Large Western 3D Environment Creation in UE5 & Blender

1. Introduction Trailer: My name is Emil Sligas and I will be your instructor for this course. After a lot of hard work, we have an exciting new environment course for you. In this course, you will learn how to create an entire Western town environment completely from start to finish. There is a lot that will be covered in this course, but the main topics are as followed. One, using modular workflows to create environments quickly and effectively. Two, creating highly flexible procedural materials. Three, creating unique textures and painting masks. Four, doing level design and level art in Unreal Engine five, five, creating advanced shaders in Unreal Engine five that give you flexibility over everything from vertex painting to dirt and variation masks to parallax mapping. Six, using the brand new modeling tools in Unwel Engine five to speed up our workflow. Seven, using the new Lumen system and doing environment lighting again in nalgen V, and eight, I will show you how to generate quick and easy character animations and even on how to manually animate a horse and place the characters in our level to bring it to life. Now, as you imagine, there are so many more things that will be covered in this course. Essentially, the way that you should think about is that at the end of this course, you will be able to create exactly what you see in this trailer. As a fill disclaimer, the characters and some of the static assets are not included in this course. This is because this is not a character art creation course, so I do not have the actual rights to the characters. And because of that, I am not able to include them into our source files. However, the concepts that I show you on how to animate the characters and how to place them in the level are exactly the same, no matter what type of character you have. It does not matter if it is a cowboy or for example, if it is an alien. As for the programs that we will use, we will be using Blender three D for the modeling, substance Tweedy designer and substance Tweedy painter for our texture work. Unreal Engine five for building our level and bringing everything together, and Mm setback four for some additional rendering. This course contains subtitles for English, Russian, Spanish, and Chinese. However, the subtitles are auto generated and translated. This means that they are not completely perfect, but should be around 80 to 90% accurate. With a total of 31 plus hours of video content in this course, it is considered quite a large course, but I feel confident that at the end of this course, you will have the know how on how to create many different types of high quality game environments. As always, although there are a few small time lapses for repetitive tasks, these time lapses are also included in real time as a bonus. Next to this, all the source files for the content that we create is also included. Now, this course is targeted more towards intermediate artists who already have a basic understanding of the programs mentioned. If you are an absolute beginner artist, I do recommend that you first view some introduction courses, especially on blender and Unreal Engine. I hope that you will enjoy this course, and I hope that it will have a positive impact on your life. 2. 01 Going Over Our Reference And Creating An Asset List: Hello, everyone, and welcome to the first chapter of this course. So what we're going to do is we are going to go ahead and jump right in and go over our reference and also doing some planning. This is something that you should always do when you are working on an environment. So over here, I have an image. By the way, I am using a program called Pure Rp. In your folder, I will need to go ahead and this program will overlay, but in your folder, I will have an object. And you will need to go ahead and you will need to download PUR Rf, which you can just go ahead and just on Google is free. And the reason you need to do that is because these images, these separate images, unfortunately, I am not allowed to actually supply them with you. This is because of copyright. So I will actually be removing these images. However, I can supply them within the PUR RF file because you cannot just take them out of it. So keep that in mind, Pure Rf. It's quite an easy program. It's very useful to use. The only thing is that it is overlaying on top of everything. You can turn it off, but then, of course, for me, that's not very handy, so we will sometimes need to move out of the way. In any case. So, I have a bunch of images, as you can see. However, the reason that I'm zooming in on this image is because this is the general feel I want to go for. Now, of course, I most likely will not be having any characters or something like that, so it will be more like the feel for the environment. But I think that this is quite a nice look because when you look at this, what do you see? You see some unevenness. You see that the environment is kind of like going around. It's not just like a perfect straight street, which is what they often do, and I don't really like that. So you can see, like some cool unevenness. You can also see a nice silhouette. With a silhouette, what I mean is if you look at the tops, you can see that the tops, they are also going upwards and upwards, and you can also see that reflecting on the walkway. So that's something like quite a nice general feel I want to get. I do want to keep everything a little bit more cramped. I also want to create this kind of stuff where we have the really watery stuff, and we are going to really mess up the terrain and the road, make it look very messy and everything. But I'm going to make everything a little bit closer together because for a game environment, at least for a tutorial environment, this is a little bit easier because it always looks a little bit plain and boring when it's like