft. So soft one, low contrast two bags. You know what? That one actually is quite nice. That one is new, so I haven't used it too much. We don't use it in a template, but that's quite nice. You can also go ahead and turn on the shadows, and if you want some shadow paste, but yeah, that it adds some shadow, but as you can see, computation mode intensive. It does. It's not worth it, so I'm just going to go ahead and get rid of that. Post effects, can I make this a bit larger? So in our post effects, we mostly just want to go into our tone mapping, and we want to set our function to sensitometric. So that one over here, it just gives us a bit more control over our gamma, and it will make the tone mapping a little bit more realistic. We don't need any color correction because that would kind of offset any colors that we might be adding. We want to make sure antialysing is turned on. And at this point, anything else for now, I'm kind of fine with it. Maybe have a grid. That would be nice here, to have our grid so maybe make it a bit spider, so that we can have a There we go. That feels a bit nicer. I'm just going to go up Yeah, we don't need anything like that. I think this is probably about as much as we want to change. There we go. So now we just have a base scene set up over here. And our no maps are working quite well, so that's also great. So now what we can do is we can click on our vending machine, and oh, sorry, our no maps are not working great. I was just happening to look at this one edge that had weight normals in it because I accidentally added it to the branding tab. So let's go into vending machine, and let's add them in here. That will actually make quite a big difference. I was not paying attention. We go. I was already thinking like, Oh, the AO feels a bit less, but that looks better. To bake the additional no maps, which is going to be our position map mostly. Yeah, we don't really need any of the other ones. I'm just going to bake them in here and I'm going to press use low Polis high ply, and four k is more than enough for position map. The reason I want to do that here is because position maps need to be 16 bits. However, everything we bake inside of Mamoset is often eight bits. Now we can set it in Mmset to 16 bits, but that means, needing to keep changing the bit rate. So it's easier to just do it here because now it's already done. Even with all of the additional pieces that we have added, a position map just goes from the bottom to the top, so positions don't often matter too much in that sense. So having that done, we are now ready to go. So I'm going to save my scene. And here, I'm going to do it in saves, and I'm going to call this vending machine text for texture. So what are we going to do now? We are going to work on our base materials. So pretty much a lot of this is metal and plastic, which makes it a little bit easier. So I'm going to go ahead and find a really nice. I think this is quite a good shot to give us a general overview of the metal. Most of the metal is going to be in the roughness variation. There isn't that much surface detail. And also what I need to keep in mind is that I have a lot of template materials, but sadly, I cannot use those right now. I'm going to get rid of this base layer because we don't need it. I do want to go up here into our smart materials and find just like a base metal, but it needs to be one that you guys also have. So, we want to go down to the so it takes a while to load everything. So since I cannot really find any nice materials in here to start as a base, let's just make one ourselves. I think that's also pretty good as practice. So let's go ahead and create a new folder, base painted metal. And first of all, what we need is we need a base material over here. And let's turn on the roughness and the metallic. So this base material, let's just call it base doesn't really matter. Looking here, it's quite a whitish color, but it does have a very, very slight, I guess, bluish tone. So that's something I want to kind of capture. So let's make it a bit blue. Something like this, I think, will work quite well. That's quite right. Um, Oh, wow. This sky has, like, no roughness response. I don't want that. So let's just go in here and let's just switch this back to studio Tomoko because at least with studio Tomoko, you can very clearly see the roughness response. Only thing I do want to do with this sky because it's a bit intense, is scroll down to our tone mapping, set our exposure and our gamma up a bit. There we go. So that is not like too intense. And mostly what we're going to do is later on we're going to balance this based on what's it called? Mamas Tolbac. Okay, so basically our roughness, because it is painted metal, it's honestly normally not that shiny. However, the base, I do want to make quite shiny because I see it as like a brand new coat of paint. I think that's the word for it. And then what I'm going to do is I'm going to go ahead and I'm going to add some roughness variation to this. So for this, let's go in and start with, like, the first one roughness, variation 01, hold Alt and just click only on roughness. That way it will only select the roughness. And let's say this one a bit duller. Now, all I really need to do for this is I need to go ahead and add a black mask, and then I can go into my textures over here. And all these grunches they kind of come with Oh, no, sorry, these ones here do not come with what's it called? With subset painter. But you can actually download them from our profile or marketplace. Down here, these ones come a subsprinter, and ironically, I actually made a bunch of these that are available in the core subs painter version. So I believe that this one is quite good. This is crunch dirt, tin. And what I want to do with these crunches is I'm going to go ahead and I'm going to use a triplanar projection. And I'm going to set my tiling quite a bit higher. So let's say five. So here, see, that now adds a little bit of this micro detail. You can play around with the contrast a bit, which I'm going to and then I'm going to go in my roughness and going to, you know, I want to have this very, very subtle. It's just like some general dirt and stuff like that that came on top of it. Then let's duplicate this. Let's call this roughness variation. So two. And for this one, let's go ahead and add something like smudgy, I think. Mmm. I think I feel like fingerprints are a little bit too intense. You know what? I have a cool idea. Let's grab these leaks over here, and I'm just going to go ahead. I'm going to turn on my color because the cool thing that you can do with the triplanar, in this case, if we set the tiling back to one is I can basically scale this. And coincidentally, these crunches, they happen to have leaks at the bottom and the top. So I can literally just make this as if I'm already placing something interesting here. And I think that will actually work quite nice. So if I do that and then in my roughness, I'm going to make these leaks a little bit thinner, so that we can just see them, but I am going to here. So we can see the leaks, but they're a bit low resolution. So I'm just going to go ahead and just as a little cheat, you can add a filter and just add a sharpen to this. Yeah, there we go. That feels a bit better. And I'm going to make my roughness a little bit less. So I want to have this quite subtle that it just has some general licks and grunges and stuff like that. I quite like that. Now what I'm going to do is I'm going to go ahead and I also want to have maybe something like a little bit more shiny, maybe. I don't know. Do we want some scratches? There are scratches here, but these scratches, I'm not sure if they are shiny, but we can make them, like, a bit shiny. There is, of course, also, like, some very small grunges over here, but they actually have color in them. So we are going to go over that in just a bit. Let's start by. We have a pretty solid base. Maybe make the actual base a little bit shinier. There we go. Let's start by adding a little bit of scratches here and there. So yeah, in general, you want to really take your time with this. Like, you want to make sure that this is a really solid base material. So I'm going to go for scratches. I'm going to set the color again to red. And then in here, I'm going to just go ahead and I'm going to find a nice these ones are scratches rough. I want some the scratches, they look like very subtle, very thin. But I know that there is a scratch generator inside a painter, but I never like the look of that. So let me just see how much control this one gives me because it does give me quite a bit of control. Let's set the scratch tiling to be quite yeah, like that, quite small. Scratches width can be quite a bit thinner. The length, I want to have a bit less. Um Actually, I was already fine with the dirtiness. Scratch masking. I think I mostly just want to have this scratch Let's see. Let's remove the spots, and let's remove the dust. I think something like that will work quite well. Now let's go in and add another fill layer on top and probably make this a multiply because I don't just want to have scratches everywhere. So I'm gonna let's see, let's grab this. So I look at thumbnails. I don't look at names. So grunge charcoal. And what we can do with this one is we can go ahead and we can maybe, like, set the tiling to, like, five. See, and then we can add some bonds. You can also hold Alt click on the mask and then you can just preview the mask. So let's actually do tiling of three. And maybe let's invert the selection, there we go. So if we invert it a bit. I'm just playing out tiling, like, sorry, I'm just playing with my contacts a bit more because I want to get a bit more sketches here. I'm just basically here. See, adding some subtle sketches here and there. I'm going to go ahead and add another sharpen to at a very low intensity, just to push those scratches out a little bit more. And now in here, let's go ahead and set our metal. And I want my metal completely to one. So metallic is almost always zero or one. Something can be metallic or it cannot be metallic. There are some exceptions, but that's the general flow. I'm going to set my roughness a bit higher, and then over here, we're going to go for, like, some slight grayish scratches. Now, seeing this, my roughness is higher. I'm going to go ahead and because it's a little bit too intense for my liking, I am going to cheat a little bit in terms of the metal. I'm going to first of all, in my base color, lower the opacity. Oh, wow. It's literally overpowering. In that case, what I want to do is I want to go ahead and first of all, in my metallic. I'm going to lower the metallic. It's funny that I just said like, Oh, no, roughness is zero or one. That's true. But I still go for, like, a visual style, and I didn't realize that they were going to be so incredibly strong. So let's do something like this. And now my I feel like my Oh, no, wait, it is working. For a moment there, I felt like my transparency wasn't really working. I guess then it is really just like, part of the metallicness. Yeah, it's the metalness that is starting to add the sketches. But I think that looks quite good. Like, see, it's just like you can barely see the scratches, but when the light hits it, that's when you see them. And that's kind of what I wanted to get something in that direction. I'm going to start with that. Next, I want to add like some it's very, very slight general dirt in the grinch maps. And after that, we do like, of course, a bunch of localized dirt. But let's start with that. So very, very light dirt. Let's add one more. It's called General dirt. Also, what I'm not doing is I'm not going to add any of this dirt over here yet. That's something I want to do at the end. So General dirt, let's give it a slight like brownish color like this. Maybe actually also make the roughness, like, a little bit duller. And let's go ahead and give it a black mask and let's see, something that's quite subtle. These ones could be quite subtle. They're like some scratches. What are they called grunge quacked deep. If I do a triplanar on this, I do five, and by the way, in case you didn't know, the reason we use triplanar is because it doesn't look at UVs. I will just look at the general position. That is quite nice. I'm just going to go in and I'm going to see if I can Yeah, let's do the transparency. If I can actually make it work, and then if it does, then I will work on the mask. I need to add some sharpen to this one also, because you can see that we are really pushing the limits here of what we can do with such a large asset. Let's go for, like, a tiling of tree. And now tone down our general dirt. That works quite well. It's just that the roughness, it's a little bit too strong. Yeah, so let me lower that down. Okay, so I think that works quite well. Now what we need to do is we definitely need to break this up. So I'm going to go ahead and I'm going to add another fill on top. Let's make it multiply, and let's just alt click on our mask so that we can see it. It needs to be something quite soft. But I often like over here like these smudges and stuff like that. They often work quite well. Let's try this one. It doesn't really matter which one you use. It's just use what? Use something, basically. So I still want to, of course, give it. Like, I don't want to break up all of the grunges. So this one might not be the best one, to be honest, looking at it, because it's very clearly, like, wait, maybe if we invert it. Yeah, here at arts, it removes too much. So let me do something else. Let's try these ones, the wipes. Okay, that does seem to work a bit better. So if I turn this off. Okay, so works better, but now I probably want to set my base color a little bit stronger because it's kind of removing the effect. So let's do something like 60. Maybe 55. Okay. I think that works quite nicely. So I would say that for at this point, having our base metal, that's a pretty good point to be in. So what we can do is we have a base metal now, and we can now go ahead and move on to probably the other metal. So let's start in the next chapter with our base plastic over here, and then we'll move on to, like, metal, aluminum, and all that kind of stuff. So let's continue with that in the next chapter. 20. Creating Our Texture Maps Part2: Okay. So we have done a quite nice metal over here. Of course, it looks like a blockout from here, but later on we are going to add some little leaks and little stuff. For now, let's go ahead and actually focus on the oh, sorry about that. Let's go ahead and actually focus on the plastic over here. So for the plastic, yeah, it's pretty much like just a black plastic. I should have close ups. Here we go. Of course, something that we do need to keep in mind that these images have ISO. So all this grain that you see over here, it might be slightly in the plastic, but it's not most of it. It's not actually in the plastic and it's just ISO. So yeah, there isn't, too much special. It's pretty much the same as what we have done before. So what I could actually do is I could literally just duplicate my base metal and call this black plastic, because it's all about just roughness variations. Of course, some things we are going to change. For this base metal, I'm just going to go ahead and go out a black mask. This will basically make sure that it doesn't show up. So here we have our black plastic. Let's turn off general dirt. Let's remove scratches. And let's start with just like our base over here. And what I'm going to do is I'm just going to go ahead and I'm going to start by making this quite dark. You want to be a bit careful. You don't want to make this extremely dark. The reason for that is because in PBR, nothing is pure black or pure white. So if you push it down to dark, then what will happen is that it will actually become technically invalid in terms of PBR. So trying to replicate this part. Of course, with just like a plain colour, that's a little bit difficult. So I'm just checking if maybe it has a little I'm just checking what kind of tones it has in there. So sometimes I like to set my collar, like a little bit to have a slightly colorful look. And then I just basically move up and down my collar slider to see what kind of tones it could potentially have. And I feel like it actually has a bit more like a slightly bit more like a purple, pinkish tone. So I can then go in here and I can start with start with something like this, but we definitely need to add quite a bit of work to this. So for my roughness, I'm going to set my roughness quite low. Like, this looks like quite a dull looking shape. So let's start with something like this. Now, I do want to get some of that graininess and surface detail in here. So what I can do is I can go ahead and I can add a, let's add another I think we can do, another layer, call it grain, so just duplicate our base. And this one I'm going to make probably a little bit a little bit darker like this. Add a black mask, and I'm just going to add, like, a general noise in there. So there are a bunch of different noises in here. I need to find it. Where are you? Let me just type it in. White noise. There we go. We can go ahead and we can add that. And as you can see that we'll just add a bit of greenness. Just to set the amount quite low, maybe two. I think two is like a pretty good amount. And then what you can ask is you can play around with your contrast. I alt click. It's a bit difficult to see, but I can play out my contrast to make it a little bit less, as you can see over here. So it depends on what you want to achieve. Let's start with something like that. I'm not quite happy yet about the base color, but let's first of all, start layering some stuff on top, and then we can go back in and we can balance it because here, you can see that the base color here definitely looks quite a bit different. So for the roughness variation, we can pretty much just go ahead and use a similar roughness variation. The only thing I want to do with, for example, this roughness is I'm going to set the tiling quite small, maybe 15, because, of course, the plastic is quite small. And I'm going to go ahead and then in my roughness, I'm going to make it quite subtle. So this just adds, like, a little bit of shiny roughness to it. And then this one over here, this is the leaks. I don't Those don't work anymore for us. So let's go in and grab something that's a little bit more generic, maybe some smudges or something like that. Let's see, we have wipes. Where are those fingerprint ones? Here we go. Let's try, like, just one of the fingerprint ones. I can just alt click even and just like this. Let's do a tie player projection and set this also quite small, like 15 or something like that. Yeah, see, it is quite repetitive, as you can see. But what we need to keep in mind is that this is all on the very small component, so it won't feel as repetitive. So let's go for something like this, and I'm going to go ahead and make these. You know what? No, I'm going to make these a bit more shiny, but I'm going to make the previous one a bit more like duller in our roughness than our original roughness. And then maybe going to our base, and in my base, I do want to set the original roughness now a bit up. So here, it just requires quite a bit of playing out. And in my grain, I'm going to only have the color in my grain. I notice having only the color in my grain, then I do want to probably play out my balance a bit more. Okay, so we have a little bit of that color in our grain. Like, we're starting to get the plasticy feel, but it's not quite where I want it yet. So we have a slightly duller roughness, and then this roughness, which has, like, the smudges, that one becomes a little bit lighter as if the people have been touching the surface quite a bit here and there. Okay, so we got something like that. What I'm going to do just because I need to get a better visualization for things is, let's go ahead and also make this a black plastic. And then I'm going to go into my base metal, and in my base metal, I'm going to go into polygon select element select and already just like, select some of these pieces that are going to become our base metal. So I can probably just already go in and just like this one, this one. I don't really care about doing everything yet. I just want to have my base metal. And then I have also my base plastic, and in my base plastic, I can go ahead and I can select this because it's very different reading it from here because now you can see that here that looks a lot darker than it originally looked. So that's why you often want to kind of put it in context. Where are you? There you are. And knowing this, if I kind of look at it from the side. Now I'm going to let's see. I feel like it's in the end, it actually ends up being a little bit more maybe like a yellowish color. Let me just turn off my grain, trying to get that base color, right, which is proving to be quite difficult to get it. And I don't want to go too dark because I know that it's inside of mom's set, we will probably end up needing to push it up again because moms lighting is a little bit more acurate. Now, you know what? I think I'm again going to go back to my bluish tint. Yeah. Yeah, here, see? Now I'm starting to get more in direction I want. So let's go for a very slight bluish tint. Then we still have our grain. And I'm just going to copy this blue colour, paste it in our green colour, and then let's make this quite dark. So this just shows a little bit of, like, that graininess in there. You need to make sure that it doesn't look too much like it's like I'm replicating the ISO because that's not what I want. So we got that. And then what we have is we have a roughness shine. I'm going to make my base roughness, I believe, I think, a little bit more shiny like that. And then we need to balance out these additional roughness pieces. Uh, see if I want to kind of, like, Here. Balance out the contrast. I don't think I like this grunge map over here because I'm looking for very, very soft details, and I feel that right now this is not giving me what I want. So let me just try a different one. Maybe here these wipes over here. Yeah, that could probably be a little bit better. If I just do some wipes. Yeah, see? That's already feeling quite a bit better to have, like, these smaller details here. Yeah, that reads a bit better. And then we have our second roughness, which is going to be the smudges which I'm now going to make a bit more intense. Okay. That reads quite well. Now, what we're going to do is let's have a look and see if there's any additional types of dirt. So we have some general black spots here and there. And I think I can also see some very slight like sketches that are darker actually on the plastic. So you know what? I'm going to still duplicate our original scratches, throw those in here. But this time, let's get rid of the metallic. Let's make the roughness duller. For now, let's make the color pitch black because I need to see what I'm doing. And let's just turn off those breakups and start with our scratches concrete. I'm going to go ahead and I'm going to go for let's do probably triplanar and set this to like five. There we go. So that already gives me, like those tiny scratches I want. You know, set the tiling maybe a little bit less and the scratch quantity a bit. Something like that. Just some, like, very small scratches. I don't think in this case, I need the grunge breakup because there are already so little ones of them. And then we have a sharpened. So having that done, we might want to actually just in the base color. Oh, it's mostly in the roughness, also. Let me just in the roughness. Let's see. Actually, you know what? It does look quite nice when it's shining Shined up a little bit. Let's make that like a little bit like this. A bit stronger. Yeah. You know what? Let's go for Dull. So here we go. So we have, like, a few very slight scratches. We are struggling a little bit with the resolution at this point. So it's something to keep in mind. And then over here we have a general dirt for which we can get rid of the original ones. So I want some general dirt, but I also want some little specs. So general dirt and some specs. For the specs, I had in mind to just have some very slight white specks. Let me just focus on that first. So let's grab a dirt two is often one of my favorite ones for this. And for dirt two, if we just go ahead and set our tiling, I don't think we need triplanar for this. Like 15. See, I adds like a bunch of specs. And then what I can do is I can play around with my balance and contrast. And in here, if we just have it only in the color, the specs, and then we can use the obst over here to give it like some subtle variation over here. I feel that right now, I'm just going to set it a bit stronger so that I can see. I feel that, first of all, I need to add a sharpen to this. And then after that, I need to also add a fill that is set to multiply because I want to break this up a little bit more. And let's grab something, let's grab a classic, which is crunch map 001. I just need to kind of see with crunch map 001. Let's do this 15 you need to see that it does properly break up. I was playing with my levels a bit. You can also play with the seat of your grunge to kind of, like, break it up until it's at the point that you like. I think something like this looks quite good. So now having that done, we can lower our specs again and maybe maybe in the roughness, make them a bit shiny. See? Just a little bit I think that might add some general visual interest. Set our base color opacity strength probably to like ten, and our roughness is a bit lower. Of course, we're doing really small micro adjustments right now, but just remember that we are probably going to need to alter that again later on. But it's getting there. So we got that. So the last thing that we want to do is just some general dirt for which I feel like we want something like splodges. What is this one? Grunge stain spots. I don't use these ones often, but they might actually work quite well. Uh, this one looks nice. Crunch spots dirty. Did I make that one? No, I don't think so. Let me just go ahead and try that. So I also for the tie player, tiplner is a very expensive thing to use. So basically, when you are using it a lot, you will end up slowing down your scene. So I'm going to actually try and not use it too much. I'm going to in this case, you set the tiling because for these little spots, tie planer isn't going to make much of a difference. The reason why you would want to use triplanar is over here with these spots, if we would use triplanar, you can see that they just continue on perfectly on seams. That's basically the reason why we use them. So it really depends when we are playing around with everything. If we notice any issues, then we'll use it in this case. But for now, I'm just going to go ahead and I'm going to again break things up. I'm going to break it up with, you know what? I think again, just going to go for Grange Map series one set to like 15 Alt clicks that I can see. Maybe this time invert it. I'm just playing around with the amount, and then I need to set this to multiply. There we go. So that's like some splodges. And in this case, I believe that they were actually going to be like darker than the original. So I also need to set the roughness darker. There we go. But still give it a little bit of, like, a brownish slight slight brownish tone. I'm gonna set my base color to 100% so that I you know, something like this and then play around my roughness a bit more. There we go. So that has some dark spuges. I think for now, that feels quite nice in terms of metal. Here you can definitely see it where just seems to feel quite nice. I'm going to just go ahead and turn it on and off, and I can see over here that this one, I'm going to because it's quite overpowering, I'm going to see if I can art to sharpen just to, to make that all feel a little bit hier ply because we are pushing the limits. And then sharpens our friend to kind of, like, push it a little bit more. I think something like that will work quite nice. So from a distance, it just looks like nice black metal, but then when light hits it, you can see that it, X has, like, a lot of texture and detail and everything like that. That is working quite well, and we can also replicate this plastic later on for our yellow plastic. And for those ones, we are just going to, like, make it a bit more shiny and stuff. Let's now continue exceeded to a very easy one, which is just some aluminum for which we can mostly just use an existing one. So here we have, like, steel, but there should also be here, aluminum. Alright, this is brushed aluminum. I don't want that. So let's go into our aluminum base and where it says finished brush linear. We are going to go for we are going to go for probably a rough finish matte finish rough, which gives us like this rough finish. And then if we just set the brushing intensity down quite a bit, and the warming's fine. Here, you can see it better if I show you like this. And then we have our scratches, Let's turn off the scratches. So here you can see that we have quite a nice clean aluminum that still has some interesting variation in it. The variation is quite small, so we can also set the scale so that we can see it also on like, smaller assets like here. And for the scratches, the scratches are they are actually quite cool. I'm going to just go ahead and I guess over here, it uses the roughness channel. I'm going to set this at least the effect channel to roughnes. I'm going to lower this down so that it's just like quite subtle scratches, but they do push our metal a little bit more. I think that works quite well. So, um I'm going to call aluminum underscored shiny, I know very good name. And let's just go ahead and select this part over here. And it looks like that we can also use it here. This is more comb, to be honest. So we want to probably make this Comb, but, we can make this one. And this one over here that looks more like a painted metal again. That is just slightly more shiny. So what we can do for those is, well, we have literally a om over here, so we can probably just use that see how that reads. So that reads. I quite like that it arts this solar variation already, that I don't have to work or do a lots of stuff with that. It's just that in my betty coolor I'm going to make this all. Yeah, let me just turn this off first. I'm going to make this all a little bit lighter. I'm going to get rid of the green surface. I don't think it will add much. And then here we have the purple surface. And then what I'm going to do just to push it out. I'm going to, first of all, press C and go into my base color just to see how light it is. And let's add a layer to this. I'm just going to call it Histo for histogram, and I want to sell it to pass through. And then on here, I'm going to add a filter with a, Histogram, no, let's not add the field, sorry. Let's add just like a simple levels. And with the levels, if we just set this to the base color and go to luminance. Here you see, we can now set it up and because we said to pass through, it will basically apply to all of the measures below it. We do, of course, need to make sure that we then add a mask here. But my general goal is that I can make this here a little bit lighter. Go into my cob, and now add a black mask, and then here we get selected. And I can see that stands out quite nicely. The only thing is that there is some serious grain on here. And I guess it has to do with this the base color, it's using a fractural sum, which creates the grain. I think I'm going to just going in here, set this to like 24. Hopefully that will fix it or lower down the grain a little bit. I can also try and play around with the min and max levels. I'm just trying to figure out, like, where does the general grain come from? Yeah, let's set the global opacity a bit higher. No, that's actually too much. I don't think there's much that we can do. So in that case, all I'm going to do is I am going to just lower my roughness amount a bit if it allows me to do that. Sorry, here's the roughness amount. And that's why it will read a little bit better. So we low down our roughness mount, and then we can go into our Hcrum scan. We can actually end up making this a little bit darker, like that. I feel like that reads quite well. It reads about it reads slightly brighter than the actual aluminium. So I think that works well. So we got those pieces. Now, we also needed the slightly different painted metal that you can see over here. So for this, we can just go ahead and we can duplicate our base painted metal and call this 1 Gray painted metal. Again, just a black mask, and that will over white our original black mask. And then we can just go ahead and for now, select this piece, go down here into our base, and this one is going to become probably something in this direction. I'm going to set the roughness for this a bit higher. And then I'm going to also set the roughness higher on our grunges to essentially minimize that roughness. The scratches over here, I'm going to make those a little bit smaller. So let me just set the tiling of those like three or something like that. So I want to not have as many of them. And I'm going to go into my black plastic and I'm going to steal the grain. So let's duplicate the grain layer from our black plastic. But and let's set that over here above it and give it a slightly different, interesting texture. I'm going to set this grain. I'm going to make it a tiling of like four, probably. There we go. And also, what you can do in your white noises, you can literally just change the paste over here to tone it down quite a bit because I want to have it only just show up. I think I need to make my base color a little bit darker. Hmm. I think something in that direction works quite well. Of course, yes, it does not read the same yet because we still need to do a bunch of stuff. And, of course, we don't have that grain on it. I'm also going to go ahead and set my roughnesses here a little bit less or so set the tiling of them a little bit more. But it's more about, from a distance. I want to make sure that it reads quite well. Let me just from a distance, play around with the grain a bit more. Let's make it it's a bit darker. I think for now, that works well. So we got the plastic done. We got those done. Over here, this is just like the same plastic, but then again, that we just duplicate it. And yeah, we definitely need to also work on these buttons, which are quite interesting look. And I guess the button material will also become the material that we have on here. So for now, let's finish this chapter off, put some cleanup by having these pieces, and I'm going to go ahead and I'm going to just start selecting all of my meshes that might need these pieces. So make sure that any of these layers over here are turned off. And we're going to go ahead and we are going to go to our lemon select, and I'm just going to Alt click to click on the mask that makes it a little bit easier for me to see what I need to select. So I need to select this back, this insight. For now, let's select this insight over here also, but we are going to change that later on. This all of this is all just painted metal. This one on the back uses a slightly different one. Over here, we can also the backside of this plane. And yeah, this is pretty much it is all the same metal, so that's quite easy to be able to just select all of this. This back over here, it has too much branding. So I'm going to actually focus on that one separately. So that is that one. Actually, this plastic over here, we can also use on these trips over here. So there's a lot of reuse there. Now, for our black plastic, it's Alt click, and our black plastic needs to go here. Here, this is a screen, so I'm not going to select it there. Oh, there's actually not a lot of stuff that has the black plastic on it when I look at it. I know that this is gray plastic, but I'm going to cheat a bit, and I'm just going to also make that Black plus M to go back to our material. Uh, you know what? No, I'm not going to do that because it actually is too visible. We have our sorry, I'm just going to do that for the gray painted metal. We have our aluminum shiny. So for aluminum shiny, we have those front pieces, and the legs are going to be completely different material. I want to make those galvanized metal that are going to be a little bit more advanced. So I guess aluminum shiny for now is also already fine. Chrome is also fine because we don't really have anything with chrome. And then we have a gray painted metal, which I do this backside and technically, I think I can also make it here, but I'm thinking of maybe making this back panel the same material as our feet. So let's not do that also. So I just want to play around with it, see how it works out, all that kind of stuff. So I think for now, press M, that's already like a good base. So let's go ahead and continue on to the next chapter. Oh, sorry, almost forgot. These pieces over here should also be metal. There we go. So in the next chapter, we will go ahead and we will focus on this plastic field that we have over here, and then we will just slowly continue on with the other pieces. Over here, this also is pretty much just like quite a specific plastic look. So that's why I'm also not selecting it just yet. So let's save a scene and continue on to the next chapter. 21. Creating Our Texture Maps Part3: Okay, so in the previous chapter, I said that we would work on the plastic over here and for the buttons. But actually, I forgot that this plastic, we need to alter it because this is citroplastic, but we want to go for more like fake plastic. That's a little bit more complex. So we're going to leave that until the end. Let's first of all, just finish off, like, the more easier materials. Um, so let's go first of all, let's just do some low hanging fruit, and let's start by this yellow plastic over here. We're not going to work on, like this lightness and stuff like that, just a pure yellow plastic. But that's very, very easy because we can literally just re use the black one and alter it. So we have black plastic. We can just duplicate this. And it's called yellow plastic. And then all we need to do is just create a new black mask and we can go in and, um, going here, let's see, it's this one. This one over here also has that fake plastic. So for now, I'm going to leave it. So we have this one, and we have this one. And technically this back panel here also. And these other pieces are going to all become like the fake plastic. So I think that's about it. Yeah. Okay, but let's use this one as like our reference. So all we need to do is let's go into our base. Let's turn off our grain for now. And for our base, what you can do is if you have it on the same screen, you can go in here and you can press this little checker button and you can grab a color from it. And not exactly the color I want, but it's getting close. Let me just There we go. That feels a little bit better. Of course, the colours are not going to be super acro, but it's more that you get close to it, so to speak. So we have this plastic. Then we have our grain for which I'm going to go ahead and I'm going to just copy the color code, go to the grain and paste the color code, and then just make it a little bit darker. So I'm just looking at my reference here. You know what? Yeah, so this is all dirt, so we do want to focus on that later. I'm not going to do that. I think I don't want grain for this one. I think the grain just feels like it doesn't really fit. Also, I want to have it a little bit shinier. I feel like this plastic should be a little bit shinier like this. And let you then instead, work on the roughness. So we have our roughness variation one, which I probably want to go ahead and make it a bit bigger 20, something like that. Okay, Roughness variation two. Which, you know, let's make that a bit shinier. And let's make roughness variation one, also a little bit shinier because we make everything basically a bit shinier currently. We have over here our scratches for which I want to probably make our scratches actually go a little bit more in the white direction. There we go, see, so that's a little bit white. And we probably also want to go ahead and we want to make it a little bit smaller. Let's set my scratch tiling down. We set the scratch quantity up a little bit. There we go. So scratches. And then our general dirt, it's basically just some specs for which we can once again set this up a bit. So let's make it 20. And then in our grinch map, I'm going to go ahead and I'm going to just tone down the grunge. And these ones, I want to again make it like here, let's just copy paste that color code that we made before. I'm going to make it more like a dark orange color. In general, you know what? I'm going to go into my general dirt, and I'm just going to lower the intensity amount a little bit in the opacity. I think that's a pretty solid start. Maybe maybe make it a tiny bit more yellow. There we go. Just make stand out with. But I feel like that feels quite good. So we got that one done. Now, let's go ahead. So that one is done. Later on, what we're also going to do, are going to, of course, work on the branding, and that will be a very large part of this asset, doing all the branding. And during that time, we will also work on these bits over here and the screen and stuff. Let's go ahead and focus our attention more down here on the concrete and these pieces. Now, for that, I want to have some galvanized metal for these pieces over here, and I want to have some actual concrete for these ones. I'm going to use although this is not galvanized metal, but we'll kissing I'm basically going to use photogrammetry texts for this because doing this using the standard taxis inside painter, it just doesn't it just won't look good, basically. So let's just go ahead and go to scans Metal. And again, you can make a free account and you get free credit, so you are able to download this stuff. So first of all, we're going to go to metal, and I'm in the services category, by the way. Sorry about that. Metal. And I want to I will, of course, include this so. So let me just I'm just going to call it dons in our texts folder. Here we go. Let's see. We need some galvanized metal, and this might also be nice for the other one, but I don't think we need that. This one is quite nice. That's a good galvanized metal, but I know that we have another one, this one. No, I'm going to go for this one. Eight Ks overkill. I'm just going to go for four K textures, and I'm just going to go ahead and drag it into dons and let me just extract this of course, that's happening off screen. Now the next one was going to be we need some concrete. And for that one, I want to have a closer look so concrete. And just looking at my reference. It's a really rough concrete, almost like bunker style concrete. This is no, that is too rough. This one, that gets pretty close. It gets pretty close to it. But let me just, of course, give everything a chance. Now, that's too much lines. This is too much like plaster. Uh, yeah, I think that that one is probably, like, the best one to go for. Do you know this one? Oh, this one's also pretty good. Captured in Italy. But you know what? I think that this one still feels a bit better. We also have this one, I guess, but I think this is going to be the one that we're going to use. So let's just go ahead and download this one also. And I will just quickly extract it in my folder. And let's just get started with the metal. So all you need to do is you need to go ahead and then go into your texture. And in this case, we only need a base color, normal roughness. And we're just going to go ahead and we're going to drag this in here, select all three of them and set them to texture, and just pressimport. And then, of course, we are going to build upon this texture. It's not just like this and it's done. So I'm going to go in and I'm going to create a new folder. Make it galvanized metal, and then I'm going to create a fill layer, which we'll call base, and we want color, roughness, metallic, and normal. Galvanized metal is still metallic, as far as I can remember. There are some materials that have exceptions, but I don't think galvanized metal was one of them. I'm just going to go ahead and just drag in these three textures. Once that is done, I'm going to probably use triplanar mapping for this. Would that be safer? I feel like that might be safer, but Okay, that's actually giving me arrows. That's interesting. Let's set this tiling to five. Okay, then the arrows are gone. So it was just a random arrow, I don't know. Four, maybe? Yeah, I feel like four feels quite nice. Then we're now going to just go ahead and we are going to alter some stuff. So we have a base over here. If I said this metallic, no, you know what? Maybe Governance Metal was one of those that was not metallic. But I do like over here that it is metallic, so we are going to just kind of like alter it to make it metallic. Let me say it like that. So we have it now set to metallic. I'm going to go in and I'm going to add a levels. And let's start with having the levels on the base color and oh, in the luminansal set there. I'm going to push this one up a bit, basically to balance out the base colors so that they are a little bit lighter because when something is metallic, you want to make it quite white. You can also go to C, and now you can see in our base color here that is quite a white color. The next one is going to be our roughness, which is going to be quite important also. So let's add another levels. And this time, send it to the roughness, and I want to make this one a bit darker and actually clamp those nice shapes a bit more. Let's see. And then what we're going to do is we're going to add the roughness variation later on. I think that works quite well. I feel like my norm is a bit too strong, so I'm going to go into my normal, even though technically this is acre to real life. It's just that sometimes even real life doesn't work well in this shape because the real life one was captured on, like, a very large surface area. Over here, the normal looks, for example, fine. So that's quite nice. Yeah, I like that. Cool. So we have that. Now let's add some roughness variation. That's probably the first one. So roughness and this one is going to be a little bit duller. Let's a black mask, and let's then find just, like, a general grunge that we can use something, something nice. Um, I want something quite soft because with metal, you always want to kind of, like, avoid those really, really harsh etches. So let me just try this one. Also, I'm going to go back to push mode. And for some reason, oh, never mind. Sorry. I was going back to brush mode, but, of course, we are currently editing the crunch man. Triplanar. Let's do like ten. Yeah, you see, it has a slight visual error sometimes that we don't have in UV. But in UV, we need to go for 25. So let's just use UV for now. I think that's fine for something like this. Playgrounds with our contrast. Maybe have a look at my roughness. And let's see. So here, let's make this a bit duller. Yeah, I think that reads quite I think that reads quite nicely. So we got that one. Now, we also have over here, this would be like a base metal, which is slightly different. But it's basically our aluminum but duller. So I wonder if we can get away with using uh this one. No, that's really more painted. Okay, then we're just going to make a unique aluminium for it. We can also use that aluminum on these little top pieces over here. So we got this. Nice. I think for now, that's fine. That's a solid base. So let's go ahead and add a mask and only apply this to our bolts over here. And also, let's apply it to the centerpiece over here. Then for the other one, I'm going to get my aluminum shiny, duplicate it, move it to the top and call this aluminium underscore. Dull. And we end up with quite a few materials in the end. I didn't expect to end up with this many. But yeah, select this. So this is aluminium dull, and I'm going to go ahead and in my aluminium base. Let's make this quite a bit lighter. Let's make this one quite a bit more dirty. So I'm going to set my brushing intensity higher like this. Let's set my scratches over here a bit stronger. There we go. And then I want to set my roughness down a bit. It works pretty well, but I do want to kind of, like, match it a little bit closer probably to the same color as the galvanized metal. So we probably want to go ahead and go actually for more of, like, a Yellowstone here. See? If I do yellowish stone, that blends in a little bit better, I feel. It is quite a bit lighter than our galvanized metal, but I guess, even here, it is quite light. It's not exactly matching up what I have over here, to be honest. So let me just see if I can at least balance it out a bit more. I'm gonna set my roughness a bit lower. And in my aluminium base, let's set my roughness also a bit lower. Um, But in general, if I go into my base collar, let's just check. Where's my base cooler. There you are. We cannot really go much lighter. So most of the stuff that you see here, it's because this is metallic. So the only way that we would be able to alter it is by basically turning off the metallicness. But I don't think I want to do that. I think I'm just going to keep it metallic. And for now, I think, personally, I'm quite okay with this look. So I'm just like making some very small final adjustments for now. And you know what? I want to probably grab a tiny bit of that galvanized metal. Now, a cool trick that we can do is we can just honor base art anchor point, and anchor point basically allows us to reference it. So I will call it Galf. And then if I go in here and add a base color, I can go into my color roughness and select that anchor point in both of them. And then basically here. I will reference the original galvanized metal. But then what I had in mind is to just have it like a very slight overlay. So if we go, for example, in our base color, you'll see, we just tone it down a little bit more. And then also in our roughness, set that to 50%, basically a bit higher. You see? I feel like that it makes it blend a bit better because we have one really hyperrealistic rough metal, and then we have one that right now, it's just not as realistic, but I want to keep my basis still quite good. So that's quite nice. Now, having that done, first of all, let's save Asin. We can move on to the concrete. So we have a rough concrete that has quite a bit of serious, like, blackish, maldish dirt on it. So we're just going to focus on rough concrete with that initial dirt. But you can also see a lot of leaks and stuff like that, which we're not going to focus on just yet. We will do that when we do, like, a manual dirt pass, which comes a bit later. So as always, let's import our base color, normal roughness of our concrete. There we go. Let's make a new folder called concrete. At our base roughness, normal plug in. These textures over here. I J Mo does that look quite different? Maybe because of the tiling. Let's set it to triplanar again and this time, set the tiling to, like, 15 or something. No, that's too much. 105. This to me, almost feels like I accidentally downloaded the Wong one. Or it's just like, Oh, no, no, I didn't download the wong one. It's just it's something you don't quite see. We like you see it in painter. Is that good enough? That's the question. Especially over here. Like, I'm a bit disappointed at the general resolution of the concrete over here. So let me just see if there's maybe something a bit better, that we at least do some AB testing, which just just testing it a little bit. That feels a bit too strong. That could also work this one, but we would need to work quite a bit on adding a bunch of stuff on top. This one. Let's try this one, but it is a bit too yellowish, but we might be able to just push that back in. So let me just try that one also. So let's just input base color, normal roughness. Oh, sorry, I think I mis clicked. There we go. And let's try that. So we have a base color. Normal roughness. I feel like initially that will read a little bit better. If we now go in and let's start with adding a filler, sorry, filter. Wow, filter, then add an Hs and in here, let's see if we can push this a little bit more towards the gray concrete. I'll set the lightness a little bit lower. Yeah, I'm just basically saturating it quite a bit. Okay. So let's say that we now have this initial gray concrete over here. Now, I want to probably also add to sharpen to this. So let's add another filter because this is one of the pieces where I should have probably scaled this up a little bit more, but that I just didn't really realize it as much. So yeah, we have some sharpening on here that already works better. Then what I'm going to do is I'm going to have let's start with some high noise. In just the norm map or in this case, height map. And so if you add some high noise, but like a black mask, it's basically just going to be like some general dirt noise that we can art on top just to give it a little bit more of like that high resolution hyplypl. So spots no, let's try like a dirt one. I'm just trying to wait for the here, dirt five. Let's try that. So let's try Dirt five. Ike Alt click, and in here, I need to make a few adjustments. So first of all, let's do triply. I feel like triplanar is breaking. Don't know exactly why, but Okay, at lower levels, it seems to be breaking, so something to keep in mind. Let's go for ten. Then what I want to do is I want to go ahead and you can also see here set the scaling, if you want to go even lower. I'm going to add another filter, which is like a sharpen again to push that sharpen. Here, see, now that's already adds some high noise. Now, we need to kind of break this up, so let's add another fill and break it up using a grunge because it's a little bit overpowering. Let's do the grunge charcoal one. You do that one and set it to, like, five. I'm not gonna do a triplanar on something like this. Here and I'm going to set this to multiply. There we go. So that just adds like some general roughness there. Then next, what we're going to do is we need to add some of that blackish dirt first, and we also want to have some light areas, but we can work on those also in a bit. Let's start. Yeah, you know what? Let's start with the light areas. Start with lightning. And actually, before I do that, I want to see if the current Bricks are, like, dark enough. Yeah, they seem to be there might even be a tiny bit too dark, so let me just set the lightness up like a little bit more. There we go. Okay, so lightning areas, again, a black mask, and we want to give it, like some quite soft lightning. Maybe let's try Grunge map 001. Why are you so slow? It's not like it's that big of a graph yet. Let's set this to, like, three. Play around over here with my balance. So something like that will work quite well. And then all we need to do is in our base color. I'm just using my skull wheel. So probably divide or I also want to see if well, lighting, no, I want to see if overlay. Now, let's probably do divide. So if we set this to divide, that will just inherit the texture below it while adding the lightness, and then we can go over here to give it some transparency to not make it as intense. So we now have some lightning going on. Then I'm going to go ahead and I'm going to duplicate this and for this one, I'm going to have collar and roughness and set the roughness to be quite dull. And this is going to be very dark. So let me just set this back to normal. Dark crunches. I actually have a bunch of concrete grunges I just want to see which ones would work best. Let's try this one, actually. No. I can already see that that's bone br. This one is a little bit. This is actually also concrete crunch that we might want to just, like, play around with a little bit later. But so it's something to keep in mind. Mmm. Come on, give me something that What are these ones here? Crunch dusty powder. That might actually work well. Let's do that one and let's set this again to, like, a tiling of five. May we do triplanar tiling. Y, in this case, triplanar trailing seems to be broken again. Honestly, I can't tell you why, but well, let's do, let's move it somewhere like this for now. I don't like that because here you can see that clearly, without triplanar, it is breaking a little bit. Let me just move the triplanar down. Oh, that seemed to move. So yeah, you can clearly see that there is some type of little bug going on. But let's start with something like this. So over here, we have, like, our darkening. I'm going to make this more like a slight brownish darkening. And yeah, we want to make it quite a bit duller in our concrete, and then we are going to go ahead and in our base color just lower down the opacity to give it some of those darkening properties to start with. Let's start with something like this. Then lastly, here, let's call this darkening. Then lastly, what I will do is I will duplicate this again. And I like to call this OCC, and this is something normally I would only do at the end, but because it's such a big feature for this one, I'm going to do it now. Let's go over here into our SMAC materials, and I want to grab a dust occlusion note over here and apply it. Because this note, if I just alt click, it will basically wherever we have occlusion, it will just add a bunch of that dust, which I feel like in this case, we could really use. Here like this. And now I need to just make this quite a bit darker. Still, I feel like over here, we want to probably not just have a plain grayness, but rather if we could just grab our base and not a anchor point. In our OCC, what we can then do is we can go to the base color. We can reference this anchor point. I need to call it, called base concrete. And after referencing it, I can still in the luminans down here, I can make it darker. See, and I feel that that actually reads a bit better than just having that plain color that we had before. So let's start with something like this. In the concrete, I'm just going to go ahead and I'm going to add a black mask as always and select just the concrete. There we go. So that's an initial concrete, not happy with it yet, but it is just like a start. Actually, I'm going to make the darken a little bit less. Also, this aluminum over here, we were going to use it also on these little slides over here. Like that. Oh, and we were going to use the galvanized metal on the back. Which I think once we add all of our non map details in here will also look quite nice, but we might want to scale it up a little bit later. So that is those details done. So yeah, I think that for now, that's quite alright to get started with. So let's save our scene. And in the next chapter, what we're going to do is we're going to focus on that fake plastic over here. And after that, I think after that, we are ready to start with the branding, which is going to be quite a large chapter, probably like multiple chapters to get all of this branding out here. So let's go ahead and continue with this in the next chapter. 22. Creating Our Texture Maps Part4: Okay, so we're now going to start working on one that's a little bit more tricky, which is going to be the lit. Sorry, I was in the Wong one over here because I already did some research into the lit over here and also into these buttons over here. And essentially what I want to do with that is I'm going to cheat a little bit, because having this lit, it's going to be quite tricky to replicate that, especially because it is technically transparent. However, I don't feel like the need to try and make a very complex material when we can kind of just like with all these images, maybe project something like this directly on it. So that's what I basically had in mind. So what I want to do we have this one over here, and we also have this one over here that is quite straight. The only problem with this one is that it has quite a bit of reflection on it. But if we can alter that a bit, then I think we can make it work. So if we're just going to Photoshop, over here, I already loaded in this one, and I want to load in Sorry, let me just find the image. From the front, I guess that is this one over here, because these images are quite high resolution, so we should be able to at least, alter it or use it. And I'm going to go ahead and I'm going to just start by just doing, like, a nice little selection over here, sorize it, control shift I to invert it. And that's lit number one. And you can kind of see the resolution difference, why I chose also this one. So also over here, because, of course, yes, this lid is not exactly the same. So what we might want to do is we might want to alter, but I think we're going to go for this one, looking at it. The only reason I grab the other one if just give me a second, Control shift I, right click layer from background so that we are able to delete it. For this one, I just wanted to see that if I go into filter and camera raw filter to basically make alter things, let me just zoom in. I was wondering if I can just, like, lower down the highlights, which does seem to work quite well if we do that and then essentially add some noise reduction on here. A bit like this. Tiny bit of sharpening and then also maybe set the exposure a bit higher. Yeah, playing with the shadows doesn't really do much, but I am going to set it down. Something like this. But yeah, it's hard to beat this resolution, to be honest. I don't know how much resolution this is, but if you just select it and then go to file and New, it shows you, oh, normally it shows you the resolution that you have selected. You can also just go to image Crop Image, image size. You have 1,400. So for a four K resolution texture, I think that's going to be too little. So for now, let's just hide that. And let's just focus on this one. And while focusing on it, I'm going to move this down. We don't need this one to be square. I'm just going to go ahead and I'm going to There we go, select it like this. And then what we can do is we can go to our selection mode, right click, free transform and start by just doing a simple one where we just hold control, and I'm going to push this out over here because all these side details, I don't I don't want to have those. So I'm actually going to push this let's push this up probably up until this point over here. Maybe up until this one. Here. I feel like that. It does have a little bit of stretching, to be honest. Yeah, it does have a bit of stretching. So I'm gonna let's transfer it again, hold shift and just, like, push it back in a bit like this. And then I'm just going to crop it out. So that we don't need to see that part. Okay, so we got that part done. Now, over here these sites, I'm going to see if we can just use the new generator fill Photoshop to kind of, like, get rid of those. Here, let's just do this. Let's generate the fill and just press generate. We don't have to enter anything. And my hope is that doing this, it will just kind of, like, continue on the texture, which will make things a little bit easier for me. So let me just give that a second. Yeah, that works quite well. And then also these pieces over here, I think those are not going to work very well. So let me just also go ahead and do that. For the text, I think we can leave the text. It's just something that I need to check. If it ends up not looking good enough, then I will remove the text, but if it does, then we can just leave it. So there we go. That's actually I love the generator fill. That is always quite nice. I'm just going to go ahead and merge these layers. If I just have a look, so what will happen is we will push this on there. But this is, like, the wit does not really match it, to be honest. So in order to kind of, like, mediate that, I'm going to cop it to the top, like this. And then I want to up until this point over here, I want to kind of, like, try to do another generator fill. My hope is that it will just basically at the bottom, it will have this interesting detail, which we can still project on here, I assume. Yeah, I think so. And then it will kind of, like, just continue up nicely. That is not great. Let me just try number two. Number two is better. So if we just do number two, then select this and try another generator filter to get rid of this text because that makes no sense. You can already notice that there is a difference in resolution. This sadly happens because the generator fill often generates at a low resolution when you're working in high resolution images. Yeah, let's start with this. I'm going to merge these two together of just a generator fill, and then I'm going to go to filter. Let's do sharpen and let's do smart sharpen to see if I can kind of like sharpen it. To give it a slightly more like a slightly closer effect. Uh, it doesn't look great. Another thing that you can do is you can try to, for example, you know, we can already just merge this. You can try to do it in smaller sections. If you do it in smaller sections, it often does give you better generation. So that's something that you can also try just because I don't like all of a sudden having it go to this well, low resolution feel. Even though we are going to, of course, also add a bunch of extraects. But here, see, that already works quite a bit better. So if we just continue that a little bit more, I know that it takes a little bit longer, and I know that we're doing this