this big open environment when we do not actually have any people or anything going on. And that's what we will be doing. We'll be mostly focusing on the environment. We'll be focusing on the drank rage and everything. And of course, we will do some small assets like the hitching post for your horses, the drinking bins or whatever they are called. And that's about it. I think at that point, we already have already quite a long tutorial, but that will also give you the skills to do some more complicated assets, like, for example, one of the carts and stuff like that. So next is, I have went over some reference. It's actually very difficult to find reference, because I do not live in the USA, I cannot just go to, like, one of those historically acurd places where you can actually see all this stuff happening see all this stuff. So I had to mostly rely on movies, basically, and also on some other tree art from other people, which is always a little bit tricky. And I also had to rely on read that redemption, too, by the way, which I also took a bunch of screenshots because that's also great reference. So as you know, this is our main reference, then over here, we will not be doing a stone building. I do recommend a stone building is cool. The reason that we will not be doing it most likely in this tutorial is because it would simply add too much work. Because if we focus everything on wood, if we need to add a stone building, that will add another five to 10 hours for just one building. And in my case, it's simply not worth it because you won't really learn that much extra from it. So here, we got, like, a bunch of cool different scenes over here. Of course, I forgot the movie. Um, it's a very famous movie. Janko Unchanged? Yeah, that's the one. That's the one. So, in any case, over here, you can also see, quite the interesting silhouette with the buildings that we want to go for. This one I quite like because it kind of, like, shows us how the wood is placed and then how also the windows are placed in here. And by the way, for the windows, I will use a very cool technique that I will show you later on. Technique I've never used before, because it is new for Unreal engine five, and it is about literally cutting out the shape of the window inside of Un Engine five. So doing booleant functions inside of UnwelEngine five. So that's going to be really cool. It also shows us how they do like the text, how they kind of, like, just have the text sitting on top of it like that. And just in general, maybe also some handy posts over here, like some reference for that. This is treaty. This is by Letters Studios, I think it is called. It's just like a treaty pack that they created. And I know, it was just like, some handy information, especially like just this kind of stuff. Quite cool how they did that. And it will give us a bit more of a sense, like, Okay, how would it actually work in a video game and everything? So yeah, here, you have, another one that's all looking quite cool. Of course, it is much more populated with assets, which we unfortunately don't have the time for to create all of them. This is a really great image where you can see over here. Yeah, so it is quite straight, but you can also see that like the buildings, they are not aligned. So some are sticking out, some are sticking in, stuff like that. So it feels quite messy, but it's also nice for us to, like, see how they are all connected together and everything like that. Over here, we just have some more. I like this because of the wood and everything and just like some general reference. And that's pretty much it. Most of this is all general reference because, for example, I like the window or I liked how the wood was placed and all that kind of stuff. Like, over here, we can do, like, some ornate pieces and all that stuff. So that was quite handy. And here we also have like a general feel for maybe how we can do, like the colors and everything like that. And then next to this, I also have a bunch of red that redemption images, which I just went into the game, especially like the ground I like, but I want to make it even more messy because yeah, I just want to really, like, mess that up. And for us, it just shows interesting reference on how the wood is worn down, general shape, how everything is connected together with, for example, over here, these planks and everything. Of course, one thing that you need to keep in mind with red redemption is that everything needs to work for gameplay. Now, we are also going to do that, but we are a little bit more flexible because we are not stating what kind of gameplay needs to be. So our metrics and everything can be a little bit easier. This would maybe also be cool to have, some of these polls here, although it does feel like this doesn't really happen, but sometimes it happens. So, you can see one, too. So you can see that they probably got the idea from the same reference as I did. You often see that back, like in the treaty, everyone's using the same reference because there's so little reference to be found. But yeah, just in general, it just shows, like, quite a nice view and also of some of the wood and everything and maybe like some more ornate pieces like this. So what we are going to do now is we are going to get started and go back to our first image, and we are going to make an asset list. Now, for our asset list, what I have is I'm going to probably do this. Let's start focusing on here. And I have simply a text document, so like a notepad document over here. And what I'm going to do this, I'm just going to write down my asset list. You can find this asset list while I see how little space I have when I need to do it on one screen. You can find this asset list in your reference. This is quite important. So what I'm going to do is I'm already going to, like, envision how I'm going to do everything using the workflows that we are