while not knowing exactly for sure yet if it's going to look good enough. But let's just work on this to get started with. Number two. Yeah, here it does seem to at least generate over, which is quite nice. Yeah, here on the site, it's also a bit low resolution, but I think that we can kind of, like, play around with that. So basically what I want to do with this I want to just use some warp mapping to get this better. I need to fix that part, but I can fix that later. Let's first do one generator fill here. And then hopefully when we are like some reflections and all that kind of stuff, it kind of comes out better. And then also what I can do is over here, I can still add these details into the actual norm map, but that is part of the branding phase, essentially. Okay, so, let's say that we have this. Let's go file, and let's merge these. Let's go to filter and just again, click on the sharp SMAC sharpen, sorry. And I'm going to go ahead and I'm going to do probably let's start with a patch tool where I'm going to select this and move it out. And that's what kind of like here, see softly patch it all up. And my hope is to clean that up. Also, just out of curiosity. I want to try and Oh, sorry, no, out of curiosity. I want to try and do Nah, that doesn't work. Okay, I think for now, although I do want to fix this last bit here. Mm. No, you know what? I'm gonna leave it, I think for now. I think for now, let's just try this. Let's first try, and then we can continue on. So in my dens folder, I will save this file, save a copy. Dons JPEC I mean, it was an original JPEC so it doesn't really matter. Let's call this gold shoot. I don't know if that's the right word for it, but that's the word I'm going to use. And now, if we just go in to marmoset and import this texture over here. Let's go to the top and create a new folder, and we'll call this transparent plastic. There we go. And let's start by just litty dragging this on here and setting it as the base color. And as you can see over here, now it created that transparent L if we just go to our gizmo over here, we can play around with the scaling. And we can basically, try and somewhat get this working well. Here. And then, of course, later on we can mask this out. It's quite a bit darker than I expected to be honest. But it does seem to work quite well. Surprisingly, even though it is darker, I can change that. So let me just scale this a little bit flatter, push this down a bit. Let's go for something like this that feels quite straight. That feels like from a distance like that would work. If I just throw this into the transparent plastic one, and then what I'm going to do with this is also I'm going to add some roughness, of course, to make it a bit more shiny. Here we go. Just some initial roughness. I think that's about it. We want to, of course, add the roughness variation. But first, let's go in here, let's add a black mask, and let's just mask this shuttle. So it looks like it even got the sides. Normally, it doesn't often get those quite well. So I think that actually feels quite nice. Now, let's add some balancing to it. I'm going to get started by adding a filler or filter. Why do I keep saying filler? That's weird. HSL, and I'm going to add an HSL mode. And I'm going to set the lightness up a little bit. Ooh, see, that feels a lot more transparent like that. It feels like it's really yeah. I like that. That's nice. I'm quite happy about that because I was a little bit worried that it was gonna look like ****, to be honest. So, okay, so we have this. I quite like that. Maybe I'll just for good measure, sharpen. Here, sharpen. And then what we're going to do is let's add a roughness variation. But honestly, at this point, we have so many of them. I can probably just let's see, which one do I like the most? Let's go for, like, our yellow plastic. Crap you guys, and duplicate the layers and just move them here. Select number one. So layer number one, we need to make it a little bit more soft like that. And layer number one, I want to actually make it probably shiny. And layer number two, which is Oh, no, you know what? If layer number two is like that, then layer number one is probably better off to actually become a little bit dull. Yes, and layer number two is this one. So let's go ahead and do something like this. I quite like actually having these fingerprints. If it is triplanar, which it is, I'm going to have the fingerprints somewhere here because this is often where you would mostly touch it. And I'm going to for this one, see if I can do this. Can I maybe invert this? There we go. I think feel like inverting it, that makes it feel more like some extra fingerprints. So I think that already works quite nice. I think it looks very nice even. This bar down here, I'm going to make that um let's make it in the center, something like, maybe we can do. We have the whatever it's called galvanized metal. Sorry. I forgot the name. No, let's do gray metal. Let's do gray metal. And then in the center here, let's get rid of it here in the center. You know what? Here, let's get rid of it also here, and then just pass it up again. Carefully drag it like this, and then don't forget that in the back. You want to deselect the back over here because we don't want to have that included. Okay, so we got that. Now let's go for aluminum doll. Let's try that one. Yeah, I think that might work. So let's just start by just selecting the entire thing, and then I'm just going to deselect these areas. I feel like that actually fits quite nicely. So it kind of like fits with the general texture. Now, over here, we also have this effect of these ones. So what I want to do is in my transparent plastic, we have over here our shot, and I'm going to go ahead and I'm going to duplicate this probably. Call this paper money plastic, for example. First of all, in my transparent plastic, I need to go in and I need to select these treatings over here because ls will never show up. And for the paper money plastic, honestly, we probably can just warp it. At least I'm hoping that we can. And then that we basically just like we could, of course, use many other ways, but what I was hoping for, you see that we just, like, kind of select this. And honestly, if I move it like this, it even looks looks quite nice. Only this one does not seem to actually work. Let me just make sure I have it selected. There we go. Now it works. So we have this plastic. Now, let's try to see if we can maybe scale down because if we scale down, we get a bit more resolution out of it. Yeah, I'm gonna also set this roughly here because then we instantly just make use of the texture because if we have it, why not use it? And I think that the taxi works quite well also when we combine it with everything else. Let's see if there's nothing. Yeah, the other side. Now I think this is totally fine. Let's start with something like this. I'm just not sure if instead of transparent plastic, I want to make these bits. Uh, more like the aluminum doll, for example. Where are you? Aluminum doll. See if that maybe looks better, just because then it has a little bit of shine, see? And I feel like it would be nice to just have. So we have those, and then over here, this is just going to be branding, so we don't need to worry about that right now. Another one is that we have this stuff, although we would need to create some new branding, but we can probably just once again, use the same technique. So I'm really milking this one texture, but that is totally fine. Let's again, duplicate the shot. Um, change, I'm going to call it. And for this one, I want to start by just, like, rotating it a bit more flat. And this one is going to be here, and let's just I'll wait till I need to push it out. Are you going to Is it that I don't have it correctly selected? Let me try again. There we go. I didn't have it correctly selected. So change. Let's push it here. That one feels a bit less, but that's probably just because we don't have the text on it with the non map detail, but we are going to add that later on. So for now, let's see. Can I maybe do something with this darkness? No, I think it actually looks nicer if we just don't add any of that. Let's start with this for now, and we're going to just work on that one a little bit more later on. So those are now already completed. That's looking quite nice. So what I'm going to do is I'm just going to go ahead and save my scene, and I'm going to now, this is going to be interesting with the branding, work on these buttons over here. And I'm just checking if I can maybe also do the same technique where I kind of just, like, rip it off. That would be nice. I'm just checking what kind of buttons do we have and how up close. So we have these ones over here, which are a little bit more unique, I would say. These ones which are actually digital, but if we do digital, then I'm not sure I want that. That might overcomplicate things. Yeah, so we have the unique ones. Or we can I feel like I like the Trish ones. Ooh, this is a great image. This is perfect. That's exactly what we can use. So let's go ahead and go back into Photoshop. And I'm just going to find that image that I just had in my reference. I think it was here? No, sorry, this one. There we go. And we can also definitely use that. So I'm going to start by just doing a little crop. And they pretty much are the same. So I'm just going to do one. We get an art variation on top of it later on using dirt and all that stuff. So we have this one over here. I'm going to add a very slight if we just go to camera raw filter, noise reduction to it. So let's scroll down. Sadly, I don't have to raw anymore to do that, but that would also kind of be unfair to you guys. If I literally just have a raw file, that is, like, absolutely perfect. I'm going to make it a little bit brighter. And maybe No, you know what? I'm going to keep the shadows because I want to keep that darkening in there. So let's start with something like this. And this one will be applied a little bit different. So let's do a save a copy. Textis duns. Let's call it button. And now, if we go in here, we can just import this. And this time, I'm going to go a little bit different. And I'm going to add a layer over here and call this buttons. And I'm going to do projection mapping. So go up here to the projection mapping, and then we want to have this only in the No, wait, sorry, I want to copy the roughness because we can only set these settings on. So we have color and roughness and just set the roughness for now at the exact same value. And then for the color, drag in your button over here. This direction over here. And what we need to do, also, quite important is we need to go into our mask and using polygon select, just imagine that you're selecting these buttons. And then once we start painting it, they will show up. So we have our buttons, projection mapping. Let's go in here, and all that we have to do is we kind of have to line this up, but we want to we need to be a little bit careful about the outer edge, I would say. Just wondering if it might be easier if we do this in the two D mode, but I need to see here are our Buttons, I think. That's for now try TD to see how it works. So you can just hold Alt to scale this with your right mouse button, and with your left mouse button, you can rotate it a bit. And middle mouse button, again, you can move it a bit. I'm actually really surprised how close without actually following our reference we got to this part. Let's start by doing an initial paint like this and see. So we don't have a huge amount of resolution. In general, it does work quite okay. But let's first of all, add a levels and set the levels to luminans. No, you know what? No. Let's add an HSL. Let's add a filter with a HSL. And the reason I do that is because then I also have control over the color. Here, set this up a bit, and then it set the color Ah, you know what? I think color is fine, but I'm going to set the saturation down a little bit like this. And then we definitely need a sharpen. So this is just us having a limited amount of resolution, sadly. So of course, in eight K, this will look great. But in four K, which we have now, it already looks quite a bit low. But it's not bad enough for me to go through the effort of actually applying this back, so I'm just going to add a little sharpen over here. And these buttons are really, really shiny. So I'm actually going to also go, have a look at our roughness map over here. I'm going to go ahead and make these actually quite a bit shiny. So I'm going to add my levels again and this time affect the channel roughness. I'm going to set this quite low. Of course, we still have other pieces on top of it, but just in general, it's about just lowering this down. And I'm going to go back to my H shell. I'm going to actually make this quite a bit lighter because when you have something that's really dark, it really stands out, and then you notice also the resolution. But like this, it I feel like that would work a bit better. Now, I'm gonna try a trick. Don't know if it will work, and that is to add a tiny blur and then sharpen. That's slur. A blur. To basically see if we can actually get away with just making it very low resolution, but that it feels still intentional. Is to 0.05. There is always like this little clamp that we need to get past. Here 0.06. And then we sharpen it. Let's see. Does that look better? I think it looks Okay, not as perfect as that one, but I think for the buttons that should work nicely, just checking if the blur actually helps. I think the blur I don't think the blur actually helps enough. So I'm gonna leave it. I'm just going to only use my sharpening. And for now, let's just go ahead and first of all, just paint the other ones. Here we go. Okay. Yeah, I feel as long as we don't go at it this up close unless we are exporting at eight K, I feel that that still is good enough. You can, of course, if you want to go all the way back in and scale up your UV, rebake and then import it again. And then what you would do is you would literally just drag all of these meshes into one folder, right click on the folder, and create a SMAC material of it, and then in a new scene, just apply that SMAC material back. But we are not going to go through that effort that is a bit overkill. So I think the general plastic right now that is looking quite good. That works quite nicely. So the next thing that we need to do at this point, yeah, we have the scream but that's part of the branding is, I think, go over to the branding. Yeah, I think that's going to be the next logical step. So in the next chapter, branding will come in a few different parts. So first of all, what we need to do is we need to go in and generate all of this branding over here, and then we will be using AI for that just to save some time. Also need to go in and generate like little no map details and all that stuff that comes in next part. And these branding over here, we will do that once our actual machine is completely done with texturing. This kind of stuff over here, we might be able to literally just grab it from this texture, even though it has a little bit of reflections or we can grab various brandings over here from the other pieces like this kind of stuff that looks also quite interesting. So let's go ahead and dive in with that in the next chapter. 23. Generating Our Branding Part1: Okay, so it is time for our branding chapter. Now, this chapter, it can go in many different ways. And actually, lately, since the past few years, we have some new ways. So it used to be an absolute pain to do branding because often what it meant is that you had to just redo the entire branding because you or didn't have a good enough reference. Like you only had, like, a side reference like this, which wouldn't be good enough to generate any branding out of it. So you would have to do it completely by hand. And if you were lucky, you do have some forward facing branding, but it might not be high enough resolution. However, this is where Li AI comes in, and we are just going to use good old hat GTP for most of this. So basically, what we can do in that is let's grab this one over here. Essentially, the way that it's going to work is you're going to just take a screenshot of your branding. It might not work for all of them, but it's something we want to work with. So let's just take a screenshot. Just like this doesn't have to be perfect. And there we go. I opened up in my outer screen. So now if we just go into JetTDP, essentially, what you want to do is you just want to upload the image. I do think you need a subscription for this, but it's really useful to have JettDP subscription in general. And just say, like, generate for me a flat branding sticker without background in 1024 X 1024 resolution or sorry, PX resolution. Let's start with this and then make sure it looks identical to the image to the reference image. I upload it. I will also upload more other images for which I want the same to happen. So we can do something like this, and then it will start generating that. While that is generating, let's just go ahead and go into Photoshop. And a Photoshop, let's make a new 40 96 by 496 resolution image over here. And the reason we want to do that is because we are still going to create an atlas. Basically, all of these pieces over here, we are going to just place those on this atlas so that we can quickly use them for any type of painting. Of course, as I said, for example, for these kind of pieces, you could also try and just literally rip them off the image, especially for this one. This one is exactly in center. However, it still has a lot of grain. So if you can do it with AI, it is often a little bit easier. So let's just go ahead and see takes a second. So that's the only thing that it is a bit slow. I can go ahead and already over here, also, just take a screenshot. This is still quite a time consuming process. So do keep that in mind, and it also means that I will probably time lapse most of this because I'm just going to show you how we are going to basically place it all together, and then I'm just going to collect all of the branding. And also, later on, we can also do that with all of these. So that's really nice where we just take a screenshot of for example, one of these branding pieces over here, and then just have it generate a flat piece of branding. So that is going to be very nice. And the stuff that is behind here that we can also consider to do, like, looks like some mountain view or something like that to quickly generate something for that. S, I'm using JetTDP Wow, that was not even close. Oh, wait. It did not upload my image. That is very strange. Let me just pass the video so that you don't have to wait. Okay, now it seems to have worked. That was quite strange. I had to restart my entire browser just to be able to do this. As a tip, if this does not, I would say it, work for you, you can also try Crea. So here I already wanted to Crea. Crea is basically tool that allows you to use pretty much every image generator. And in this case, I would say that you can, of course, use the hechTP here. But also Sea Dream is the one that I used here. That one also works quite well. And also, you have nano Banana, which is the recently released Google one. So you can also use those. Oh, sorry. One browser. But in this case, this one is working. So basically, all we need to do is we just need to download this. And then if we just go ahead and it's okay because I have multiple screens, so I need to, like, drag it in here. Now we have a nice high resolution sticker that we can put here in the corner, for example, like this. And then we can just go ahead and continue on with the next one. So the next one I also already got. So let me just drag it in. And then the second time Wow, really cannot speak. The second time, you can just go ahead and press, please do the same with this one. And this time here, because the image should show up and then it can actually read it. So now it will just go ahead and it will generate it again. I'm just going to pass the video until this is done just because it's a bit time consuming. Great. See how nice it is? Yeah, I would just be difficult to even match this doing this actually by hand. Like, it just going to take so long. So that's why it's really nice to use AI for these kind of things. So at this point, we can once again just the only thing is that it didn't remove the background, but honestly, that's not the biggest deal because let me just drag it in here. We do want to remove backgrounds because they can literally paint on the stickers without needing to do any type of masking. So we can kind of just like, have those in here. And in this case, let's hope if we just steize it just the select, yeah, that seems to work. Oh, no, sorry, the select almost works. Over here, it's because it's too white. And over here also, we need to kind of, like, just manually. But the rest seems to work good enough. Okay, cool. Two, Don, a bunch more to go. So basically, what we're going to do now is we are going to kick in the time laps, and we are basically, yeah, generating this one we already did. We're going to generate this text. We're going to generate these No way, these stickers, we probably are not going to do because they would need to be on the glass. That is a bit overkill. I know how to do it. You can just basically place a plane with a unique texture in front of it. Going to generate this one, this text over here, the 100 yen stuff with these shapes and everything we're going to generate. We're going to generate this text over here. We're going to generate the coin text over here. This entire panel over here we are going to generate. Down here, this one, this information stuff, we already have the chute. We're going to generate this one, this one, the coins over here. We're also going to generate I think maybe in the back, there's another one that we're going to generate. And then also over here, I'm just going to see if there's a bunch more, for example, this one that I would also generate because I just like to really throw in a bunch of branding. I think it will make everything quite a bit more visually interesting by doing stuff like that. If you want, you can literally do, like an entire side branding, that's up to you. I'm not sure I'm going to do that, just per se, but it is something we could consider Yeah, and maybe actually we will actually do this one I quite like. So maybe we'll use this one for the generating. So let's go ahead and just yeah, let's start with that. Let's dive into generating all of this branding, putting it in here, removing backgrounds, and then after that, we will go back into the real time version where we will apply it to our model. 24. Generating Our Branding Part3: Okay, so with our branding atlas now done, we have these two over here. This one saved as a PNG and this one just as a JPEG. We can get started by actually applying it to our textures, which is going to make everything look hopefully quite nice. So let's go ahead and drag them in. As a texture. There we go. Now, the first one that I'm going to work on is let's start with the simple one, which is this one. So for this one, we are just going to use a normal warp modifier or sorry warp unwrapping. So I'm going to create a new folder. Going to call it branding, and we want to have this on top so that it is basically overlapping on everything else. And then let's just start by dragging this one in into the base color. Now, we have the base color for this one. We can still do also a roughness, and for the roughness, we're going to make it quite a bit shiny. And then for the rest, let's just go ahead and actually scale this a little bit that it all fits quite nicely into our shape. I think something like that will work very well. Actually, you know what? I'm gonna not make it shiny. But guess it's paper. So I'm going to just make it like this. Throw this into the branding, and then what we're also going to do is we're going to add a black mask and then just have only this one plane over here. There we go. Nice. I'm going to reduce the contrast a bit by just going and adding a filter to our top and get our good old HSL note over here. No, you know what I want to do? Since I want to do contrast, Uh, actually, you know what, the lightness also does the same effect. But you can also use the levels. So let's maybe also just add the levels on top for good measure and make sure that when you do base color, sell it to luminance because else, you're not really controlling levels. And then just play around like the middle slider something like that. And then, of course, we will have glass in front of it, and that glass will kind of warp the image a little bit, so that will look nice. Now, the second one, what I want to do is I'm going to do a normal layer. So, of course, you could also use this whole warp projection on this. However, with so many logos, it's going to be a bit slow. And I don't really like that. I want to just move along quite quickly. So by just doing one layer, calling master branding like this, I can just go ahead and I can go into my projection mapping over here. And if I scroll down, I can drag in my branding like this. And as you can see, it's also transparent. So that's nice because we did it using that way. Then I'm going to for my roughness, let's set it to like 0.1. Yeah, something here. I think that's fine. Like we can alter the roughness later on also. And now let's get started with a small one. So let me just grab my reference over here. So we do also these pieces. They do have a sticker. So I'm just going to give it like a tiny bit of, like, a height and then hold S. And I'm going to start by placing this one over here, quite large. There we go. And make a size. Also for our Alpha, lets you set the hardness all the way to one. So that's basically here, when we paint. Oh, that's strange. Give me a second because it is still giving me a background which is not exactly what I want. Instead, here, I'll show you a little trick that we can use. Let me just do that. So instead, let's go ahead and when we do our projection, let's not have any height or roughness and only focus first on the base color. So it was somewhere here, right? So we basically draw out this base color. And then what we can do is we can add a quick anchor point to this called master branding. And then we have over here a fill layer, master controls, for example, and we don't need color, but we want to have, for example, our height to be a bit up and our roughness is going to be a little bit shiny is. And then in our black mask over here, we are going to add a fill layer and reference the anchor point of master branding. And tomatically because this is in a mask, it will convert it to grayscale. And then in here, if we just have a base color and set it to luminance, just push it all the way up like this, and then it will automatically basically become a mask, see? And then what we can do is we also can blur it a little bit or do whatever we want. Here, let's set the height quite low. And I think in general, we can also later on art roughness variation, which we also want to do we want to also later on art like some fading and stuff where the stickers are not this perfect. So let's start with this. I'm going to for now turn off the mask controls because they will slow down when we paint. And I'm going to now, let's go to projection mapping, just get started by painting everything. So we have one over there at the top. Then we have this text, which was quite a big feature. So it was somewhere over here. You can also just carefully rotate it to make sure that it is roughly all in the center and stuff like that. And I'm just double checking my work before I let go. No, I want to. Oh, it's a little bit more, something like this. That feels a bit better. There we go. So we got that one done. This one has that stuff in there. We have this cool logo. That I'm going to place. I'm going to make it a bit bigger than in real life. Something like this. And this will later on Wi I will add so much to our model because that's just how this one seems to work quite well to just add a bunch of different branding. So we have this one over here. You pump certified. Then over here, we have, like, a little warning sticker that I want to make a little bit smaller, something like this. There we go, little warning sticker. If you accidentally paint outside of it, you can always just or normally, you would be able to just paint away from it. In that case, I'm just going to enjoy it. Sorry, I do it a bit too far. Here, I will just paint a little bit more careful because for some reason, the feature I usually always use doesn't seem to work. But there we go. Painting more careful is also fine. This one can go under here. There we go. And I have also this eco leaf. I want to just see where I will place that, but I will do that in a bit. First of all, let's have somebody here. This quite interesting and prominent information logo. Like that. Then down here, I guess. No way. That's the pump. So I'm going to actually put here, you know what? I will put this one. But this is text. Text, you would think you would think that text is always, like, a little bit somewhere more visible, somewhere here. I think it's also quite nice by having this round piece, and then all of a sudden, this text is just kind of, like, stuck on there. Need to be a bit careful that I don't hit the other one. There you go. I think that will look quite interesting. So we had the over here, we wanted to do some branding. I'm going to instead have this eco leaf because I don't think I generated that specific one because it was too low resolution. So let's have the eco leaf here. And let's see, we're going to have also this 100 yen text. So I'm just zooming in so that I can see. Like this. Let's make the size bit smaller. Nice. So we got that one. We are going to have some text up here. Let me just move it. There we go. Just enough resolution for it. And then we also have some text here, which needs to be like just in between the lines. Nice. Again, just enough resolution for it. So we got that one also done. Awesome. Awesome. So over here, we also have this text, essentially. As you can see that we kind of, like, want to place here. So we have some red ones, and then we have some blue ones. I think I just am going to Nice you make it go round. The only annoying thing is that here, see, it's not quite fitting. That's a little bit frustrating because the text needs to fit in this case. Let me just see how far can I push it? Because then we will just need to alter it a little bit. Yeah, we will need to basically make it a little bit longer. So that's something that I'm going to do at the end. First of all, let's see. So we have got that one. Oh, yeah, on the side view over here, you have also a bunch of text, and I wanted to also add that. So I'm going to have a nice, large round sticker logo, although I want to make sure that that sticker logo is actually similar size because they wouldn't just have exactly the same sticker at different sizes. So it's just like that little bit of extra tart that goes into it will actually make a difference. So we have this one, and then we have the Kizuna text, which will go a bit larger probably here. And then below it, we're going to have the logo again, like that. And then below that, we are going to have this pretty large sticker. You know what? No, the sticker is not exactly in the center. And also, there are some weird lines there, but we can just get rid of those. Let's see how is that. Yeah, I think that works a little bit better. So let's just make this sticker over here. Now, if you have something that you want to get rid of over here, we have these lines. We can also just use the eraser tool, quite a classic, but hey, it works. So let's just click erase and click also. Oh, damn, there is some text over here that I missed. That's the only thing that's really annoying with this is that when you miss some text, you have to basically redo the entire thing, then unless you can manage to line it up exactly right. It gets a bit like this. Yeah, and I will just like only do this bottom text. Then, technically, it should still be fine, and I don't have to redo everything. There we go. Only over here, I'm going to get rid of this little bit also. Okay, so that's the side text. On the back, we will have just like a simple warning sticker. Which was this one over here? Oh, that's I'm surprised how much resolution that actually has. I'm very honest. You zoom in, make it a bit bigger. Yeah, we could have actually just scaled the back down a bit more, I think, looking at how much resolution it's able to get from this text. That is quite surprising. But nice. At least that helps. So we got this. And then now what we can also do is we can also just, like, take some creative liberties where we, for example, also put the logo on the back over here just to make it make the back a bit more interesting. And then later on we also have some nice leaks going down it and stuff like that. So we have that stuff. This side view let's give it just like I know it doesn't make sense to such a have a phone number all the way at the bottom. But why not? Let's just start this because we have it anyway. Here, the sites end up having actually less resolution than the bag. So we got that one done, and let's now have a look at it. Here, I feel like that already arts quite a bit. So all we need to do now is, Oh, and I forgot to generate a screen, but that's something that we can focus on later. All we need to do now is we need to also for the text, go into our branding atlas over here. And we have this one. I'm just going to go ahead and I'm going to create a new. Let's make it only 1024 by 1024. That's more than enough. And I'm going to copy our layer and paste it in here. Free transform. Let's move it down. So essentially, we are just going to make it all a little bit longer. First of all, there's this really faint outline, and I think that was just like a leftover from when I removed the white text. Oops. Sorry. Miss clicked. So I'm just going to go ahead and I'm going to get rid of that because that would have been in the way anyway. Okay. And then essentially this part. Actually, we can do it for both of those. These parts, what we want to do is we just want to go ahead and using our move tool, simply move them further out. No, sorry, almost. These part, yes, along with the bottom side. Like this. So let's move those a bit further out, like this. And then over here again, these parts along with the bottom side, let's move these out also. Now, before I'm going to go through the effort of filling all of this stuff in, I'm just going to make a very quick save and embody it into substance painter. Branding score 03 is this one. Because I want to make sure that, of course, it is actually working. So let's do this. And then we have our master branding, and we can just replace this. And let's go in here. Oh, that one is not using our correct metal. Let's quickly go to base metal. And click that to make it white. There we go. And now we have a master branding, so let's have a look here. Let's make my text a bit smaller. So the text need to be pretty much like this, and seeing that, we actually need to go a little bit further, and that's why we check. A bit annoying, of course, because I now no longer have this selection, but we are going to just clean up the rest later. First of all, just move this all a bit further. And let's do another save. And let's just reload this. And after reloading, just drag it on again. See? I think that is going to work fine. So now that we have done that, all we need to do is go in here and fill up this space with the correct blue colour. I think let's first of all, try this. Like, it doesn't have to be absolutely pixel perfect, although over here, it does need to be a bit better. Mm. Yeah, I don't really like that look. I'm going to go to my eraser tool over here and just at a very low level, see if I can here, make it a little bit softer. And now over here also, Let's go ahead and fill this space in. This one works a lot better also around the corner. Same over here. Let's just go ahead. And I'm just on purpose avoiding that very soft edge that is on the very end. I just think that will not look good if I try to add that. So what I actually going to do, I'm just going to get rid of that entire soft edge. And here the soft edge is a little bit less strong. So let me just go in and, you know, in this case, I'm actually going to Oops. I cannot. 