going to use. Now, as I said, we are going to use different brand new workflows that well, I'm not sure if I've developed them. I'm sure other people have also come up with them. But basically, I've never displayed these workflows. The cool thing about these workflows is that it means that we can minimize the amount of assets that we need to make. And because we are going to every door and every window, we are simply going to cut out of a flat wall. So I'll show you what I mean. What do we need for this? We need a plane will shot and a plane while long. These are very easy. A short and long one is what I always do because it makes it easier for me if I ever need to do, like, long pieces like, for example, the side of the buildings. Next to this, what else do I need? I need to have, like a double sided wall, which you can see over here. Double sided wall. And I will just make that one like shot only so that because we don't need to use that often. I need to have a generic generic beam, which is going to be just like one of those beams that we can often use to kind of, like, close off all of our walls and everything and to also transition them. I need a generic angled roof piece. This is just going to be like a roof piece, so we can now do that. So now we already have the walls. We already have the tops. For our trims, I'm going to go for, like, let's do like shop, top trim underscore A, and underscore B. So let's have two variations of those so that we have a very basic one and a more ornate one. And now what we can do is we can most likely also use this ornate one for these pieces down here, for example. Okay, so we have that. Now we need to have a door door with window, which is going to be the little window on top, shop window, large small window. So I'm going to go ahead and we have a large shop window. Now we have, like, a small window for those pieces over there. What else do we need? We need to have a This is going to most likely just be our generic beam again. So we will have a angled canopy or a Let's call it an overhead, angled overhead. Generic. Let's see. Do we need to have more than one variation? No, I don't think so. I think what we can do is we can do one variation, then we can kind of, like, maybe apply I saw that over here. Then we can sort of apply Where are you? Oh, yeah, over here. We can apply, like an ornate. So let's do, um, overhead ornate, don straight, don angled. So with that we have a straight and angles version. So we can just do something like that. That's no problem. That we'll add a bunch of more variation to this. Then we have over here, balcony underscore fence underscore straight. Yeah, that should be do maybe also a balcony fence underscore beam, just in case that we want to close things off with, like, the beams and everything like that. Then we'll have a balcony floor piece. So yeah, you can see that we very quickly start adding more assets. I will later on also have a quick look if we can reduce those again. But let's say, so those are now the structure pieces I believe for our buildings. So let's see. So we got those. I might later on also make some extra pieces in, like, a time naps, and those will be things like maybe I want to make an extra stare or something random like that that will be a bit more out of e. So it's not as important, but it will just, like, add a little extra flavor to our scene. So we can also do something like that, but I do expect that this environment. I don't know how long it's going to take, but it can easily be 30 plus hours depending on how much we are adding to this. So that's just something that we'll see how long it takes. Okay, so we got our windows. We got all of that stuff done. Now let's go ahead and let's do. So this one is actually really important. I want to really put a lot of focus on the walkways and make them look very interesting. So we'll have walkway on the score straight. And I will make the walkways. I will make them that they can sink into the ground, making it that I can basically just make them higher or lower simply by moving them up and down. We'll have walkway underscore stair. Same case. This stair, if I make a four piece stair, I can simply sink it into the ground and turn it into a two piece stair. So we are going to do that one. Now, a very, very cool thing that we're also going to do with our walkway. I saw it over here. So you often see and red that redemption, you see these very small but very nice looking variations. Let's see, it's just like some general variation. I saw it here somewhere, but I cannot remember. Also over here, like the transition pieces and everything like that. And I do want to also go ahead and Oh, yeah, here, this stuff where is like, kind of sunken in. That kind of stuff. I'm also going to use a very good technique inside of reel engine so that we do not need to make an extra piece that we, for example, would call Wel Quay sunken in. Now if for some reason, because we are using Unreal engine five, if for some reason they deprecate this tool that we have, you can simply just create more variations of your modular pieces and use that. So it's not a loss, it's just a little bit more time consuming. So we will have horse. Actually, because those are structural pieces. Let's do like this, and then we'll have, like, horse hitching post, horse drinking bucket. Let's also do, like, a wood barrel. Now, I know that substance mega scans also has a few different assets. And those assets we will most likely also use to just, like, add a little bit extra of a punch to our environment because it would simply be way too long in order to actually do that. I see over here some like walking planks. So there are going to be like these cool looking planks over here, and I will make, like, a big variation like a small. So walking planks underscore. White walking, planks on the score. Tin. So as you can see, we have quite a bit of stuff to