1 second. I need to get rid of it, actually, I'm going to get rid of this part. I'm going to fill in this part and also this part over here. And then over here, we do need to add something, so let me just see if I can litty by hand. Fix that. I think that works totally fine. So let's just go ahead and save this one last time. PNG, Branding 03. Here we go. Reload this and reassign this, and that should do the trick. So at this point, what we can do is we can go ahead and we can drag this in here. Looks like we have just enough resolution, so that's good. So let me just redo that. Um, so I'm a stickler for details. I want to make this area red, actually. Here we go. But we pretty much only have to do this one, so I can just now move this along. I can see that it doesn't perfectly match, actually, so I might need to here, let me just know that. I think I do need to actually manually by hand, move things slightly to make them look correct. One, two, three, and 45 I think we need like six of them or something. Let's do. Let's do this much. Like the red label basically means hot drinks while the blue label means cold drinks, which is such an awesome thing in Japan to have just in like a vending machine. I'm going to move this one down a bit because else the tax is cutting off too much. I just continue on finishing the rest. And hopefully that will look nice once we're done, which we almost are. Then, of course, we need to do some general masking, also. So we got this one now done, and now it's more like, we want to only have this on the front face. So what we can do is we can just go ahead and add a white mask this time on here. And although it does actually mean that in the master controls, yeah, basically, I want to do a white mask, but then what it happens is that in the master controls, it will just remove it. So instead, I'm going to have it on our actual branding. I'm going to have a white mask on our branding. And then what we can do is we can just using the polygon phase, click away those sites and the inner sides, I guess we need to leave, but that is kind of fine because it is going around quite well, because this is just normal map details. I cannot just get rid of that. So we have that now, but I think the taxi, that works quite nicely. I'm quite happy about that. We might even I was going to say we might even flip this around, but actually, if we flip it around, then what will happen is that the text will be reversed. So let's not do that. But I like it. That's looking quite nice. So now what we can do is we can also turn on our master controls, which now give us a little bit of a height and stuff like that. General, in my master branding, I'm going to go in and I'm going to add a filler, and I'm going to add an HSL, and I'm going to just set the saturation down a bit because I feel like this text right now it's way too perfect, of course. So by setting the saturation down, that should fix things a bit better. Now, in our master control, we also have an issue that over here we have some texts that height map is not working well. So what we can do is we can go in and we can add a paint layer and just call this height remove and if we go in our text, we want to go ahead and we want to just get rid of this height, but that does mean that we need to probably add it back or we need to add roughness, sorry, back in later on. But for now, let's grab basic hard brush and get rid of the height on the pieces that we don't want, which is mostly just this text. Yeah, you see, now you can see that the text is willy just as if it's part of the machine. But we can just work on that a little bit later. So for now, let's get rid of this. I see over here that I missed a tiny bit, but honestly, I don't mind that, because I think that might actually look quite interesting. Over here, we also have some issue with this one where the height is just not reading very well, so I'm just going to get rid of it, also. That just makes it easy. And that's the difference between using hachTP and this was the one, where I was like, Oh, you know what? While waiting, I'm using a different AI generator, and it just creates so much noise, which is not nice. But our branding has now been placed, so that's really, really good. Now, what we're going to do is in the next chapter, we will move on to adding non map details. These are going to be like the little briar over here that you see, Oh, we also need to, like, add some little lines and stuff like that, and these little knobs. Over here, we have some stuff, and also down here, we're going to just, like, balance everything out. And after that is done, we basically have the really solid base foundation. And then what we will do is we will start focusing more on actually, dirtying this up, making it more interesting looking, adding some like leaks and dirt and all that kind of stuff. So that's going to be a fun few chapters. So let's go ahead and continue with this in the next chapter. 25. Adding Our Normal Map Details: Okay, so let's go ahead and start by adding a few small norm map details. And once that is done, we can finally get started by, like, probably setting it up inside a substance painter, just so that we have a subs patter Mamaset I mean, just so that we have, like, a slightly better view of things. And then we're gonna start with, like, final tight shops, adding dirt and everything like that, adding our screens and just a bunch of stuff like that. But first, let's go all the way to top and create a new folder. Call it normal details. And let's start by a simple fill layer and like to call this up. So this is basically anything that is standing up. Select only your height, and I'm going to set my height really really strong right now just because I need to be able to see what I'm doing. At the quick black mask. And now, let's get started by just doing all the pl. I don't know if I say it correctly in English, but let's just go ahead and start with that. And I'm just going to keep it quite nice and simple. So here, let's start with this one over here. There is a pretty strong se me see there, so something to keep an eye out on. I'm going to go ahead and grab a basic heart, brush and make it quite small. But as you can see, these are like little knobs. So I want to go to my Alpha. And if I just go in here, there is this very classic Alpha that I'm sure many of you already know called paraboiled or paraboiled. I don't know, but it is in here. This one, shape para Boloid. I don't know. Okay. Anyway, I want to get that one. I'm going to set my size is a bit smaller. Okay, so that does give us some dots. So if I just go click, click click, click, click. Yikes. That does not look very good. Let's just try it again. Let's just start with two, and I'm actually going to push my height a little bit less because it's a little bit too intense. And then we have, one, two, three, let me try that again. Sorry. 1 second. Because I want to kind of get the spacing, right? So one, two, one, two, three, space, one, two, three. It's correct, but it is like, not even close to being straight. One more time. One, two, one, two, three, one, two, one. Then here two down one. Almost here, two, down one, here, two again. And down one. Let's start with something like that. I'm just going to lower my height a little bit more. There we go. I think something like that for now is more than enough. I'm going to make my size a little bit larger, and I'm just going to go ahead and over here, hold Shift and click to art some lines. There we go. So we add some lines there. Let's see. Then over here, we have a few more. So I'm going to make it small again. Click, click. Click, click. And click. No, let's do like this. And then we have another one that's roughly at this height. Like that. So I'm just going to do small ones like this. I know that we have these pieces here, but to be honest, I feel like they are a little bit too strong. So I think I'm actually just going to create to take the creative liberty of just not having those. I feel like that might actually be a little bit better. We do also have, some of these decals over here, which I do want to get some of that in there, but I'm going to do that probably as like a final polishing phase because we are kind of pushing it right now with our timing, and that can come a little bit later. So First of all, now here, let's make this a little bit smaller. There we go. I'm going to go one, two, three, four, and then we have three like this and two up and two down. There we go. We also have this shape over here, but I'm first going to focus just on any other texts that I might need. To be honest, I think that's actually everything. Okay, yeah, since that's everything, then we can now just focus on that one, which pretty much the same shape because it's not like we have the resolution to do like a really intense shape so I'm just going to Oh, and I'm not going to have this on the corner because we have a seam there. I will not look good, so it's often just better in that case to just slightly move it. So I'm going to have one here and one here. There we go. Those are also now done. I think that's about fine. Technically, we also have some dots here, but I'm not sure if we really want to do that. If we want to, like, get some of these pieces in. But if you want, you can just go ahead and here, let's duplicate the layer and call this down. Add a black mask and let's set the height down. And also, I'm going to give it a black color just so that I'm able to see it. So it looks like there's just one here, one here. Sorry, let me just one here and I'm just going to hold Shift. But then I release shift before I click. That makes it a little bit easier for me to estimate the spacing because I'm just doing this quite quick. I don't really want to go too over the top. Okay. I don't like that. Let me just I'm going to make a slightly different design. Just mostly because I just cannot get it straight enough because I have no reference lines, but like this, I do have reference lines. And that is pretty much fine. Okay. Awesome. So we got those ones also done. Now, remember that also we already have these non map details over here. However, we do need to add some darkening to that, but that comes later. Here in the back, however, we have all of these shapes over here. Now, what I could try to do is I could try to ask haiti Petoski turn this into black mask. So for this, what would be best, is it that we place it on a square over here? Because, else, KetiTP might not be able to understand it. I'm also going to go ahead and we're going to let's see, from this point here, I'm just going to cut these pieces out like this and rasterize it. Oh, sorry, console shift I because that makes it a little bit easier for me to then do a free transform. And essentially but make this already, a little bit more straight. I think something like that should already be enough for JettTP to understand what we want. So let's just go ahead and do save a copy. And we're going to go ahead and make this a JP and this is going to be what's called grid. Let's go to GDP. And I want to see find my file. Here we go. Okay, in this case, what I'm going to do is I'm going to go ahead and I'm going to go for, can you turn this into a black and white mask of showing the, what is it? Panel grid, something like that. And let's just have it uploaded and see if this works. I'll pass the video until this is done. And actually, while that's going, I can also see that there are some bolts in the back. So we can already just go in painter. Let's go to the back over here. And since we already have this selected, you can just as well put a few. So I'm actually going to go at in the up. Let's place one here, one down here, one up here and one here. So that a bit upper so that it actually hits the frame. There we go. That just adds a little bit extra, and that should be fine. So I also since I'm waiting anyway, I'm going to go in my master control height removal. And at this point, let's set our brush back to basic heart and also get rid of the height on this back logo over here. Great. Okay. So that is done. Let's go ahead and have a look at CheTP and perfect. Got to love it. So I'm just going to go ahead and import this into substance painter over here, just as a normal texture. And then in our down channel, we can simply go in here and we can grab a Hmm. You know what? No, I'm going to actually do this as, like, a new layer because I want to make some extra additional changes. So we're going to go ahead and grab this probably as a mask over here. And I'm going to start by just making the collarett and then in our mask, we want to go in and we want to invert this. So let me just do a quick levels and then just press invert. There we go. That will make it a bit easier for us to now scale things up. You'll see so we're moving it, scaling it, cutting into, like, a pretty decent place. Here we go. So yeah, we have our levels, and then all I need to do is I need to also go in and this one is going to be in no map details, but make a folder, and let's call it grid. And place it in here. Now, first of all, in the grid, we're going to do a black mask, and then we are only going to select the panel, but, of course, we still have some red behind it. So if we just select our mask and add a paint layer, and then just having the normal hard brush, we can essentially just go here, click hold Shift. Oh, sorry, press X to switch our colors to black so that it actually paints black and not white. There you go. So we got that one, and now we can go in here and we can go ahead and set the color to be quite dark and then set the height to go inwards. Just like that. Make the height not too strong. But yeah, so hopefully that will read quite well. And you can, of course, play around a little bit more with the dark color, but that's something that I want to wait for until we are inside of marmoset. So I think that is working quite well. Another thing that we need to have is that over here, we have like these little coin details. Come on, do I have a close up? There we go. We have these little coin details and stuff like that. I really do want to have that on also. But I can remember that I did actually create a image for this. So let me just have a quick look. Yes. Here we go. So this one, um, turn this Japanese text and coin icons into also a black and white mask. Let's see. This one will be a bit more difficult, but let's see if it can understand what we mean. So while that is going, let's not just wait around and actually keep working on this. So I think what we're going to do now is let's actually in the meantime, set up our mom's at scene. Now, for our mom's head scene, I am going to supply a scene with you just because I spent a lot of time prototyping that scene and actually going over in a tutorial, like on how it's set up, I feel it's a bit overkill. So I have placed it in your safe folder. It's called vending machine. It's just a momset toolbx scene. And that's the one that we're basically going to use just to preview this. So if I just load it up, I will go over the scene. There we go. I'm not going to update right now. So in this scene, you have over here a camera. So image came over here. So it's basically a blank scene. All it has it has a shadow caster that also in the roughness map, it has just some like here some of these little little roughness details make the floor a little bit more interesting. Then it has one camera. It has some fog to make the background a bit softer. And for the rest. Oh, yeah, sorry. For the rest, it also has this. It has a sphere that is set to Invisible to camera. So if I turn this off, here, it's basically a sphere and the sphere has an emissive texture on it. This allows us to basically get some light from the top. I'm just going to go ahead and I'm going to set this back to Invisible for camera. And for the rest, it just has a sky which has basic light. And then it has a main light in the front like this. And there's a back light, which is like a rim light and also another back light from the bottom. But that one I'm actually going to delete because we don't really need that. So that's basically the scene. Not super complex, but, yeah, it's something that you need to really figure out to get the best view from it. I'm using the scene, and I'm going to go ahead and go to Export and import our vending machine over here. What I always like to do when I have scenes like this is I like to first of all, of course, have my main vending machine, but I like to often set it you set it to the center, and then I like to duplicate it. So we have this one on the center, and then if we duplicate it, and for the duplication, I'm going to just go ahead and rotate it to see the back. This way, in one view, as you can see, I can instantly see the front and the back and I'm able to basically then also move around with my camera and just in general, make sure that everything looks correct. So we have our glass over here, which seems to already work quite well. You can go into your transparency of your glass, play around with it. I'm going to turn off use albito Alpha. Not sure what that is. Let me just get rid of that. And I'm going to make it a little bit of, like, a bluish tone. Oh, Wong button. Bluish tone, and that's okay. I feel like it's not Oh, yeah, yeah it is doing something. It's just a bit more difficult to see. So let me just make it a little bit more like a light blue. And then tone down the opacity. It starts with something like this. So we have that. Our branding can just be white. And then, of course, in here, we have a vending machine for which we need our occlusion, metalness roughness map, or Bido and normal. First of all, norm map, we're going to flip the Y. The reason we want to do that is because when you export a normal map by default from substance painter, it comes with direct X normals. And the only difference between open GL normals and direct X is basically that the Y channel is flipped. Then the next thing that we're going to do is we are going to go ahead and At the embiotclusion that we baked into the embiotclusion. There we go. That way the art something. Now, at this point, let's just go ahead and check back in, and that is pretty damn amazing that it was able to get that. So yeah, AI has its bad things, of course, but it also has some really nice things that can honestly speed up your workflow. So I'm going to go ahead and I'm going to download this, drag it in. And let's go into painter, and then what we can do is, well, first of all, actually, I just realized that we need to input it in hot shop and press contra I and then save it again because else it will be the one way around, and then we cannot stamp it on here. So this is going to be stamped inwards, I guess. We'll see. Let's just see which one works best. Now, a let's do up. Let's do up because we are using a different technique for down. So let me just drag in this texture, and we're just going to do a simple planar or projection mapping. Throw it on here. Only for it to decide that it does not work again? No. Okay. Weird. Um, let's just try this. Let's very quickly try to save it as a JPEC. Let's make it call it coins. And if that doesn't work, then I will use a different technique. But it is definitely texture, so it should technically just work. I don't know why it's being, I don't know why it's being in pain. Okay, no problem. Just doing simple projection mapping and again, make it as like a mask. Oh, that's not a lot of resolution. There is more resolution in the coins, but yeah, in general, I guess this is one of the things where I forgot to art resolution. So what I'm going to do, since it doesn't have a lot of resolution, I'm gonna only have the height on here. It go inwards, actually. And I'm going to twine the sharpen. If that still doesn't look good enough. Well, we are going to just check it also tiny sharpen. We are, of course, also going to check it inside of Momset, but then I will just leave it. If it's not good enough, then it's better to not try and lower down the quality of your model just because you have one thing that's a little bit low resolution when you can kind of just hide it. I do 0.02. There we go. Let's make it, like, quite soft. But yeah, I'm not super happy about this mud. I think what we can also do is we can also literally just, like, paint this on that might honestly be a little bit better if we do something like that. So you know what? Yeah, let's literally just do that. Let's go ahead and go into our not our branding, transparent plastic. And down here, we have to shoot and what I'm going to do is I'm going to go ahead and I'm going to add a layer. Go to make it or call it coins. So as you can see, we are now basically also starting to go a little bit more back and forth, where I'm just jumping from one thing to another. I hope that's okay. This is we need to alter this because it's a little bit too dark and everything like that. So let me just go ahead and alter this by starting to crop it like this. Next, I'm just going to go ahead and right click, oh, sorry, right click and layer it from background so that we can edit it and then do a free transform. And I'm going to see if I can place is a little bit more in front of the camera like this. Next, what I'm going to do is I'm just going to go filter and my camera raw filter. And let's set the shadows all the way up, or not all the way up, but mostly up. Highlights, set highlights down, set exposure up a little bit. And let's also go down in our sharpening and do a quick noise reduction. Press okay. Again, I don't know if this will even have the right amount of resolution, but it's worth a try, I feel, because it's still quite a big focus point. I can go in here. I'm just going to call it coin text for, like, texture. And let's just quickly drag that in and let's hope that something like this works. So we have this one. I'm going to turn off the change button because we're going to now replace that projection mapping, and let's do only color because we were going to wait, I think we did add some roughness. So let's do something like this. Let's have a look. Let's set my hardness on my Alpha all the way up. It's a bit difficult to see, but does that read well enough? I'm going to turn off my non map coins. I mean, it does read, but, man, that is a low resolution. Let's make it a little bit bigger so that we can at least get a little bit more shape out of that. And else, what we might need to do is we might need to actually consider altering the actual shape, but we then would go ahead and do that at the very end. I wouldn't want to spend time on that now. At an HSL node, and let's just make the lightness a bit stronger. Maybe saturation down a bit. I don't think I want to play with McHugh. For now, let's leave it like this. I'm not completely happy about it yet, but it is looking a little bit better, but let's leave it for now. So, okay, awesome. We have these things over here done. Now as I said before, we are going to work on the refinement of everything, and I want to start by just like I actually adding our very first dirt pass. And after that, we'll do, like, a screen pass and stuff like that. But first, let's finish this chapter off by exporting our textures and importing them into MomseTolag. So I'm going to go ahead and I'm going to make a new folder. That I would call final. And in here, I'm just going to export it as four K, not as eight K because I first of all, need to just very quickly keep balancing it. If you export it eight k, subst painter needs to completely upscale your entire texture, and it's just going to be extra slow because then it doesn't need to downscale it, all that stuff. Only select vending machine. And in our global settings, we can just do PBR metallic roughness. That's fine. PNG is fine, and we are already working at four K, but if you want, you can just set it to four K, and let's go ahead and export that. There we go. Nice, quick export. Now, the moment of truth. So here we are our MmseHo much do you think that we will need to edit? So we have our base color. We have our metallic, we have our normal, and we have our roughness. So this scene is more accurate in general, compared to substance painter. So everything that we can see here, this is just mostly the more accurate version. I'm going to set my glass transparency down quite a bit more because it's hiding too much. And in general, it's a decent start. Let me just go ahead and go here. I want to play around with my lights a little bit more. So we have over here our main light. I want to make that not too strong. And then we have our back rim light, which is probably coming here at the top. Yeah, yeah, basically that light it boost up the sight a little bit. Also just lower that a bit more. Next thing is that we have over here our map, and in my ambient occlusion, I'm also going to lower that a little bit, probably set to zero at five, because I don't want to have too strong of ambient occlusion. So, in general, you can also rotate your sky, by the way, to get a more favorable angle. It's a good start. Like, definitely, a bunch of this stuff is way too dark, so that's something that we need to fix. I'm not happy with the coin, so that's something we need to fix. I'm surprised that the resolution over here is actually surprisingly bad, which does not really make much sense because in here, Oh, yeah, the resolution isn't amazing. Okay, then that is just something that we need to keep in mind, but it's also it's so you need to go so up close in order to do that. So I think that's okay. I'm not too worried about that. For the rest, I guess that the white color. So let's just go ahead and actually do, like, a proper render. And then we ended there. So I'm going to make a new folder called images. Copy this folder location. So let's go into render over here, and then set the folder name down here, and we can go ahead and just call this 01. And I'm going to go for, like, a nice four K render. JPEG is fine, and I'm just going to press Render and I'm going to pass the video until that is done. Okay, that finished rendering. And then we can have finally our very first proper look. So here we go. I think that's already starting to look promising. So that's quite nice. So especially if we look up close, yeah, the concrete needs some more work. We're gonna go ahead and change that. But in general, I feel like that actually the white color, it's pretty damn solid. I want to boost up the roughness variation a little bit more. Over here, this is a little bit more too intense colors, and of course, a little bit too black in other areas. The plastic looks amazing. Really nice. But, of course, because it's literally an image. So that sometimes just works. Over here, like, yeah, nice advertisement, all the branding in general, like it ads a lot, so that's great. So in the next chapter, what we're going to do is we are going to start by balancing out our colors. After that, what we're going to do is we're going to do an initial dirt bass where we add some genertd dirt, but also some manual dirt. I actually also want to add these norm map details then. And after that, honestly, we're just going to go back and forth a bunch. Like, we want to add some rust here. I'm going to go and find some reference on art station of other artworks to get some general inspiration for the textures. That's always a great way that you can get some inspiration. A bunch of stuff for us to do. Also, over here, this panel, it's a little bit too shiny. We're going to, like, tone that down, that kind of stuff. But for the rest, I think we are starting to get at the Willy sold point. So let's go ahead and continue with this in the next chapter. 26. Adding Dirt And Grunges Part1: Okay. So what we're going to do is we are going to start by balancing out our materials based on moms because Malmoset is more material aquart compared to substance painter. And essentially, it's just going to be me having a look at this image, having a look at this image. And some quite obvious things that you can see is that it's way too black over here, so that's something that we need to fix. I actually like the paint color. I might want to make my lid over here slightly more lighter. I'm going to also add some darkening over here to these panels down here. I'm going to on the oh, yeah, you can see it, but on the back side over here, I'm going to make this a little bit less shiny. So we're just basically gonna go back and forth until we have some quite close materials when we compare them together. And that's honestly about it. I think, actually, yeah, the the orange material is pretty good, although I'm not the biggest fan of how it ended up looking like. I still it's fine. It's just like I know it has that something is missing. I feel like it's a little bit too harsh. But, oh, wait, there's a norm map line that we need to put around that. Let's start with that because else I will forget since it's such a smart thing. That might actually be what is missing. So let's just quickly go to non map details. And in the down button, we might be able to just use this one, although it does have a material, but you just see. Let's grab a basic soft brush and make it really, really small. And then, oh, sorry, press X to go to the right color. Yeah, and then place it. I think that might actually work quite well. So let's go ahead and just go around. Hold Shift. And all I'm doing is just tracing around here. And then later on I'm of course going to get rid of the the normal details on the orange areas. Oh, I didn't like those last two. Let's go a bit closer to the edge. Basically just keep trying to put my brush exactly on the same location, which means that it is only just overlapping on the orange. There we go. And then let's go ahead and grab our polygon select, and then we can just set this to black and then click once to get rid of that. There we go. I think that might already work quite well. I'm a bit worried about the darkening. But let's for now just see how that looks like a little bit later on. So, time for the balancing. I have my reference on one screen, and I have the image on the other screen. So first of all, we have over here that our base plastic is way too dark, so that's something that we need to fix. Let's go to our black plastic and let's just set our base up a notch. Then let's go into our grain. Let's set that one up a bit. Let's see. I guess something like this should probably work well. Then we have over here our lid, and I want to go ahead and see transparent plastic, shoot HSL. There we go. Just a little tick to make it a little bit lighter. Also, over here, there's aluminum here. I want to make it just like a tiny bit, tiny bit lighter. So we have our its aluminum shiny. That one is actually it's almost good. The aluminum shiny. Only thing I want to do is I just want to lower my roughness amount a little bit like that. But where is the painted gray painted metal. There we go. That's the one. Let's go to our base. Push it up a little bit. And let's also then go into our grain. Also push it up a bit. Okay, so that's one. And let me just check what else? So, so we fix those issues. The paint is fine. I think over here at the base, it's a little bit too shiny, the metal. And also in the back, the metal is also a bit too shiny. So let's just go in here and let's have our galvanized metal over here. And then we have base and in our levels in our roughness levels. I'm going to let me just quickly press C so that I can see it's a bit better. I'm going to make it a little bit whiter. White means less shiny, something like that. Then on the back side, we have this panel. And for this panel, I want to make some changes. Let me just go ahead and create a fill layer. I'm going to call it panel variation, and I'm going to have just the roughness and metal. Let's see if we set our metal to zero. Okay, so we definitely want to keep our metallic. But let's then just only play out with our roughness, where we set our roughness a little bit lower like this. And the only thing that I'm bit worried about is that over here, we, of course, have quite a nice roughness texture. So instead, we have over here already an anchor point. Let's just go ahead and in our roughness, set the galvanized anchor point like this and then play around with it. So let me just go to C for roughness. Here we go. You still keep some of those roughness details in there. And I'm going to add a black mask, and I'm going to only select this panel. There we go. So hopefully, toning that down works a little bit better. I think it's also a little bit too dark. So what I'm also going to do is in my panel variations, let's add a color. Set the color lighter, and I'm going to set the base color to Actually, that doesn't do much, does it? Oh, no way, it does. It does. You know what? I'm just going to set my slider a bit up in my opacity slider. I think that already is fine. So we got that stuff done. I feel like also that black details inside. IT was in here in this grid. I'm not the biggest fan of it, so I'm gonna go ahead. I'm going to see if I can make it a little bit less dark. And maybe also play out with my roughness. I guess we do want to keep it completely dull. So actually, that's actually good what we did now because having it completely dull, it will come out a little bit darker. And then if we don't play around to the collar a bit more, something like this. Okay, so we got those pieces all done. Um, let's see what our stickers look like if we go into our roughness. Okay, so our stickers, they actually have quite a nice looking roughness already. So for now, I'm fine with that. But just seeing if there's anything else before we move on to the rest. So the orange, honestly, I'm quite right, or fine with the orange color. Oh, yeah, darkening inside of here. And that's about it. Yeah, darkening inside of there, and then we have a pretty good balance. So as you can see it doesn't take too long to balance it later on. Now, because this stuff over here is done in the actual no map, there isn't really an easy way to add darkening because, yes, you could use the AO, but it won't give the same effect. So I'm just going to go ahead and going to let's go yeah, you know what? I will just throw it into non map details. Make a new fill layer. Color darkening. Set the base color down quite a bit. And let's add the black mask. And this time, I want to go to my Tudvie because it's just a little bit easier over here in the Tody view to select a basic hard brush and then to just start painting it in, set the right size. And I'm just going to go ahead and I'm going to do this. It's a bit slow, but I want to do it on all of them. And because it is a little bit slow, let me just go ahead and pass the video until this is done because I'm sure that you are not going to learn anything from me doing this. Okay, so that is now done. Good. And that pretty much looks as dark as it is over here. But let's just check because it probably didn't go for fill darkness. Let me tone it down. And that's also in the roughness aa, set roughness all the way to doll. So we got that one c done. Awesome. I think then at this point, Oh, 1 second. There's some arrow here. I guess that the darkening accidentally end up being also on some other pieces. Let me just go ahead and just do, like, a select like this and then deselect Anything else? Just to make sure. Also, we can just actually alt click. Oh, wow. I guess it just bleeded over into some other pieces. So I'm just deselecting anything that is not that one panel. There we go. Okay. Awesome. So that is done, and I think we are now at a point where we can do another export. Make sure it's correct. And after that, what we can do is we can start with let's start with doing our very first dirt pass. So let's go ahead and just file. Let's first of all, save our scene actu. And then we can just go ahead and export these textures again. And I still have Momset open, so I can go over here. And in general, let me just actually for now, I'm just going to turn off that back vending machine. I don't know why machine is so slow. That's a bit strange, even though it's mom said it shouldn't be that slow. But we can kind of, like, just let this run for a second. And I feel like the plastic might need to be a little bits like a tiny bit brighter. Yeah, for rest, that everything else seems to be quite right. Yeah, now the denoising end up working. We can set the denoising lower. Yeah, I'm going to make the plastic slightly bit brighter and maybe also a tiny bit in the direction of yellowish, but that might also just be fixed simply by setting our sky, for example, over here, to something that is a little bit more yellowish. Japanese apartment. That would be funny if that one actually works really well. No. But yeah, here you can see that if we go ahead for a sky that's like a little bit more yellowish like this, it does also solve that. But for now, let me just know that because I do want to keep my previous sky just because it's one that we've used a lot. Let's turn on my other vending machine, also see the panel at the back. So let's go in, and the very last thing is I'm going to go ahead and in our black plastic in our base. Make it a little bit lighter. But you know what? I'm not I'm gonna stick with blue. I think I just like the bluish stone a bit more, so a little bit lighter. And then also our grain. Don't forget to also said that one. There we go. Alsome. Okay, so we have those things done. The only thing I would say is maybe go a little bit less blue. Now that I look at it, because when we go lighter, it also the blue stands out a little bit more. I think that that's pretty good. Now, what we're going to do we just going to dive straight into the next one, which is going to be that we want to do an overall dirt paths. So when layering dirt, which is quite important, although it is quite a clean scene, you can see still like a bunch of, like, little leaks and little occlusion dirt and all that kind of stuff. Over here, there's even some rust details. So what I want to do is I'm going to, first of all, do an overall dirt, which is basically just like some generators for, like, some occlusion dirt and stuff like that. Once that is done, we are going to focus on just doing some general dirt painting, like leaks and stuff like that. And after that, we will focus on each individual component. For example, over here, you can see that we have some heavy leaks and some rust and stuff like that, so we want to focus on that. Definitely, the concrete is something that we need to focus on quite a bit more. And then in general, over here, we also do I have a close up of that? Here we also have, like, it's a little bit like rusty, and I quite like that, but what I want to do is I want to also push it a bit more. So at this point, let's add our overall dirt. And then in the next chapter, I will also have some new references for you guys online just to give us some texture inspiration. But for the Ova dirt, the overall dirt is basically just something that will be on the entire model. I'm going to create a new folder and call it dirt and grunge. And in here, let's start with a simple base color or a base color fill layer that we'll call OCC, which stands for occlusion dirt. We're going to go ahead and make it like a bit of like a brownish color like this, set the roughness quite low, and also set the metallic to zero because dirt is not metallic, like this. And what we can do is we can add a black mask, and we want to go up here to our mask sorry, our smart masks, and we're going to go ahead for a very simple dirt or dust occlusion over here. You can go ahead and Alt click and then you can see, kind of, like what it does. So I'm looking more for, like, these little micro details. So I'm going to go ahead and going to set my level down a little bit here. I just want to really get these little details over here. And I'm, of course, also going to just, like, paint out some areas. So something like that, you can also play around with over here edge masking, which will show here, see how much of the edges. So let's make sure that we don't get any really strong edge effects. You can try to use triplanar. Sometimes that looks a bit nicer. Not in this case, I guess. And if you want, you can also use a custom grunch. So we can always check. I like to always just quickly check to see if there's maybe a grunge that works a little bit better. So when you turn a custom grunch over here, you have a custom grunge slot, and if you just drag something in, you can see how that works. So we can go in here and just try like a few of them. The only one that I hear, like a few of these dirty ones. I just wanted to see if there was something in here that, I had some visual interest, but to be honest, like, where is that I forgot where that, this one, Grange leaks or no. Crunch dirt. That one actually works quite well if we just play around with the balance. So let's see. So before, after, before, after before after. I quite like over here on the larger areas, you do see something a little bit more interesting. So I think I'm actually going to go for this one. I'm just playing around a little bit more my contrast and my balance like this. And once you're happy with it, what we can do is we can then just add a paint layer on top. Oh well, actually, we can first of all, just go to our scene and then we can go ahead and give it like the right color. Something like this. So it's still visible on the metal, but it's also still visible in here. And now, Add click. Let's add a quick paint layer, and I'm just going to paint out the areas that I don't really like. For this, I'm just going to use any brush that has some text shelf. Course, you guys might have a lot less brushes, but you can get so many of these brushes online. You see? And I'm just basically in some of these areas, pating it out so that it really only stays left in the corners like that. For here also, I'm just gonna go ahead and, like, here, lower it a bit in the centers. You know what? I might want to keep it there. Let me just see. Yeah, I'm gonna keep it in there. Um, that actually also works quite nicely in there. So someone else is going to keep that. Over here, it probably won't work as nicely. Let me just see. Yeah, that's a little bit too dirty, and also it has too much of that game texture feel. Let me say it like that. So what I'm going to do is, why doesn't it work? There we go. Paint this out over here. And you know what? I'm just not going to have it. I'm actually going to use my polygon sect, and I'm just literally going to deselect this entire area. That's just a bit easier. And then over here, I want to also uh I think I want to paint it out like this because later on we are going to have the screens in which we want to have some dirt. So it's nice to already have some dirt in there. Although I do want to probably just have a quick check. Yeah, I think that's quite nice. Only first of all, let's paint it out where we have the screens. We don't want to have overwhelming dirt there. And then also at the bottom, I'm going to just, like, paint out quite a bit, but I will do that after. Here, screens. Now, make my brush a bit bigger but set the flow a bit lower, and then I'm just going to go ahead and I'm going to maybe set the flow a bit higher. Here we go. And let's paint that out. I'm okay with having some occlusion dirt there. That's already looking quite a bit better. Over here, I'm just also going to paint out. I'm not even sure if this reads quite well. Mm. Yeah, I think I'm not going to have too much on it here because we're going to have a rust and everything, so we will probably add some manual dirt in there. The same will probably happen here. Like here, this is way too overpowering for what we need. So what I'm going to do is I'm just gonna go aha, and I'm going to deselect that one. There we go. And over here, we added some dirt down here. But we already had that kind of dirt. So I guess what we can also do is we can also just kind of, like, at least in the center until we cannot really see it anymore. Just get rid of some of that over the top dirt. But it's okay to kind of, like, leave a bit of dirt around the edges. It's a bit annoying to paint this one out, but it's just to a point where you cannot really see it anymore, because you're not going to be able to look all the way inside of here, so it should be fine. And it's also not like the dart was dead visible. This one I just don't like to see, so that's why I'm painting that one out completely. There we go. Okay, so backside, we have some dirt around the panels. That's totally fine. And at the top side, we also have some dirt. I think that that is a pretty decent occlusion dirt layer that we have over here. The roughness is quite dull. I kind of wish it over here it was maybe, like, a little bit stronger. You can always try to add a levels on top. See if you can push it out like a little bit. Maybe let's call it to be like a little bit more. Oh, no, no, you know what? No, I don't want to do it. I think that that is good. So that's quite subtle, but that's what we want for this initial layer. So having that done, now what I want to show you is I want to show you how to do a little bit more localized that, which is going to be like leaks and stuff like that. So for that, let's create a new layer and call this Leaks underscore 01. And the reason I do 01 is, of course, because the leaks make it a black mask. They will look different depending on which material we paint them on. These ones are specifically going to be for the white material over here. So here you can see some, like, quite obvious leaks going on, small and big. I'm going to go ahead and show you. So with this, I often use Alphas. So I have a bunch of Alphas here. The alphas that I use, I will just give you a bunch of them. The tricky things like these are not included in the standard substance painter, but they are just very important in general to use. Because if I go here to my projection mapping, and for example, drag in one of these leaks over here, that's again a bug. That the leaks don't work. Let me just see and fix that. We were able to get around it normally, but not like this. Like this, we won't be able to get around it properly. So I will just have a quick look. Okay, so yeah, this is quite clearly a bug, which is bit annoying. So but I did start of a workound and the workaround is to create a layer and call this leaks mask. And then we go ahead and we at an anchor point. And then in here, we just reference the anchor point. I know it's annoying workaround, but I don't know what else to do because this very I'm 1,000% sure that this used to work totally fine. But anyway, because now we have this leaks mask over here, we are now able to drag in our leaks, and then you can see that here we have some leaks. So I will give you guys a bunch of these. Usually, where I find them is I literally just go, for example, to r Station Marketplace, and I just look up like leak crunches. Another classic one is to go to texts.com. And then if you go over here to library, they also often have a lot of decals over here. And although they did change it, there are leak decals here. And nice thing about these leak decals, actually, a bunch of them are what you like this is basically you just apply these leak decals to a 1024 by 1024 texture, and you just turn it into a gray scale or into a black and white mask. You can even ask AI to generate these. So there are various ways to do it. There are many, many, many tutorials online on how to do it. In my case, I want to more focus on just like, instead of just teaching you how to create a mask on how to actually use this stuff all properly. So this one over here, these leaks look quite close to what we see over here. So what you can do is you can then have this projection mapping, and you can kind of place it wherever you want, so I'm going to place it over here. And let's set my Alpha to be like a nice soft alpha. Oh, it doesn't have the correct mask 1 second. So we can apply this and set this in the base color to 0% over here. And now it works. So you see now it just uses these leaks. So here we can see that we get some nice leaks, and then we can go in our color, and we can go for something that's a little bit more in a direction like a reference over here. So now, you can go in and you can say, for example, okay, like, Hey, I want to have quite a long leak here like this. And I do want to fade this out. So maybe I want to fade it out by just having to be careful because, of course, I don't want to get rid of that leak. Here, let's have a leak here. And then if we just grab something else, um, there's something to add to those leaks. Also, what you can do is on top of this, if you want to start layering stuff, which might sometimes be nice, you can add paint layers on the very top. And the reason you might want to do that is let's say that we have well, this is annoying because it's an angle, but let's say that we have a paint layer on top and we grab uh say something like this over here. Then what you can do is you can go ahead and you can paint in it, but you want to set the paint over here to linear drag art. Are you painting? Did I do something wrong? Oh, yes, I do something wrong. The mask needs to, of course, be above the paid layer. Sorry about that. Yeah, let me just paint it out. Anyway, as I was saying, now, by having linear Dutch art or you can also do stuff like, for example, Max ten, you can start layering effects. Just give me a second because I don't like this one. I'm going to go for, like, I want to just have something quite subtle. This, for example, here we go. Yeah, I can go ahead and I can paint this stuff, and I can also always just set this stuff to Linear Dodge art, which even if I didn't have these leaks over here, it should not replace them but paint them on. See? It basically adds them to it. And for the rest, I'm just trying to figure out why it does not paint. It might just be that here, the details might just be too subtle. There we go. It does paint a little bit, but the details are being a bit of a paint where they're a bit too subtle to properly paint. There we go. So now you can see that we have some very, very slight paint leaking like this. I'm going to go ahead and I'm going to See, let's make it a little bit darker, but then in my opacity, I want to just tone that down a bit because I want to have this quite subtle. So let's do sevity, for example. And in my roughness, let's not make it, like, completely dark. So like this, we can add some leaks. Now, we can go ahead and then go in and do this a bunch more times. Sorry, I just need to go to my leaks. You can keep adding paint layers and just setting them to art if you are worried about overwriting anything. But this is mostly if you want to stack multiple leak Alphas on top of each other. So in case since I'm not doing that, right now, all I'm doing is just going to entirely new section. I can simply go in here and I'm basically just looking around and grabbing some good Alphas or going to texts.com and grabbing some good Alphas. Yeah, for example, this one, and I quite like having the of having that one somewhere here. We might also have some resolution issues, actually. I'm just thinking that what we can do is we can add basically a levels. And then in the levels, we can push it. But then what we can essentially say is that all of the layers here, all of the layers above the levels are not going to be pushed by the levels, except for the one that happens to be already in the core mask and all of the layers below it. So if I now add the paint layer below it, then what you will notice is that if I go here this is, of course, way too strong. But now, because this levels is just above it, we can push only these details. These ones over here are getting pushed automatically because we did them in the original. But I think that's a pretty good system for now where we can keep everything into the same layer mask because I never like to go a little bit go too overwhelming with the amount of paint masks and everything like that. I think I've just been rattling and talking to Mike, so let me just actually go ahead and start by painting something here. That one is a bit too dark or a bit too strong. I just want something that's a little bit lower. Here, let's do something like this. And then we basically paint that one in. Actually, you know what I like this one more. There we go. We paint this one in over here. And then we switch to something like more leaky brush. And then what we can do is we can add another fill layer. Actually, let's make sure that we set both of these to art. And then over here with the fill layer, we can just add some leaks over here. I need to quickly check and see why my scene is so slow, but I will do that because we are now pretty much at a good point to end this chapter. And see now we can use our levels to push it in and out. You can also always go in, and if you want, you can use your race tool at like a lower level to kind of get rid of some of these. I'm just wondering. Oh, I guess we still painted it in here. There we go. So let's get rid of some of these. Overspilling. There we go. And then we have a little bit of leaks like this. And then, of course, we want to go in. We want to balance them a bit. In this case, I will probably like tone down the base color a little bit more. But at this point, let's just go ahead and do an export, just to see what it looks like, and then we will end this chapter. And in the next chapter, we are going to go ahead and just place a bunch of leaks around, and then we'll just keep jumping back and forth, adding a bunch of different types of dirt. So let's just first of all, export these textures over here. And then in marmoset, to have a more like close up look to see if it actually looks nice. Also, what we can do in Marmo set is we can go up here, and in the viewport, we can set the samples to 25, six. And what that will do is it will slightly quicker render until you actually, let's say one to eight. It will slightly quicker render our samples and then it will turn on denoising, which allows us to see everything a little bit clearer, a little bit quicker. Here, see? So now we can see that we have these little leaks over here, and that looks quite nice. Awesome. So, we now have done that. Let's go ahead and continue on to the next chapter where we will start by populating our model with some manual leaks. And after that, we will also start by doing some little Russ and stuff, which will also involve stencils like this that I will give you, and we can continue from there. 27. Adding Dirt And Grunges Part2: Okay, so what we're going to do now is I just want to first go over on how to create a few different dirt elements. And basically, the reason I want to do that because after that, I want to do time laps because just painting in dirt, it's very repetitive and time consuming. So first of all, what I wanted to do is you can see over here rust like that, and I also want to get some general like rust chips and stuff like that in there. So for this, actually we have, like, a default rust which ends up being pretty close to what we need. So if you just go ahead, create a folder, it's called rust. And if you just go to your normal materials, type in rust. There's this quite strong red metal rust, but at very low levels, it might actually give us similar to these details over here. So that would be quite useful if we can just use this instead of needing to use a scanned material. Oh. Maybe we should use a scanned material after looking. I can't remember it looking better, to be honest. Let me just have a quick look. So if we go to surfaces, and let's type in Rust Oh, Psearg. So in here, we also have this one. Yeah, to be honest, I think this one actually might look a little bit nicer. So let's just use this one. I'm going to go to dons. I'm going to make this four K and let's just download it. I'm not sure why that is so slow. There we go. And I'm just dragging it into our dons folder on my other screen and extracting it. And then we can just use this as a base. So import the base color, normal roughness, as always. Texture, import. I'm going to get rid of that rust, and I'm just going to create a simple fill layer. Call it base rust, and I'm going to grab my roughness and normal tick tick and tick. There we go. Let's set this to quite a small tiling, maybe like ten is. I'm not sure if I want to do triplanar. I feel like triplanar does feel a little bit nicer. I do see over here, we have quite a sharp edge, so we didn't have quite enough resolution in there. Maybe we should have done a bevel, but it's also not that bad. I'm going to add the filter and just make it an HSL, and I'm going to make this a little bit more like a reddish rust because that's what it looks like. And I'm going to make it also like a little bit darker. Ah, make a bit more darker. Set the saturation up a bit. Something like this as just like a base. That's fine. So we need two things. We need a general generator, which will add a little bit of rust on some of these corners over here, but we're going to be very specific where we want to have this rust. And on top of that, we're going to do manual painting. So first of all, for the generator, let's go ahead and add a we can pretty much just add a black mask to this rust. And if we just go into a smart mask, I don't think I want to have just my normal occlusion and feel like that might not work as well. There are rust generators here, but they don't actually do what I want. So we have another one that is occlusion strong. Let me just try that one out first. Hmm. I guess the issue is that I need to have it both on the edges and I need to have it both into the occlusion. Now, there are these generators where you can add a generator on here in which you can basically set like a curvature like this and you can play around with it a bit. So that's one way of doing it. And then if you just add another generator, and this time you add an ambient occlusion, Oh, and invert it. You see it like this. And if we just go ahead and set these to linear art, that does create this general effect. The only thing is that it never seems to do a nice breakup. Now, we can use a texture over here, and I believe that using a texture in this context, I don't use this one often, to be honest. Normally, I just drop a generator on here. But let me just see if I go ahead and grab this as a texture, yeah, it does do some breakup, but we need to kind of, like, play around with the general scale and contrast. So I think we can make this work to get it a bit nicer. I think I need to set the overall contrast down and the balance. Oh, we cannot really go much lower. 0.005, will that work? Okay, so that works. So that's the overall contrast down, and it has, like, a little bit of breakup. That's quite nice. I do want to just in case, always try a few different dirt grunges just to see if I'm gonna say average, just to see if this might look a little bit better and stuff like that. No, you know what? The previous one was quite nice. So we have this breakup over here. Now what we need to do is we just need to go ahead and go into our ambit clusion and kind of use the same one. I think that will be best. So here we have a gana texture input. And if we go into our texture, we want to grab 2.2 min basically zero and zero. So let's go down here, 2.2 minus Oh, here it actually does not do as much. Let's invert it. Oh, wait, sorry, taxopstin needs to be on. Yeah, here I do need to break it up a little bit more. Can we do triplan? Will that look nice? No, that does not look nice. I'm gonna make my scale quite a bit smaller for this one. Set our global balance down a bit. So it's just going to be like some very slight details. Something. I think something like this is a pretty solid base to get started with. Now, let's go into our actual base rust. And I'm going to also add a levels just because sometimes using a levels allows me for a little bit more intense controls. Like this. And then I want to go back to my HSL, and I'm going to actually lower down the saturation. There we go. Now we get in the direction where the rust feels a bit more believable. So we got that. Now I'm going to probably tone it down on just a base color like a smitch maybe like zero point or sorry, 95 in the opacity. And the next thing that we need to do for this is we just need to have still some general breakup also going on. So I'm going to go ahead and add an additional fill to our mask and just do a very simple grunge map, something to break it up even more. And let's try one of my favorite ones. Where are you? The cobweb over here. And for this one, I'm going to do a triplanar and set this quite high, the tiling. So 15, something like that. I want to also just play out a little bit more with contrast stuff, and then I'm going to set this to multiply. Mm. No, I don't like this kind in this case. Let me try something that has a little bit more micro noise in it. I will also just go to my mask view because that just makes it a bit easier. Let's see. It doesn't quite capture what I'm looking for, to be honest. Like it has too much breakup. I need something that's a little bit more soft and noisy, to be honest. Let's try, like, something like this, and Play on my contrast. Yeah, that's a little bit better to what I want. Yeah, I think that works quite well to get started with. Now, I need to go ahead and I need to now because, of course, over here, it's quite a bit less, so I'm going to push this in a little bit more to make it a little bit less obvious. I'm going to set my global balance to 0.03, two, Let's play around them in scale. Here we go so very, very subtle. And then over here, also the global balance. Push it up a bit. So it's just going to be like some very subtle looking grust. And I just want to set the saturation up a little bit more. Just make it a little bit more red. Rust is always one of those things, it's a pain to get white, but once you have it, then you can just, like, reuse it. I'm going to set biobasy down to 85 probably. And let's get started with something like this. So I'm going to, first of all, create another folder, and I'm going to call this auto rust. Oh, that's not the folder. Sorry. Folder, auto rust. Throw this base rust in here. And I'm going to go ahead and I'm going to in the outer rust, add a black mask. Then grab a brush and just grab something that is, again, quite soft. Let's see. There we go. And with this, I can kind of, like, go in here and paint the rust where I want. I think I want to go for something a little bit more stronger. And I'm going to start with something quite simple. So I'm going to start by just painting in the rust, kind of like a bit around here like this. And then what you can do is you can set your flow a little bit lower, and then we can go in and we can press X, and we can also paint out the rust in areas where we do not want it. So let's say that over here, we want to have it a little bit less. He set the flow a bit lower again. So I'm just going to paint it in a bit more. We are able to just slowly get rid of some of these areas and also art these areas. Let's say that over here, I want to have it fade out like that. Instead of having like a sharp cut, then you just, like, click a bunch of times, and like that, you can slightly fade this out. That's one way to just add this initial rust like this, and that's kind of what it looks like. We want to probably balance it out because I do see some more orange glow around here. But let's first of all, just like I will do a small area, and then we will move over to the next part. So over here, let's say that over here, the rust is kind of like done. Like we don't want to have it too rusty, so these areas, we want to have some rust. And then let's say that down here, we also want to have the rust buildup start a little bit more. So I can paint this in and have it go a bit around here. Maybe we have also go up here a little bit, see? So that's just like the initial generator. Now, let me just paint a bit more. Here we go. So that's quite nice and subtle. Now, let's say that we want to add a little bit more like a stronger punch in there, stronger detail. The way that we're going to do that is we are just going to I'm actually not going to duplicate my base rust. I'm going to add an anchor point. The reason I want to do that is because I might change this rust later on, and else I would have to duplicate the changes. So this is called base rust. Now if we just go ahead and add a new layer and call this rust underscore chips. And I can go in my base color roughness and normal and just simply reference the base rust anchor point in all of them, and they will automatically grab the correct channel like this. Now what we can do is we can go ahead and the black mask. And this time, we're just going to go in and we are going to use our projection mapping. Now, most likely we still have the bug that doesn't work, but there's something that I want to share with you. And that is that there are some stencils here that I made myself. So we got this one here. We got this one, this one, this one, this one, and this one. These two are my favorite. If you want to know everything about rust and how to create theetencils and everything like that, actually just simply go to YouTube and look for fast tract tutorials. And I have two tutorials that I made quite a long time ago that go much more in depth because here you can see that I spent in total, like, more than 40 minutes just talking about rust. And that's why I'm not going to go over this right now because it's quite an in depth topic. But this will teach you exactly how to create these stencils, how to paint them, how to art rust, how to create an entire rust, and how to create like a very nice and realistic rust texture over here. Hours because we have so little rust, it's going to be more basic, but definitely check it out. It's literally just called creating realistic rust in substance painter and using anchor points to create glow effects in substance painter, which itself will also just go on how to create some additional glow and stuff like that. So basically, these stencils, let's go ahead and input them. And you guys they are in the Aarons folder into a folder called stencils, and you can just go ahead and use it freely however you want. Now, you can see over here, we still have that bug. I assume that it also over here doesn't work. Yeah. That's quite annoying. But let's go ahead and create another layer and call this, um, Russ chips mask. I'm quite sad that we have a buck like that white when I'm doing it toil, because, yeah, that's just too bad. Anyway, we have the chips mask, and then over here, we can add a field layer and we can just reference that Russ chips mask, and that should do the trick. So now if I go in here, projection mapping, make sure that you set the base color opacity to zero. Now let's go in and grab one of my stencils. So the way that this is going to work is let's actually grab a different one. They look very low resolution, if I say so myself. That's strange because they are four K resolution. It's almost like they didn't load in correctly. But let's just go ahead and see how they work. So over here, we have the stencil brush, and then let's say that you want to have some little chips right around here. We can go in, grab a smaller brush, and we can literally paint in these chips. See? Now, as I said before, for some reason, these look quite low resolution. I'm just going to double check yeah, this should be fine. So Okay, so I guess it looks like that. The reason is is because before in previous versions of sales painter, it basically shows this texture as its full resolution texture. However, now it shows the resolution relative to the resolution of our model. And I guess it makes sense because then it shows, like, what we can and cannot do. So in that case, we are just limited by this resolution. Makes sense because, yeah, we already didn't have that much resolution, to be honest. But basically, you can now go in here and create some of these little chips on your texture. If you want, you also have this one, and this one is quite nice because it can basically create like a bunch of, like here, see where like, kind of, like, breaks up like that. And it's, of course, up to you. I'm not going to do that one because it's too intense, but it's up to you to choose how many of these little chips and everything you want. So we can go in and we can basically throw out our texture. Oh. We can play around to this. We can also grab the different ones, like over here. And let's say that over here, you want to kind of, have a little bit of, like, a chip like that. And maybe then over here, break it up a bit more. You can create really small details like this. In our case, because we work with such a large model, we can, of course, not make them too small, but it is something to keep in mind. So at this point, all I'm going to do is I'm now going to just refine our rust a little bit more to give it a little bit more of like a glow, which isn't too difficult. So first of all, we want to have over here our initial rust, and I'm going to actually make it a little bit darker. So let's set the lightness down a bit more like this. A bit too much. There we go. And now for a glow, we basically need to get these masks and get these masks over here, but we happen to already have them. Although I believe that I just need to check. So we do need to have an anchor point on this one, because this one is actually painting where we want to have our rust. So let's add another anchor point here, and out rust mask is fine. Now if we add a fill layer, it's called this glow, for example, and we can go in here and we're going to make it for now, just like a strong orange color. We then want to art the black masters, and we want to d two fill layers, and they are both. So let's set them both the top one to linear Dutch art. One of them is going to be our outdo rust mask. Well, that doesn't look good. What was the other one? Base rust. Base rust comes from where does Base rust come from? Oh, wait, Base rust is like the actual texture, which we do not want. Sorry about that. Let's start with just like having the rush chips. Let's start with that. And then this one, I guess, it is the correct one where we want to have our out rush mass, but we are going to push it down quite a bit. I almost feels like we need to invert it. That's that's a bit strange. Let me just check. So if I Alt click here, Oh, because I painted it in, yeah, yeah, yeah. That makes sense. That makes sense. So this is just because we have our generators on here. So essentially, and then I painted it away. So essentially, I need to have another anchor point here, which is called Rush generator. Let's start with this one. So we have the rush generator in here. So now we have basically both of these rust masks in this one layer. And then what we need to do is we need to have one more fill layer, and this one is going to be the outer rusk mask. And I want to set this stuff to There we go to multiply. So now we essentially have the final mask in here. I do notice that we have some ugly rust here, but we can paint it away. So having this final mask, all we need to do now is we need to go ahead and we need to blur it. So we're going to go in and Add a filter. And let's blur this to give it quite a little bit of, like, a glow like this. After that, if you of them also add the levels and the levels basically allows you to then push the blur out a little bit more. And now we basically need to subtract whatever mask we have below it. Sadly, because we have three of them, we kind of need to just, like, copy them and then paste the effects on top of it. And in this case, for these effects, we need to go in and we need to just alt click. We need to invert all of them, I believe. No, not invert all of them. It makes it a bit annoying that we have this additional mask. So basically, we have this one and we invert it. See, that's basically the glow that we want. And then we want to remove the levels. The only thing is that for this one, let's also invert No, not invert that. Let's go for well, I do want to probably invert it, but I want to set my blending mode to something else. Maybe multiply. Okay, I think that did the trick, and we don't need that last one because that last one never existed, technically, so we can get rid of that. So we got that stuff done. Now let's go in and in our levels. Hmm, the blur is quite strong. Oh, it's out of saving. 1 second. I'm just trying to get like this right balance, but we have quite low resolution to work with. This does not seem to be correct. I think over here I want to also set this to a different mode. There we go. What is this? I just use the scroll wheel. Subtract, Art subtract? No, not art subtract. It's inverse subtract. That's the one that I end up using. Okay, so we do have this glow. Now, now if we just play around with our blur, No, that's not working the way I wanted to. I quickly checked off camera. It was multiply. I guess I just overlooked it. Yeah, that makes more sense that it was multiply. So let's just alt click. So we now have this, but we still are not subtracting these pieces. Now we are. So that should do the trick. So now let's again, play around to the blur. Let's make this color a much more stronger like orange color. Like that. And it's mostly just going to be tweaking. I know that it doesn't feel like there's a lot of logics to it, but the reason is because, yes, the methods are standard, however, we had a bit of annoying thing with the masks. But the resolution completely changes any setting you ever do, and that's the tricky thing about it. So now we have this glow, which is starting to work quite well. I'm just going to set the opacity a little bit lower over here. And I'm just going to, first of all, quickly go in here and I'm going to get rid of some of this rust like that. And I also want to get rid of the rust a little bit more over here because it feels like too much of a straight line. And let's start with this. So we now have our base rust, and I want to export this to Mmmset so that we can balance out. We have our base leaks over here, and I think with just those two, we can do most dirt painting already. Yeah, because here in the back, we have some leaks, and that's about it. So let's go ahead and in next chapter, we are now going to export it, but in the next chapter, we are going to focus on painting in a dirt and after that, we will just do a chapter where we will focus more on the concrete. And well, we have the rust for our legs over here, and also we will just do some polishing and stuff like that. And then we are getting quite close already to the end. So for now, let's export this and see if the rust looks somewhat good also in Mum's head, because that's an important thing. So let me just save my scene and export these textures. And then a marmoset, by the way, I'm just going to turn off Photoshop because it's a bit too slow. Here we go. So this is what it looks like a marmoset. Let it just load for a little bit. And I feel like over here, our rust is a little bit too strong. Like, it's nice, but it feels a little bit too fuzzy and too strong. So first of all, let's go in here. Let's start by just lowering the saturation. Like that. And then also that fuzziness. I'm just not really happy about that. I think what we can do is we can simply go in and play around with our global contrast for both our curvature and our There we go. I think our amb deglution actually needs more contrast. There we go. So a little bit less fuzziness, like that. A little bit less strong effect than our glow over here. I'm going to set the blur a little bit stronger and play around with my levels a bit more. I do want to bring that out just like a tiny, tiny bit. Let's see. So that would have fixed that fuzziness. And I think just like the leaks are fine. I'm quite happy with those. I think then just for general visibility, I'm going to set the base rust opacity down. It's a little bit more to probably like sevity. It's the one more export. See if that works a bit better. Yes, I can already see that that's a bit lower. It's a little bit dark, to be honest. Let's go into our HL, and let's set the lightness up a little bit. But when we set the lightnes up, also the redness comes out, so then we want the boost our saturation down again because we want to kind of, like, balance against those two. It's getting there, it's getting there. Actually, no what? No, I think it's there. We might la go in and add some very small changes, but I think in general, if we do this, that gives quite a nice rust. The only thing is that yeah, the fuzziness is still a little bit there. So that's something I want to probably just go in. And if we go into our embitclusion, and just in our actual grunge map, let's see if we can here, apply the contrast also to our grunge map to make a bit stronger. And then what we need to do is we do need to then go back in here and again, also play around with our contrast on our actual generator. And I think beyond this point, it's literally just a matter of maybe like painting out. I think it's what's over here, to, like, paint out some additional details just to really make it nice and strong. And we can do that because we don't need to make everything rusty, so we can really just focus on making this one rusty area. Quite nice. For painting out these type of details, I love to use the charcoal fill brush because it's like a very square, sharp brush, as you can see, and it's great to just, like, paint out some of those over the top strong or fuzzy details like this. Okay. Awesome. So that's now done. So let's go ahead and continue on to the next chapter where we will just do some general dirt painting everywhere to make this look a little bit nicer. 28. Polishing Our Texture: Okay, so with the rust and dirt painting done, we now have some quite nice overview. Like, it's subtle, but that's what I want. Like, to have something that's just looking really good, but it's still subtle. And yeah, I will like how we now have these little bits of dirt here and there and, like, little chips of rust in the corners. I think that works quite well. So what I want to do now is I want to go and focus on each individual component. So we're going to start from the bottom and then kind of go to the top. At the bottom, of course, we want to focus on improving the general concrete. So that's going to be our first focus point over here. So I'm going to go ahead and for my dirt and grungesF now, I'm just going to turn it off, and let's switch to the concrete and let's have a quick look. So the first thing that I noticed that the concrete over here on these edges, it has some interesting non map details, especially over here, you can see it. And that's something that we can quite easily replicate. So let's go into our concrete folder. Make a folic cal details and start which just like a simple fill layer in here. Concrete etches. I think is a pretty good one. And I'm just going to only have the height on, and I'm going to set the height in the plus. So 0.08 or something like that. Doesn't matter so much right now, but I want to add a black mass to this. And now we just need to get like quite a grainy brush. So let's see, something that's a little bit grainy, maybe like dirt, too. I'm going to say it's quite low, and I'm just going to click and hold shift and then do another click because I'm mostly just, like, trying to see And I'm trying to on purpose, place this just in front of the seam so that we don't have any issues with the seam. So let's see if we now push up the height. It works, but we don't have too much resolution. I'm going to go ahead and let me just turn this back to a black mask. Let's make this a bit bigger. And let's see if I can paint it by hand because sometimes by hand, it does give that more organic feeling to it. I think that works. So I'm going to by hand, paint a few of these etches over here. And then what we're going to do later is we are just basically going to paint out some etches. I do not like it on these corners. I think I want to kind of, like, avoid it over there. So let's have an edge there. Let's go to shift for this one. An edge there. And then maybe also along here. I cannot paint straight enough for that one. Let me just do shift. Let's see, an edge there. Maybe also something here. Yeah, I think that will work quite nicely. But just kind of like faded out along these edges here at the top. Just go to get rid of that. Something like that. Now I'm just going to make this brushre a little bit bigger. I'm going to set the flow lower, and I'm just going to press X, and I'm just going to basically in some places, lower the amount. Just to give it a bit more or yeah, more variation. So let's start with something like that. Now the next thing is that, yeah, this concrete, when the sun is shining on it, it is quite white. And if we have a look over here in our image, which I have on site, I feel like we want to just in general, brighten things up a little bit. So let's go to our base concrete. And then in our HSL, I'm going to just set the lightness up a little bit like this. And let's see, we have a high noise. Lightning over here, I'm going to go ahead and for that one, I'm going to actually just set the opacity. That's easier to just lower down the opacity a bit more. And I'm going to in my grunge map, probably set the tiling less to maybe like two to make it a bit larger also. Okay, so we got that, and then we already have some darkening going on over here and some OCC dirt going on over here. That's pretty good. I can see, definitely some rust in the center, which is something that looks quite nice. But I think in general, the center right now it is more here. The center is also concrete. So we are going to fix that first. Let's it's a concrete. In our concrete, I'm going to just select the UV map this time and then click on the Center. That's an easy way to just get rid of just this entire piece of here. And then in our galvanized metal, I'm just going to add it again. And then in our duct and grunges we have still our rust. So I'm going to in our probably in our auto rust. Let's ty that. Yeah. Okay, so that seems to work. So I'm going to but we don't have the resolution. So what I'm going to do I'm literature, going to paint it to make it essentially like a little bit darker. And then over here, I'm going to on purpose, down here paint it a bit more to give it that effect as if that it's leaking and I painted a bit less on the top, like that, see? That just gives like, a very quick and easy leaking effect. Same over here, just like paint the entire thing on the edges. Yeah, it's too bad that we just didn't have the resolution here. Something that you can, of course, always fix, but sometimes it's just not worth fixing it, especially for the toil. So we got that. Now, another thing that I wanted to do is I wanted to also on our concrete in our concrete edges. Let's just go back to dirt two, while there you. Over here, I wanted to also add some edges. So I'm just going to hold shift, run that kind of like along it. Oh For this one, can I just do it here? There we go. And if you want, you can then also again set the size and then just set the flow to break up some of these edges just a little bit. But it's not going to be that visible, so I'm not too worried about it. Okay, so we got that done. And then let's see. We have our OCC dort, which is quite good. But I think what I want to do is I just want to add a quick sharpen filter to it. There we go. And in general, also to our base concrete. Set to sharpen up a little bit more. And see, six. Let's try a tiling of maybe like eight. I think that that will work quite well if we just start with that. And let's go into our darkening. Let's add a paint layer, and let's just grab like a soft brush, and I'm just going to go in and I'm going to if I can, it's a bit difficult. Try and paint in some darkening specifically under the machine like this. Yeah, so that's basically our darkening look. I'm just going to paint it away on these ends a little bit over here. And let's now, so I'm going to set this darkening, of course, a bit lower like this. And then in my paint, I want to just go ahead and set that a little bit lower also. Maybe bit more so that it doesn't look too repetitive. Okay, let's start with something like this. Now the next thing is that there is some rust buildup going on our legs, and that highly depends if we are going to do that, because, of course, the rust buildup, we are repeating the legs. So if we add too much of that, it will be very obvious that it is repeated. So I'm just going to go ahead and go in my rust, and I'm going to go let's try just using the outer rust for now. Switch to a better brush. Yeah, that's quite strong Russ, to be honest. I'm not sure if we want to do that. I think I'm just going to leave the legs clean because most of them are actually also clean, here you see. So there is almost nothing. That's like a tiny, tiny bit, so you can set the flow very, very low. And if you want, you can just add some here and there to basically give it some faint color variation as if the rust is starting to begin. I think that's probably the most we want to do with this. But again, try to keep it very generic. Try to not have any unique shapes because those shapes will be replicated onto other areas, which is not what we want. Maybe also over here. Here you can even make it feel a little bit more like a leaking effect just by painting it down a bit. There we go. So leaking effect. Just to have a bit more on the top, even though you will probably never ever see it. And I think that will work quite nice. Another thing that I'm not completely happy about is that in our normal map details over here, we have this one, but it's just too black, basically. So what I'm going to do is I'm just going to go ahead and I'm going to duplicate this down No BC for no base color. And what I want to do is for this one, let's just alt click. For this one, I'm going to get rid of the Oh, press X. I'm going to get rid of any details here. And then for this one, I'll click, I'm going to get rid of anything except for those details, which actually is pretty much nothing. That makes it a bit easier. So now here, we only have this height, and now we can also control the height to not make it too strong, for example, something like that. So let's move up the ladder. So let's add a few non map details for these bits if we can. So we have this up over here, I'm just going to duplicate it. It's gonna call shoot shot I keep changing the name for it, but again, I'm going to go for basic hard brush on this. And initially, what I want to try is that I simply place see, I'm trying to find the right location. Place one let's see here in center and here in center. And then the idea was that I add a filter with a blur. To see if that already gives us a good enough effect. The other effect was that I'm going to go in here and try to find an alpha that somebhat matches this specific shape, but to be honest, I don't know if we have any that are getting that close to it. Which is why I just wanted to try this other technique. Yeah, I don't think we have anything to close it. So let's just see instead of a blur, you can also try a slop blur. Oh, slope blur. Never mind. Ignore it. I'm thinking of a wong program. So let's just try this. I think what might be nicer is if we make it a little bit less, let's paint it out a little bit less large. But for us, these details are going to be a little bit more subtle. Something like that. And then I set the height amount a little bit less. Also, let's just see looks what that looks like inside of Momset if it works, then great. If not, then we will just remove it and not use it at all. So for the rest, most of this stuff I'm quite happy about, like we have also some nice dirt going on here, so that's also fine. Let's go over here and make this text quite a bit less strong. I think that's a good next thing to do. So we have our branding with a brand in control. Oh, sorry, in a branding control, I'm actually going to go ahead and I'm going to also in here. Here, let's do a height removal. Let's get rid of any height on these text bits and these bits over here. That does not need any height. And we have over here a master branding. So in here in my mask, I'm going to go ahead and I'm going to grab a let's go ahead and grab a pretty soft brush, and I'm just going to like a low flow start fading it mostly by following the reference over here like that. And we can do the same over here where it starts with just like and mostly like, fade it in, like, some specific sites. So think something like that. Now, let's indo that one a little bit because it was a bit too strong. I'm just gonna make this brush a bit smaller so that I can add a little bit more detail on here. I think something like that will work quite nice. Okay, so we got that one also done. Great. Let's see. What is next? Yeah, of course, we have our screens that we want to work on that also have like this text on them. But I think we actually are just going to go ahead and we are going to make them make the screens off, basically. We're not going to have anything special. So before we move on to that, yeah. Okay, let's just work on the screen. So for the screens, what I want to do, let's open up Photoshop. And in our square text, we're going to go ahead and we're going to take a screenshot of that Yen amount. So I'm doing this on my other screen, and I'm messed up accidentally. There we go. That's correct. And then what we can do is we can just ask GDP to basically turn this into some type of branding. Maybe I actually have a closer shot. Yeah, even though it's at a slight angle. Here, that should look a little bit better. And then it might also be better if we oh, and that one is cut off, of course. But we should have this really close up one. Here we go. Perfect. Let's go ahead and also let's use this one instead because it's a high resolution, which also makes it easier for ChetTP to understand what we're talking about. So we have these two. We can go ahead and just do a simple save on this. And in the ardens I'm going to call this value, for example, there we go. Here we go. Just for the sake of not wasting a lot of time. I basically asked it already in JetP turn these screens into a texture at list, not just the text, but also the class effect because I want to have the clas effects, and it did a really good job. Actually, I think it just released a new update. So that's ironic that now it's quite a bit better. So, but, of course, all of our other stuff is already great. We can go ahead and we can just import this one. Let's make a new folder, I guess, under our Dort and no map diesels. It's called screens. And in here, let's make a new layer efect Screen bad. Oh, no, you know what? Do I want to do that, or do I want to throw it in? Where was it under branding? Because branding has Oh, no, branding does not have roughness control. For some reason, I it in mind that branding has roughness control. Sorry. So we can go in here and we have our screens, and we throw this into our base color. And then in our roughness, we want to make this roughness quite shiny. I'm going to just have a normal basic hard brush over here. And I'll start by Well, this one, it's a little bit annoying that it's actually not quite matching up in terms of the scale. But what I can do is if I go see if I can be a bit sneaky. If I paint this in over here like this, can I then just go up? And I carefully here paint in our branding. No. I want to make sure that I don't touch that bottom line because then that's the end of the screen. So there we go. See, can I just paint this? Yes, looks like we can. That saves us going into Photoshop to fix it. There we go. And then here, you can just kind of, like, paint out these lines. If you want, you can even literally use a Clone Stamp tool to make it more equ over here. We have the Clone Stamp tool, and we can just make this very, very small, like this. And we can press V And like this, we can do clone stamp, although it doesn't seem to work quite. That's weird. That does not seem to work very well. Of course. Well, then we're just gonna do it by hand. Why not? Not like you will be able to see much on such a small level. So we got this. Of course, in our screens, what we can also do is at this to add a mask. And let's start by just selecting this. There we go. Very nice. Bright screen. We need to add some roughness details and stuff like that. But first of all, we want to go ahead and we want to fill in these screens over here. So we can still use the same layer. The only thing is that now let's go into our two D view. And find this row. Like, it should be here somewhere. Oh, of course, it's literally here. And we can do the same thing. But this time we are going to go for the one that is off. Ah, I think that this time we cannot get away with having this Like I will tie. Oh, wait, of course, it doesn't paint because we don't have this selected. Just select this shape over here. But it looks like that, yeah, we cannot get around this part because it will paint in the bottom. In that case, we certainly do have to go into Photoshop import this. And it just means that for this one up here, I'm going to give me 1 second. I need to check first. Okay, so the top part is about fine, so we just need to push it down in the bottom part. So we can just go ahead and we can select this area over here and just do a quick generator fill. Here we go. Number two seems to be fine. So we can just go ahead and do another save a copy. And this is just I will just call it Yen. I'll just save it as HAPEC. Of course, it all feels like it's going a bit slow, but normally you go through this very, very fast. You just make a split second decision, you do it, you move on, and that's kind of how it normally works. But because it's a tutoilTs are a little bit on the slower side of things. Anyway, we can now go in here. Oh, of course, I accidentally moved it. Like this, and we can basically just paint it in. I'm going to master this out later on, so I'm not really worried about not painting it exactly. And then alt let's move this And just keep doing that. And after that, we just need to do some basic masking. So I think what I will do is I will go ahead and I will pass the video. And all I'm going to do is, as you can see over here, I'm going to paint this in, and after that, I'm just going to paint out the backsides just in our screen mask, just going to remove those. So let me just pass the video. Continue with that. Okay, so that now is also done, as you can see. So yeah, I just basically paint in these numbers. And I think for now, that's fine. The only thing that I'm going to do is I'm just going to add a quick filter with an HSL, and I'm going to make it a bit lighter. Here we go. There we go, make it a bit lighter. And I think for now, that's also pretty good. So we got those details also done. What is next? So we have got our screens. I guess, I also don't know yet for the back panel, if we want to make the back panel lightly blue. I think that might actually be nice if we just do that. But what we can do is we can just have our base painted metal, and then we have a base, and that's just duplicated. Scalar blue. And I'm going to make this one you a bit blue. Add a black mask. Then all we need to do is just go ahead and select this one polygon in the back. There we go. And then once we have our actual branding, that we're all just like nicely gum together, in that sense. The next thing, let's have a look. So I want to probably if I have a look at over here, our text, I want to probably make these stickers a little bit more desaturated. They are a little bit too perfect and clean and stuff like that. So I'm going to go in my branding, and we have our master branding over here, yes. Let's just go ahead and in our HSL, let's set the saturation down just a little bit more. Something in that direction. We got that one done. Let's have a look at the sides. You can over here, see some little dens. That's something that we can actually also do if you want. So what we have in normal details, we can add another fill layer called dense because it's quite easy to do. Set the height and just set the height down. Add a black mask, and there is this I forgot the name of it, but it is quite high up over here. I was not a cells, crystals. There we go. Crystals. And if I just click here, see, that looks like this. So what we can do is we can go ahead and we can set this, for example, to like a tiling of Let's do. Let's do four. Then I'm going to set my balance down to only have, like a few little dents like this. Then we basically add a filter on it with a blur. There we go. Like this. Now you can see that we have created these little dents over here. We can go ahead and play around with our height to make it not too strong, like this. And finally, we want to go ahead and we want to know what's in our dens, we can probably just go. Now, I'm going to Aa folder. I'm going to out the folder called dens. I was just thinking of maybe, like, making the mask directly inside the dens, but with the blur, it might cause some issues. So just make a folder, make a black mask, and then we're just going to go for a very soft brush, see? I like that. In the areas where you want to have some dens, You can just go ahead and you can paint it. And then, usually, there will be some dents available there. I'm gonna do that one. That one doesn't look as nice. Yeah, so it will be like at the bottom where people accidentally kick against it, maybe at the side. Over here, I do want to have it on the front, but I want to be quite careful with it. And I'm also going to make the dense intensity a little bit less. So it's just going to be like some subtle dens like that. So we have that done. Of course, what we are going to do at the very end, we're going to have a little polishing phase where I will fix things like the coin holder and stuff like that, but that's mostly just going to be time lapsed. Over here, I feel like this aluminum can be a little bit more lighter. Yeah, because if we look at the base color, it's not as light as it could be. So let me just push it up a bit. There we go. Okay, so we got those details also done. Are starting to run out of work, I think, which is a good sign because it means that we're getting close to being done. Of course, there's a bunch more stuff that we can do. Like, we can really refine this, but come on, guys, it's tutoril. I feel like I'm already pushing it quite a bit, especially because we are at like 14 or 15 hours. So yeah, it's something to just keep in mind that take it with a grain of salt. There can be much more micro details and stuff, but it's just a matter of spending time, keep looking at your reference. I'm going to in my white painted metal, we have our scratches over here. I'm going to add a very quick paint layer and I'm going to remove the scratches on the back. Because they are way too intense and too obvious, like that. And I think, Oh, and I'm also going to remove the height from our signs. So let me just go to our branding and mass control height removal. Let's just deselect here. We want to make that nice and flat like that. Lastly, I was going to add a little bit of, like, roughness variation to our screen. So we have our screens here. So let's add roughness. The variation, only roughness, make it a little bit duller, like this. Black mask and just throw on some type of grunge. Something smudgy, probably would like fingerprints would be nice. If I can find it, here we go. Here, some like fingerprints. Let's set the tiling, maybe to like five or something like that. I'm just gonna alt click. Oh, tie needs to be way more 15. There we go. Nice. That actually looks spicy and good. Stone it down a bit, and I'm going to actually invert so that the fingerprints are the ones that are showing up. There we go. So we got some general fingerprints and stuff. That's also good. I feel like we're missing a little bit of leaks here, so I'm just going to very quickly in my leaks paint in some tiny leaks just like the bottom. You need to find something that's quite small. Maybe this one over here. It's not really painting much, is it? Let me see if I can do it here. There we go. Now it's painting. Maybe add some more longer streaks in the center. I'm just gonna paint it out on the black areas. Don't really want that. There we go. Just some very subtle leaks, and art like a or let's remove over here on the sides so that it doesn't stick out too much. Okay. Awesome. So I think that's a pretty solid place to be for us in next chapter to start focusing on branding. If you want, you can add some dust or something on the top, but I'm going to not do that because in my logic, this is standing outside, and when it's standing outside, the rain would not allow for dust to build up. I'm going to save my scene, and just for fun, at this point, let's go ahead and export it as an eight K texture. So it's export textures. And just over here, set them to eight K and press Expot and I'm going to pass because this is going to take a second. Here we go. And now I loaded in the eight K texture and you can see that here. That looks quite nice. It has a lot more detail now. So at this point, let me just make one more screenshot, and then we're going to start on the branding because, of course, right now, without having all that branding, it just doesn't feel complete. So I'm just going to make a screenshot like this and show it to you guys, and then after that, we'll move on to the next chapter. Here we go. I think that's looking pretty realistic, if I say so myself. Yeah. The concrete the darkness on the concrete is a little bit too much, but that's just, like, general polish. And, of course, yeah, that stupid key holder thing we need to fix. But it's, like, those micro leaks everywhere that's like the little rust going on. Of course, this texture is not super high quality yet, but we will also make close ups and stuff like that. Architecture image, this image. Awesome. I think we are at a pretty good stage where we are going to move over to creating all of the branding. So in next chapter, we will continue by creating all of these branding pieces. And after that, we are pretty much done with at least the modeling and texturing stage, and then we are going to integrate it into unreal in a proper way. So let's go ahead and continue with this in our next chapter. 29. Creating Our Final Branding Part1: Okay, so we're now going to work on how to create all of the branding pieces that we have over here, along with just a little bit of, like, a background. Although this background we will probably generate separately because there isn't much for us to give to Jet TTP. So for these pieces, let's go ahead and we need to start by going to hothop. It's pretty much the same way as we did the stickers, but we need to be a little bit more careful about these pieces that they do come out correctly. So if we just go over here, essentially, we have a bunch of them that are duplicated. So I'm going to basically just take screenshots of the ones that are not. And then I'm just gonna drop that into Photoshop. Let's see. So we have those ones, and pretty much the only other ones in this row is these two. Just drag that in. I'm dragging it in preki in the background. So over here we have also these two. And now, it kind of depends, I don't know if CJTC P is able to read all of these in one single piece, or if we need to basically split up into, like, Well, hopefully, let's hope not one per bottle, but I don't know in which way we need to split this all up. So we'll see. First focus is on just getting and these are pretty much just like these two. So we have, like, the T's. Although these technically seem to be actual bottles, but we are, of course, just going to go ahead and also make those labels. And also the Pepsi. There we go. So having those done, we can go ahead and we can start by nicely placing these next to each other. It's roughly like the same sizing, also. And then the important thing is that we also get rid of any, like, background stuff, so that it so that we really drive the point home for JETTP Like, Hey, these are just loose branding pieces. These ones I need to scale up a little bit better. And also they are a bit longer, so you know what I'm going to push those here. I guess for like that those background elements, we can just have that's like a quick separate texture. So let's rasterize all of this stuff. Start by for these ones, we can just kind of, like, delete the center over here. Same over here. Just give it like a quick separation so that it doesn't think it's the same labels or anything like that. For these ones, I'm doing this quite rough, but It's basically just cut away some of these parts. And I assume that basically what will happen is that Chachi tip will fill in the details. At least that's my hope for this. That it can just clearly see like, Hey, this is a bottle, okay? I need to go in and just replicate that part. There we go. Uh, the red bull is actually a filled label, so I don't want to cut away anything else from that. That lemon drink is so sour. I tried it because you also use it if you like, need to get a little bit more not healthy. I forgot the word. But if you are about to get sick, that's a good time to drink that kind of stuff. So Yeah, I miss Japan. But a little personal dream of me and my girlfriend is that we basically live half a year in Japan, half a year in Europe. That's the absolute ideal, so to speak. For these pieces, I'm not sure. I guess just cutting this away is probably best. There we go. And something like this. So let's get started by just seeing if this is good enough for hATTP to generate. So again, in our textures and dons Here we go. We can go with JPEC branding cut out and save that. And now in GTP, we can drag this in. And I would probably say, like, please generate for me a texture atlas with each individual drink. Branding like you see in the images here. Please generate for me a flat texture atlas with each ding exactly like you see in the images in the images here, in this image here. I think something like this, make the texture 14 96 X 14 96. I don't really care about the background. We are going to cut it out anyway. So let's try something like this. It's probably going to take a while, so I'm just going to pass the video. Okay, so sadly, TTP was not quite able to understand it. Like, it got somewhat close, but I think it just doesn't have enough resolution. And just for good measure, I also tried it using nano banana Pro, which was just horrible. Like, it just doesn't understand at all, what I mean? And Cadream. So yeah, nano banana is great for, like, pumps that are not image based. That just means that sadly we need to go in and we need to kind of, like, manually by hand do a few of them at the time. So I'm going to go ahead and I'm just going to try one, and if it works, then I will, of course, time lapse it. So here we have this one. Let's go ahead and Cora CKtraV. I think to be safe, because these are quite important, let's start with just two. And we can always just, like, have less branding. So here we have two of them. Press okay. Yeah, that resolution, let's see, what's our image resolution here. 496, let's go for 2048. Resolution because it cannot quite reach 496, but at 20:48, it should be able to give us, quite a nice resolution. So let's try this and let's go ahead and save a copy. I'm gonna probably create a new folder called um drink grading. Not grading. Branding. There we go. JPEC drinks underscore zero, one. There we go. And let's give that a try. So we have our drink branding. Let's add this. Do the same for this one. Image. Please do same for this one, make it look like the reference image and high quality. Let's see if that works. And I'm going to pass the video because again, this often takes like one or 2 minutes. Okay, so now it finished with this. I'm mostly worried about this text. This text over here feels a bit iffy, but I guess it's because over here, it's also quite difficult to see. Yeah, here at the top. Yeah, it just doesn't create the same look. That's probably the issue. So what we will do is we'll just keep refining. We'll say, like, please make it look almost called to the reference image. Flat, something like this. And in the meantime, what we can also do is we can also have a look and see if potentially we are able to maybe rip the images of here. Because, yeah, these are well, these are actually actual bottles, a lot of them. So that makes it a bit more difficult. That is a bit tricky. Because the only high resolution we have is this one. So it's more like depends on how we are going to. Like, we can, of course, flatten this out. So I can show you just while that's generating because it's not like we have anything else to do. So let's say that we have this one over here. I'm just going to go ahead and cut it. And paste it back into place. So with this, the first thing that we would do is we would, of course, do probably, like, a manual cut like this. Here we go. Control shift I and just delete everything else. So that's step number one. Step number two is that we can try to right click, free transform. Oh, sorry, we need to for that part, we probably need to first create some type of a shape. Here, let's create a simple red shape because then we know where we need to fit it into. And now we can right, click, free transform. We can move this around until at least the corners hit the end like this. Then we can use this tool over here. I forgot what it's called. But basically what it allows us to do is it allows us to twine, kind of, like, flatten this stuff all out. It's not amazing, and I know that there are probably, much better tricks on how to do it in Photoshop, but I personally am not the best in Photoshop because I just don't use it a lot. I'm not an image editor. Something like this. If you can then again select the shape, and this time, you can shift I delete so that now it becomes pretty much a straight image. And at this point, we could try and see if we can use a generator fill to basically get rid of these pieces, but I have a feeling it's not going to understand that. So I can just go ahead and generate that. And in the meantime, check over here. Still Okay. Wow, that's even worse. Yeah, so I'm afraid that we have to do this quite a bit more manually. In which case, I'm definitely going to do time laps. So here you can see that now that did actually work. Yeah, that worked quite well. Let's do something like this. So we have this one so we can go ahead and merge layers. Now, another thing that we can do. So we could try to use an upscale on this, and I will show you what I mean with that. So of course, you can go to filter and we can reduce the noise. However, we could try to make use of Crea and in this case, for the upscaling. So if I go in here, call this Upscale test. The only thing is that during upscaling, the text might not always be amazing. Here we go. And then rea, you have an enhancer tab, and this is also free, by the way. And we can drag this in here. And I want to go ahead and let's start with just like a rea enhance over here. And you can set the AI to be a little bit stronger, probably. And it will do four K resolution. I'm not going to do that. I'm going to go for two K resolution, maybe set the sharps is a bit stronger, and then you can press submit, and then it will do an enhance, which often works quite well. Now, while waiting for that, we can also try some other enhancing over here. So topaz it's a very expensive model, so it's quite slow and often actually doesn't do too much. But I want the upscale V one often also does do a pretty decent job. So let's just go ahead and also enhance that. And just for the sake of it, let's also use topaz over here and just do another enhance just so that, oh, that was Fok resolution Mega. So now you can see that here. You can see the comparison. And here you can see that looks like this one just completely destroys it. That's why, as I said before, it doesn't always seem to work. This one, I assume it should show me something because if this is literally the result, then that's literally nothing. Let's try loading in this one first. This one, yeah, here, see, AI just doesn't really work for this. Just to download this one because oh to see if it actually worked. No, not. No, sadly, enhancing doesn't work, but it is something that you can ty. We could Ty topasGenerative. And maybe if that works, I could potentially use it. But if that doesn't work, then always what you can do is you can go ahead and place this back in here. We can go in filter and just use the camera al filter tools in which we mostly just want to go down, set some noise reduction in here and also just play around with your sharpen at the same time. And we're going to make this quite small, of course. So maybe also set the see, set the shadows a bit higher, something like this. And then the general idea is that this one will become like a little bit smaller, like over here. And you basically want to just replicate this for every single one. So that's another technique that we could try out if I would go in and just before we do a time that's where we do all of this, save a copy again. For now, I will just save this upscale test over here. Because all I want to do is I just want to go into Tris Max. Oh, while I was waiting for Tres Max to start, it looks like that. This upscale seems to be pretty decent. Here, it does add some AI jumble here at the bottom. But what we can do is we can go ahead and we can drag this one into Photoshop also. And move it over here and just only select this part. Control shift I and just delete right click rest, everything else. So these are the two side by side. So what we can do is we can just save this, and then we can basically do like a test. So I'm going to save this. M over here. Then we have our vending machine, and all I'm going to do. So it's a bit slow because it's still loading. Whoa, that's way too slow. I don't know what's happening here. I think something is just a bit broken. Let's go ahead and make a new material. Actually, you know what, let's just use the same branding material that we have. And I'm gonna drag in my upscale test over here. And then just for these two, I'm going to add my unwrapped UVW modifier. Then up here instead of checkup pattern, and we can do the upscale test that we can actually select or see what we are unwrapping. And we can just do a very quick unfold. Or not unfold. Let's just straighten that because it didn't really work well. I can scale this in like this. Here, I'm also just going to straighten it. You can use whatever unwrapping you want, of course. I'm not really going over that right now. Is it not upside down? No, it is not. The only thing that we need to do is after we have created this, that's art and add a pool and we need to push this down because the scaling is a bit too much. Here we go. And I guess then this one you also want to kind of push down a bit. That's okay. Like, it won't alter the textures too much. And then just do a very quick export again. Yeah. File export selection. An exports vending machine. Over here. Let's go into marmoset. And then all we need to do is in the branding, we just need to go ahead and drag in that one piece, which I'm just navigating to now upscale test. There we go. Let's have it go here. Set a bit at the angle and let's wait for it to load, and then we can choose. So the left one is the AI upscale, and the right one is the original one. So if you have a look at this, to be honest, the right one seems to be a little bit better, but I just want to make sure because it might actually that I'm mistaken. Okay, so the AI upscale seems to be better. See? But also, the effects are quite minimal, and it does also introduce some other weirdness. So it's up to you what you want to do. I think I'm going to go ahead and I'm going to then just use the AI upscale. But I do want to, of course, just make this kind of straight. So in the next chapter, what we'll do is we'll basically go ahead and use this workflow where we will make it square and we will throw it into the AI upscale. We might want to just throw it into AI upscale when we have a bunch of them at the same time, just to save time and go from there. 30. Creating Our Final Branding Part3: Okay, so I finished the general branding that sadly took way longer than I expected. A few things that you might have noticed inside of the time laps is that I just went and used AI to generate an image or some mountains for the background. And also for the upscaling, Crea didn't work, so I just used the neuro filters. You can just go filter neuro filters. Well, we can just ignore this part. But then in here, there is like this super Zoom. For the rest, I just did everything that we have been doing. Some of these end up not generating the sites were not able to properly generate away, but we are just going to hide that in our actual geometry. And for the rest over here, we need to see how bad this background looks, and else we might just change the background. But first things first is we just need to get going and actually apply these pieces on our models that we have a general visualization. So in here, we can go ahead and go inside of Tres Max. And for the branding, we are going to apply this branding, which I pasted in our ardons folder. But this time, I saved it as a TGA, just to make sure that I have, the full resolution quality. Oh, that's a bit slow to assign. Oh, wait, because eight K. I made the texture eight KF now, of course, go to go ahead and not do that later on, but for now, I just wanted to get something in here. So we have 1 second. I need to actually check. One, two, three, four, five, six, seven, eight, nine, ten, 11, 12, 13, 14 and five long ones. Seven, eight, nine, ten, 11, 12, 13, 14, one, two, three, four, five. Sorry, one, two, three, four, five. So pretty much everything else. For now, we can kind of get rid off. There we go. And for all of these things, let's just go ahead and literally do them all at the same time. That's probably the easiest way. So we have all of these. We can add UVW rep, select all of them. Let's just press contre A to select everything. And I'm going to start by just doing a simple quick peel and then a simple straighten selection. And that will basically straighten everything. And now we can set this to our drink branding over here. And you'll probably guess how this is going to go. Like, we're going to select them one by one and just move them into place. Now, here, let me just do this one just because it's a bit easier. I'm going to go ahead and also or actually Taps. Now, I'm not even gonna timelapse. I'm just going to pass that because literally this and then later on what we need to do is we just probably need to do some scaling, but that's about it. So let me just pass this until we have done every 11 by one and just, like, nicely placed it into the corners like this. I know it's going to be boring, but let's just go ahead and continue with this first. Okay, here we go. So I have nicely placed all of those. Now, the next thing that we're going to do, and by the way, some of these, they will need a mask like over here that we want to kind of cut it out. That's something that we are, of course, going to work on in just a bit. I'm going to go ahead and I'm going to just scale the ones that need to be scaled, which is let's start with these ones over here. So let's add and add a pole and I want to basically scale them the same amount roughly up until here. And these ones over here, we need to scale up a little bit. So also add a pool yeah, these ones are going to be a little bit longer like this. Awesome. So we finally have those pieces done. Now all that we need to do is we also need to duplicate these shapes. Here, let's just do this, and then let's just copy it a bunch of times. We might need to still go in and manually adjust a bit. And basically, I'm just looking at the top pieces to make sure that those kind of like line. Oops. I don't know why that happened, so and after that, we can finally go ahead and we can place them all into place. And then our branding pass is done. Our textures are pretty much done. There might need to be some very small polish. But then we are basically ready with our model, and then all we need to do is just integrate it into Unreal engine. And then this tutorial called Sazdum, which I'm a little bit happy about because we are way overtime, like almost double, if not triple overtime from the expected time. So but I wanted to just make this still real time in in depth instead of just doing like a bunch of time lapses. So I do hope you guys appreciate it. I know it is going a bit slow. Yeah, let me just duplicate them. For some reason, duplication is really slow. I think because I have a lot of programs open and then Tres Max tends to have like this little memory leak sometimes. But I don't really want to close all of the other stuff. So now I'm just basically going to replicate these pieces over here. We can get rid of these swans over here. So in order to replicate this, yeah, we need to kind of move some stuff around. So let's start with that. So I'm not too worried about having them not in the same position, but I do sometimes want to place like a few next to each other. So I'm going to basically move them by rows. So we have this one, which definitely needs to go up here. This one, which goes next to it. These two go next to here. All of these need to go up. This one also needs to go up. And this one needs to go down. Okay, so let's go to our side view. Let's turn on default facing and also some default shading and some edge and faces that they can kind of see where I'm placing it. So for these ones, I want to have a double one pretty much here. This one I'm going to move here. This one I'm also going to move a bit further bit back like that. This Lipton one is supposed to go to the top. Same with these ones over here, because we just want to focus on the s right now. Then we have this gold one, which is showing twice. So let me just move that here. Then we have the black one then there is this boss one over here, for which I'm going to go ahead and I'm going to place two of them, also. And then another No, you know what? Then I'm going to place this one here. And then another black one. I know I'm very creative that even this I copy from our references, but well, missing something. No, so I guess we just want to duplicate this. There we go. Okay, so that's row number one. Row number two, we need to first of all, make sure that this is correctly placed at the bottom, and row number two has, let's get started with these. Et's move these out of the way. So two of these. After that, two Cs lemons. Then we have the red bull's quite nice that creates some drastic height difference. You see, this liptan also needs to be correctly placed. Then we have the little can of tomato juice, which is quite random, but okay. It's a tomato juice, and then we have the apple juice. Oh, you know what? I'm going to do the laptin first just because it's closer. There we go. So apple juice. Then we have the these. Let's just do these two. And then over here we have the lemon. Let me just move this a little bit further. The lemon one, and because we removed one because it just wasn't the right shape, we can just have another lemon one. And over here, these ones are quite easy because there are a lot of reuse. So it's basically Pepsi and Pepsi. And on the other side, we have Well, I'm just going to swap them around. They don't have to be exactly in the same order. We have this one which actually feels a little bit stretched, to be honest. But I don't think it's notable, but we definitely need to have a cutout mask for that. These ones. And then it's just a bunch of water. There we go. Awesome. We have ourselves, a pretty fully stacked. Here we go. We have ourselves, a pretty fully stacked vending machine. That's looking quite nice. Okay, so our branding is now done. At this point, we can pretty much save our scene. And I think all of these we can now export. We have the glass. Let me just turn it back on so that it does properly export. So let's go ahead and just export this as a final vending machine. And then all I want to do is I want to go ahead and also quickly go into Photoshop. And in here, I'm just going to go ahead and I'm going to hold contro Shift and just click on every single one because we already did a cut out pretty much. And this will basically just select all of these pieces. Oh, I forgot to do one more thing, but I will do that in just a bit. I feel like 1 second. Let me just do this a bit more easy because something is not going correctly. Just select everything. I guess it's regardless of the generator fills. Duplicate all the layers, right click, merge all layers. And then if you want, you can it even just do blending options on this. Color overlay, make it white. Like that. And I'm going to also make this entire piece over here white. So let's have a white color here and everything below that is just going to be black, see. And now we have that cutout. So if we just go ahead and save this drink brnding, TGA, drink branding, underscore mask. There we go. That we'll fix that. Now, quickly, before I forget, I need to just go in here and I'm going to create those back panels that we have over here, just like the bottom. So let me just go to wireframe, create a quick plane. And I'm going to move this plane, let's see, from here. Probably up. We'll see. It depends on it on how it moves around. I'm actually going to give it a few diagonal segments like this just so that I can add some interesting movement and turn this into, oh, sorry, not final. Throw this into the branding one. Turn off the glass, and let's apply our branding to it. UVW map and just do, like, another welt straighten it. And I'm just going to, first of all, just map this correctly, and then what we can do is we can go in and we can alter the shape so that it is still mapped also correctly in that sense. Quick trick. If you have multiple segments like this and you want to just map it out, you can use an FFD modifier. So if you just do FFD two by two by two, it will evenly scale it so that here, see, it gives us a bit of a more correct scale. So we have these pieces over here. I'm going to go ahead and I'm going to select one. Then duplicate it and move another one forward and select another one. And at this point, I'm just going to go in and I'm going to here, I'm going to move these a little bit forward and maybe down a bit. Like that. Same over here, just like give it just some movement, as if they are a little bit loose because that's kind of what it looks like. Also in the reference here. And also, let's do these points over here. And now what we can do is we can just go ahead and we can duplicate this and move it up. And this time just to give it some variation, I'm going to go ahead and I'm going to mirror this one and also reset my form so that it doesn't flip the normals accidentally, and then move this one over here, and then move this one over here. There we go. Turn on our glass again, and now it is done. So now we can go ahead and we can export this. The final vending machine. Awesome. Sava sin. And let's go in marmoset, which we'll need to reload. And then over here we have a branding. So for branding it's going to be quite easy. We don't really need a roughness or anything like that because it's going to be so well plain. So we can just go ahead and just art our drink branding. And then we can also go into the transparency set this to cut out and apply our mask and turn off use Albedo Alpha. So that will have cut out the shape. And if it didn't it means, oh, set this to the R channel. There we go. Now, it has cut out the shape. So that should give us our branding. You can go over here and you can just, like, lower the intensity of the colors a bit if you want to. I'm going to make the roughness quite dull looking. Not too dull, but still quite dull. And the next thing that I'm going to do is I feel that overall, it has a little bit too much contest. So I'm going to go in my final branding over here. And let's just add a General, here, let's do brightness and contrast level on top. And let's start by just like toning down that contrast a little bit. And maybe also add the hue and saturation on top and just tone down the saturation also a little bit to make it feel a little bit more washed out. I just save that There we go. Okay, so we've done that also. Now, let me just post it here. In our vending machine, our occlusion, I feel like is a little bit too strong. So let me just tone that down a little bit more. And I'm hoping the only thing is that those little brackets over here, they are technically they are a little bit too white, like they stand out a little bit more. So that's something that we want to fix with polishing. But then in the next stage or in the next chapter, we are going to just do a time lapse of some general polishing, and it's going to be quite basic. But before I make the decision, I just want to make sure that there isn't anything very large that I'm missing. So I'm going to go ahead and I'm going to go up here, and in this case, let me just make a really, really high resolution screenshot, and I'm just going to render that. And I will pass, and we will see if we have everything in place, basically, and also what we're going to change in next chapter. Okay, so I got the image. So here is, like, just for fun. This is our old image. Then we went to this. Quite subtle, but the changes are there, then we went to this. And now we have this. Okay. Nice. So this is a very, very high resolution image, as you can see, so we can really see every little detail. So what I want to do just in this chapter to wrap things up is I'm going to show or we are going to talk about what we are going to change in the future chapters. Or the Tip chapter, future Timeless chapter. So let's start with just, like, I have always my reference over here, so I will drag it in and out if needed. But let's start at the bottom. And honestly, if I look at the bottom, yeah, okay, the legs, the materials is not identical, but I kind of like it. It's nice. It's fine. The concrete. I'm going to lower down probably like the darkening on the top of the concrete a little bit. And honestly, I think that's about it. I like that we now have a little bit of rush there and that we have these little you'll see these nice little normal details. They come out quite nicely. So then we move up a little bit over here. Only thing that might be nice is to add some fake darkening at the top, but honestly, we already have a shadow. So I feel like, yeah, that might actually be overkill, to be honest. Let's not do that. It's overkill. Definitely, I'm going to go ahead and I'm going for the UV unwrapping with this one, basically what I will do is I will place bevel here to turn it into weight normals instead of high to low ply, and I'm going to place it into an empty space in our UV unwrap, and then I'm just going to update that. This way, I don't need to do an entire rebake and I can just basically do a re texture on just this one piece. Going to get rid of these knobs. Don't work well. Even though it looks interesting in real life, just doesn't look interesting here. I quite like this. It's quite weather, but I am going to work a bit on the glass material. Well, work on it, balance the glass material a little bit more. So that's something I also want to do, but that's just inside of Mm set, just to get a little bit of, like, these reflections that you can see over here. Okay, moving up, this is all quite good. Maybe maybe I'm going to make the orange a tiny bit lighter, just like a tiny speck. That's about it. Theoretically, you could also add emissive textures to this, but I'm not going to do that. I think for this, it's fine. Like we kind of got it in a place where we want it to be. Same for, like, the text. The text is a little bit more faded in our reference, but I think it's fine to leave it like this. The only thing is that I'm going to make the text a little bit less white, probably. Let's move up. Then we have over here rust. Yes, it looks slightly different, but I think it still looks quite interesting for what we got. I quite like having these scratches over here. So I'm going to go ahead and I'm going to just add, like, a few more darker scratches, specifically on the corners. That's very quick and easy to do. And then over here, we have just like our dollar values and buttons. That's fine. This is white. I'm going to turn this into, like, this type of plastic that we have over here, and hopefully that will look a little bit better. Let's see. What else? Maybe I feel like there might No, actually, is there enough contrast? I feel like there is still a little bit too much contrast, or, like, the colors are a little bit too dark. So I might want to just, like, play around with that a little bit, but we will see how that goes. This is quite nice. Having these labels like you'll see, it really fills up nicely. So I'm quite happy about that. What else? What else? Yeah, you can definitely see that it's flat, but honestly, I feel like it does art a little bit. Over here, this is quite nice where we have this piece, but it kind of does feel like it is part of the general thing. But if you want, you can do a cut out on there and on this one over here, just to cut out those few pieces. I might just very quickly make a mask for that, but I'm not too picky for it. Moving on to the back. So that was already it for that side. So moving on to the back, yeah, we just have like it's a simple panel. Like, what do you What do you want for me? That's all fine. Over here, we have like these leaks. I don't see the dens. Oh, yeah, wait here, I can see the dens a little bit. So I guess it depends. See, yeah, here. You can see like little dens, so that's actually quite nice. So we have that. And for the rest, I think I'm just going on to add like a very, very slight color variation on these large panels just to give it a little bit more like interesting color. Like even over here, you can see that there's some very slight color variation. And I think that's about it. I think at that point, I'm going to leave it just for this asset. And then what we will do after is we will move on into setting this up into Inhal engine where we don't have to do a lot, to be honest. All we have to do is just create a custom collision just because I want to show you how to do that. And after that, it's just a matter of importing it, making sure that all the settings are correct, applying some materials, and then we're pretty much done. So, awesome. We are getting there. Okay, so I'm going to go ahead and I'm going to continue on to next chapter where we will do all of those small little changes. 31. Setting Up Our Model In Unreal Engine: Okay, so we have pretty much completed our model and our texture, and I think it turned out really nice. So here is the latest image. And you can see, yeah, we got, like, a lots of nice micro details, nothing too overpowering. I didn't want to go for, like, a post apocalyptic vending machine just for something like that was quite realistic. On the inside here, it could use a little bit more lighting, but for the rest, I'm quite happy about this. So what we're going to do now is we are going to start by setting this up inside of Unreal engine. Now, for this, there's a few things that we need to do. First of all, right now, we have just exported an entire chunk of our model to one FBX. However, glass does not work with nanite and unreal engine. So what we need to do is we just need to turn off the glass, and now we need to export this as our vending machine. So let me just find the export folder. File Export Selection, then just overwt our original vending machine model. That's no problem. There we go. And the next thing that we want to do is we just want to also select our glass, and we're just going to export that separately. So we can call that glass. There we go. Okay. And I think at this point, that's already IF three is Max because everything else is pretty much set up. So now what we're going to do is we're going to nicely set up our model inside of wheel engine. So the first thing that we want to do is we just want to go ahead and re embot there we go, our model. So this is now our final model, as you can see with all of the little details. And we want to go ahead and just drag in and import our glass. Now for the glass, just turn off, build Nanite and make sure that combined message is turned on. And for the rest, we don't really need to do anything else. So, cool things first is that we have our vending machine over here, and let's just start with, like, some basic settings, which is to turn on our nanite there we go. And then the next thing that we probably want to do is we also want to give it some collision because right now, if I just give you a look, it will probably use here, it uses out generated collision, which, as you can see, it's not the best. Now, there's a few ways that you can do collision. You can literally do it manually inside of TS Max, basically by creating collision mesh that you give it the naming convention, CX underscore, and then the collision. But just Google, if you want to do that, it's not needed because we pretty much do have a box. There's a few more. If we go to collision and remove collision, another one is that we can use collision and auto convex. And in here, you can basically play around with your settings and get an out generated collision that is often a little bit closer. You know, if I just turn on collision here, you can see it. But like, yes, it's closer, but also it's not perfect. Now, another one that's a little bit more manual, but for simple shapes, it's quite easy to use just remove the collision is to simply go in here and we are going to create a box collision. And then to select that collision, then we can move it, but you can also scale it. So what we can do, oh, but turn off snap scaling or anything like that. So what we can do is we can simply scale this collision in like this until it fits pretty much exactly our shape. And something that not a lot of people seem to know is that you can have multiple of these. So we can go ahead and we can even select it Contra C contra V, and then we can literally just duplicate it and move this down. And then all we need to do is, of course, here at the bottom, the collision doesn't have to be identical to the shape. It's more that when a player character, for example, walks over it, that there's actually some bump going on. Because you can see that we have some rotation. There we go. And then we can just CC Contrave it also to this side. And that's pretty much it. If you have a look over here, see, now we have more than accurate enough collision. I guess the only thing is technically, over here, there's some space. So if you want, you can scale your collision down so that it does that the space. That could be nice. I don't know. Well, actually, often, if you have a gun and you shoot, it doesn't use play or collision. It uses a different collision. But it could be for those kind of cases or if you have a game where you are very, very small and you need to go under it, then you might want to go a little bit more. Precise. But that is basically our player collision setup. Now, the next thing that I want to focus on is I want to focus on our distant field lighting to make sure that the settings are correct. So what is this that if you go to IT, buffer visualization, sorry, the buffalo visualization. Sorry, I think Show Advanced. Oh, God, there are so many. Where were you lighting? Give me a second. I normally have a shortcut for it, but I want to show you where it actually is. Should be visualized. Oh, yeah, here it is. It's called mesh distance field. So if you click that, essentially what you want to make sure. Oh, quite difficult to see. Let's go to unlit mode, is that your mesh distance field looks very similar to your model. What this is is this basically has to do with lumen and real time lighting. If this model is very broken up, like you see holes in this mesh distance field, the lumen lighting might not be as accurate. The way that you can fix this if that happens is by simply going in here, and then if you scroll down to your LOD picker and then, sorry, LOD zero and build settings. In here, you have your distant field resolution. If I would set this to zero, maybe I can replicate it being broken. Now, I'm 0.1. I'm just trying to show you what I mean, but like here over here, it already is a little bit much where technically it would work, but the resolution is not great. So basically, when you set this higher, it will more accurately represent your model. However, something to do, keep in mind. So here, see, now it's even more accurate. And if I set this to like five, you can see that it will here, even more accurate like this. However, the higher you set it, the more expensive your model becomes to render. It's very minimal, of course, for one model, but if you have 1,000 models, then it starts to show. But honestly, one is enough. Like it just needs to have a very, very rough general shape presentation of your asset. We've done that. Since we have nanite, we don't need to do any type of LODs or something like that. You can also double check your nanite by going, let's go to it mode. And let's go out of the distance field mode. You can check nanite by just going to Nanite and triangles, and now you can see that over here, it just has nand on. Nothing too special. So at this point, we have a vending machine, and remember that we made it into a blueprint. This is why we did that because we want to then open the blueprint and want to drag on our glass like this. And then we can just go ahead and save and press compile. That's all we need to do. But this way, because the glass is not nanite, if we now go to Nanite you can see that the glass still separate from the model. As I said before, transparency doesn't work with nanite, but this technique you can use to still have as optimized as possible. Let me say it like that. So even though your assets have glass, you can still have it very, very optimized. So, I guess, at this point, we want to create some textures. So what we can do is we can go over here into our texts folder and create a new one, and we'll call it funding Machine. Now, in this one, let's go in and let's import and just go to final. We're going to import over here, so it does export a height map, but we are not going to need that. So we're going to import these textures. Now, something that I would like to teach you is that usually inside of Unreal Engine, you wouldn't import every individual texture because that is very expensive. Instead, what would do if we open up substance painter, here we go. We use something called channel packing. So let's go over that first. So if we go to file and our expo textures, I'm going to create a new folder called packed. Copy that and place this into our source location. Oh, we could have just gone there. And what I want to do is I'm going to go for Taga files in this case, just because I don't need it to be PNG. And then if we go to our output templates, right now, we are using the PBR metallic roughness template. If we go to output templates, and let's create a new one that I will call, I'm just going to call it unreal packed. So in here, now we can set up control on how to export our maps. So the very first one it's still the same, which is our base color. You about to go ahead and in the input maps, click on the Sorry, not click on the base color. Over here, just go for RGB plus A and then click on the Base Color and just turn it into the RGB channels. Now one thing is sometimes or sometimes, often what they do is they put the emissive map, if you have one into the Alpha channel. So you can just select that into the gray channel. And then in here, basically what you want to do is you want to click this dollar sign, and you want to select texture set. So the texture set, which actually, I can just remember over here, it will be this name. So vending underscore machine, and that will then become the name of your texture plus base color. So in this case, if we go back here, Out templates. I call it unreal packing, white. Oh, here you can see that they also already use. But here, unreal pack. So here we can do texture set over here, underscore, base color. And then what basically the naming will become vending underscore machine underscore base color. So that's for the text set. Now the next one would be for your normal. And for this, what you want to do is you probably want to go ahead and grab the normal direct X over here. So if we just do a simple RGB because we don't need an Alpha for a normal, we can drag in this one over here, because this converted maps, basically what it will do is it will combine all of the normals together. Now, I'm going to go ahead and call this taxiset on the score normal. Like, I believe I'm not 100% sure if it's this one. Liti, this is something you set up once, and then you just never touch it anymore. But it could also be in the input maps. But we'll see, I believe it's this one. Now, the next one that's actually the important one that I want to talk about, which is our packed maps. So if we go ahead and go for RGB and A, let's see. We need an embiot clusion, a roughness metallic. Yeah, we only need RG and B over here. So what we can do with this is we have control over the individual channels. Now, each channel is a gray scale, but as you might know, ambient eclusion is gray scale, roughness map is gray scale, and metallic map is gray scale. So essentially, because they are all grayscale, we can put each map into each individual channel, and that way we are basically saving the space. Instead of having three textures, we only have one. So I can go in here and I can set the ambient occlusion. I believe I need to do the mesh map over here. And then I want to have the so AO and then, let's say, the roughness comes after, and then the metallic comes after that. And what we can do is we can call it taxi set, underscore ARM. So or A, ambient occlusion or ORM. I'm going to do ORM. That's what I usually do. So occlusion roughness metallic. And this way, we only have three textures instead of one, two, three, four, five, and if you would have an emissive, it would even be six. So having that done, you can now go, Oh, it resets, so let me just select that. You can go in here and you can find your unreal packed sets pack the taga. And now what we can do is we can just go ahead and we can export this. There we go. So now, as you can see, we have a three textures, and all that we have to do is we have to go inside of real engine, and we can drag these three in because the rest is glass, and we also do have the branding. So we do want to go in right click and create a new folder, call it branding. And for that one, I just want to go into my addons, drink branding. And here, again, what you can do is you can place the mask into the Alpha map. In my case, just because I don't really want to open up photoshop since it's just a quick look, I'm going to go ahead and just import them separately. Just a little cheat on my end. But basically, now that you have these textures done, one first thing is this mask over here, it is an eight K mask that's way over Kilformblack and white texture. So if you want to lower down the resolutions of your text in engine to make them optimized, you can go down here to compression, and then you can set the maximum text resolution. For example, 512. And even at 5:12, it still reads totally fine. For the drinks branding over here, we probably are okay with 40 96. And for the vending machine, usually you would sell it to four K or even two K. But in my case, because I want to push the quality a bit for this specific render, I'm just going to leave it at eight K. Last thing is that in your vending machine over here, if it comes from painter, you don't really have to flip it around. However, if you, for example, import a norm map that's open GL, for example, from this is not correct. I can already see that I selected the Wong one, I think on. No, actually, no, it might be the correct one. Anyway, so what I wanted to say is that if you import a norm map that is not direct X, but OpenGL, for example, for Momset, you just want to go down here into Advanced and you want to press the flip green channel just like we did inside of Mamaset. I think this is the correct one. I need to check. It's difficult to see from here. Yeah, I think this was the one. It's just that it looked a bit flatter than I can remember, but it should be fine. So that is it basically for norm map. Oh, and, of course, make sure that the norm map is imported in compression settings as a norm map. So with our textures done, we can now go into our materials and master, and we are going to create a master material for these textures that can handle both the branding and just our vending machine. Now, this is just an extremely basic material. There's literally nothing special about it. Let's just right click, create a new material, and let's call this asset underscore master, for example. And all I'm going to do is I'm going to drag in my vending machine textures in here. There we go. Then I'm going to just nicely separate them out. And the first thing I want to do is I just want to right click on them and I want to convert them to parameter called base color. So this is to expose the map so that we can change them later on. ORM. And over here, normal. For the ORM, if you want, you can even make it more descriptive, where you call it ORM, and then you do bracket, AO rough and metallic like that, so that it's a little bit more descriptive. So what do we need to do here? We need to just go ahead and just drag in these slots over here. So for the base color, can go to base coolor. The normal can go to normal. And then over here, the roughness, we have the ORM. So roughness is ambitoclusion, over here. G is roughness and B is metallic like this. And now all we need to do is we just need to also make this a little bit more compatible to work with our branding material. So pretty much for the branding, of course, we have this parameter here, so it will replace the texture of the branding. But for our branding, we don't actually have a roughness map. So what we want to do is we just want to create something called a static switch parameter and call this a roughness map. Let's set the default value to true. And then if it is true, it will grab which one is it? The green one, I will grab the green one, and then we plug this into our roughness. If this is false, if you just hold S and click on, you create the scalar peremter which is just a value that is exposed and call it roughness. And if it is false, we have it on like this. So let's set this to 0.8. So because roughness is a gray scale, just having a value, zero basically means black and one means white, so we can literally just control the roughness using this one value over here. And honestly, that's all we need. If you want, you can also technically add a multiply. So if you right click and multiply and plug in your ambit occlusion in here, and then another scalar pemter AO strength that might sometimes be nice instead it's to one to just have some ambideclusion strength in here like this. And then what we can do is we can just save a scene. Here we go. And then if we go into our materials, technically these instances they should be in the materials folder, rather than in the masters folder. And you can right click create the material. I called vending machine and move this one also in here. And then we have the vending machine, which technically, we don't need to change anything, honestly, because everything is already set. We can just right click and we can duplicate this and call this branding. Oh, one thing I completely forgot is that we do not want to have a normal map on the branding. So go into your asset one over here, and then we have a norm map over here. And what we want to do is there isn't usually a default normal. So static switch parameter. Normal map over here. And if it is true, it will use this one. And if it is false, what I want to do is I want to import a default normal. I don't think I have it in here. To be honest, let me just check. So I need to go here. Normally, I have a folder with like default map. So let me just go ahead and create a new folder. And that often has a default white, a default normal, default, all of those. There is, however, I if you show engine content, yeah, I think engine content, it was. Then in here, there should also be a normal. So we might actually be able to use that one. You need to check. So here, base flat and normal. So this one actually is inside the engine, so we can drag this onto our material, so we can actually get rid of that default, force of habit to create a default folder. And this because it's a flat normal, we can just plug that in. That means that when we set the norm map, it said it to by default, if we set it to false, it will just not show a norm. Now next thing is that we probably then also over here, we have our embit clusion and we have our base color. Our embit occlusion, we should be able to turn it off using just this node over here. So the only thing that we need is a metallic. So we can go ahead and we can add a static switch parameter. Call it metallic map, D fatru and just plug this in here. And this one can again be a scale parameter where, if a metallic map is false, Oops, metallic. We can just set this one, but we want to set is 20 in this case, because often when we would have no metallic map, we would also want to just turn it off. But this way, we have control over all these settings. So let's revisit our material over here. We have the vending machine material and the branding with. So now if we go into our branding, we should be able to basically turn these things all on and we should be able to just say, like, Okay, no roughness map, no norm map, no metallic map, AO strength is set to zero. So that should reset all of the maps. And then if we go into our branding, we should be able to drag in our drinks branding over here. And the last thing that we need is we need to have a mask. So if we just go ahead and open up our asset master material over here. And then in the branding, I can just use this mask for now. Normally, you would want to make it a bit cleaner if you are making hundreds of materials by having just like a default white mask, for example. But having this mask, I can convert to perimeter. Garlic mask, and we can simply drag this. Well, you can do the RGB or just the red channel, drag it into our opaste mask, which right now here, let me just turn it on. And if you go into your asset master, what you want to do is you want to set the blending mode to mask over here. Now, something that's quite important is that with the mask, we also need to make sure that we have it completely white whenever we don't have mask because, of course, our base materials, they don't have a mask. So again, add a static switch perimeter. Has mask, and if it is true, it does this, and if it is false, it will be a constant this time because we don't need to expose this, and we want to set this to one. And if you plug that in, it should by default, as you can see, just be completely Fine. But then if we go to our branding over here, we turn on the hairs mask, it should, you'll see nicely cut out that mask. So essentially, our materials now done, as you can see, just nothing too complicated, mostly just some switches and some masking, stuff like that. And now if we just open up our vending machine, we can start by just applying our textures. So we have our branding in the top. You can see the name down here, and we have our vending machine. Like that, we can save sin, and this is what we currently have. Now, as you can see, that's very shiny. That's because of a few reasons. The first one is that I want to go into my textures over here, and in my ORM map, I want to turn off SRGB. Like this. And then I just need to quickly go into my master material because it did valve it. But SRGB, it slightly changes to colours, which we don't want. So I'm going to select my ORM, go in here, and I'm just going to apply it again, and then you will see that it changed to linear color. Now the next thing I want to do is that the roughness map often gets read a little bit different in unreal versus substance painter and marmoset. Now, you can alter all of this in painter, but often it's itty just like a slight value change. So if we go ahead and we add a multiply, in our roughness over here before we go into the switch and add another or actually just use the same scalar perimeter for the roughness because we can just reuse this. We can then save this. And that means that now if we go give the second, open up our vending machine material. Here, you can already see that now the roughness has changed. So this is already looking much more like it because we switched the What did we switch? We switched the SRGB. But now you can also go over here in the roughness, see, and I can just, like, you know, I said the five, it's completely done, I can just go ahead and I can change the roughness amount. So, honestly, one, actually, now is quite decent for this specific scene. This scene has been balanced out to also be accurately representing our mom's scene. That's why it happens to already line up quite quickly. But now we have this scene over here. Now, there's sometimes a very slight issue, as you can see over here, where the tracing is causing some non map issues. Now, technically, one way that you could fix that is it's specific to this scene, by the way. So it's only this scene. One way that you could fix it is by selecting your area lights, and then down here, you want to turn off ate race shadows, but this can also cause some issues sometimes where they don't look as nice. So let me just see Now, in this case, I'm going to disable it also because our glass traced shadows do not work well with glass. I'm just going to disabled. I was going to say that there is another thing that you can ty, which is that you can go down here to your console commands and do dot Shadow dot Is not denoise or bias. Sorry, I forgot it. Shadow rate racing, norm bias, no. Give me 1 second. Oh, yeah. So yeah, it was correct. So R rate tracing dot normal BAS And then over here, if you said it's to a higher value like two, it will kind of gets rid of any of those rate race errors. However, in my case, I'm still going to turn it off just because else, this is way too dark and it's not going to actually add much to our scene. So, we now have our scene pretty much set up. So we have our model, we have correct collisions on them. We have correct materials on them. We have a nice camera over here that we can set the camera. And although in the camera, we want to set the fork a little bit less like this. But I think that's actually looking really, really nice. So we got a properly set up asset over here in the Unhel engine. I would say the only thing that I would maybe balance if I would actually be using this in Unuel engine, is I would make my concrete a little bit darker. That's about it. But you can now also go ahead and if you want here. Replicate the same scene as in Mm set, although the lighting would need to be changed a little bit. But I'm pretty sure you get what I mean. You can play around with this, but this is more about, just a general setup. Inside of real engine. There we go. So I think that's about it. I think we have a really nice looking asset, all real time rendered and ready for gameplay. I would, of course, make it only maximum four K resolution if you actually place this into a game. But I think this is looking really good. And I think this also gave a very solid overview on how to create high quality assets just completely from scratch. So I hope that you enjoyed this tutorial course, and I hope that you learned a lot for it. And we will be making a bunch more introduction courses like this, also on environment art, lighting art, technical art, a bunch of those. So look forward to those, and I hope to see you in the next tutorial.