do. And the cool thing is that we will be doing it in blender, which I do not often use blender for tutorials anymore. But this time, I'm going to use completely default of blender because I feel like the moding is not too complicated, so it's quite easy for me to just showcase that you, while for much more complicated moding I would also turn to I will always turn to, like, Maya or to Tres Max. So what else? So there are some small stuff like a stair and everything, but all that stuff I'm going to add later on. So I just want to have mostly, like, structural pieces. Maybe we can do, like, another. So we have store window large, large score white. Let's have another one that is just, like, slightly different that will hopefully because what we can do is we can reuse these. We can pick the large one and we can just make it white, and then instantly we will have an extra window that we can use. So let's see what else is there in here. So we got our supporting pillars. This is like what I mean with the wall gray white. So we got, like, our supporting pillars. We got all that stuff going on. That's pretty cool. I think at this point, we should probably not add too much more because else will take a little bit long. So now that we have these pieces, we can save our text document. So we now have our seam. We now kind of, like, know what we need to now, one thing that is very important is that we are going to create a blockout. And for this, we are going to go ahead and we are already going to set up this blockout in reel. And this is because the metrics are so important for this. With metrics, I mean the scaling. If I mess up the scaling, if I make this completely to final right away, and I then go into reel, set it up and and I find out that I messed up the scaling, it will be a lot of rework. I do not want to do that. But also what is important is that we get a feel for our environment when we already create a blockout. And we can also see if we missed any pieces. So we are going to go ahead and create a blockout. It's still going to be very, very basic. But when we have created a blockout, we are already going to probably set up our entire scene using this blockout. I'm going to make the blockout in, like, mid fidelity, pretty much. So it's not going to be only boxes, so it will have some detail, but we will need to, like, rework our detail later on. So let's go ahead and continue with that in our next chapter. 3. 02 Setting Up Our Project And Metrics: Okay, so let's not go ahead and waste any time. We are going to go ahead and set up our Unreal Engine five project, and then we're going to go ahead and jump right in start by getting our base metrics down and start working on our blockouts. So I'm sure that most of you know you can get Unreal engine five simply by wherever you always get UnreelEngent four, there will be now an Unreal Engine five tab, and here you can go ahead and get the early access. This is a disclaimer. It is early access. Some things might change, although the UBI and everything will most likely stay quite the same. There might be some bugs here and there, like, for example, the new lumen system. We will not be using the Nanite system for this. We will be using original techniques and there is a reason for this, this because the Nanite system is specific to unreal. However, if you want to get a job in the game industry, many companies do not actually use unreal, especially A companies, they often have in house engines, so they will need you to know traditional techniques. So I don't want to teach you techniques that you will most likely not be using. The only difference is that unreal Nante is hypole. But we have actually created one course on it, which is the metro course. If you go to a profile, you can find it. In any case, over here, so when you go ahead and download Unreal and start Dup, you can create a new project. We are going to go ahead and we are going to go for just the games, and we're going to probably go for like a blank project. I guess you can go for third person if you want, or we can go for first person. It doesn't really matter. So if you want, you can just input this one, and then you want to go ahead and what is set a project location. So for a project location, I'm going to go ahead, create a new folder that I'll call Unreal in capital letters, and this is where everything that has to do with our Unreal engine project will live. So I can go in here. That. And I will call this. I would like to keep my name short because I already have a very long project location. And the thing is that Unwil has a limit of 188 characters, I believe, or 250 characters. And then it starts giving you errors. So let's call this West run Underscore Tot. See? 130. That's what the one. And that's why I'm saying you why I'm telling you this West Underscore Tot. Yeah. So let's just do this. So yeah, it will be a bit of a silly name, but oh, well. Target platform, we are going to go for desktop. We are just focusing mostly on PC and console graphics. So we want to set the quality, preset the maximum. And what we're going to focus on, so just press create is we are going to go ahead and we will, of course, push everything a little bit more just for your quality. Now, this will go ahead and it will initialize over here, so that should all be totally fine. And then what we also have is while this is loading up is over here, we are going to use blender. A cool thing that sausen you from this tutorial, I will hope that I do not forget to turn it on quite often is that we will have keypress. So whenever key I press, you will be able to see whatever I'm pressing in case I forget to tell you. So this is quite handy. For the rest, we are going to use the complete default of blender. However, there's one plug in that I will be using, and this plugin is called the Mcivist Interactive Tools over here. Now you can get this tool for free on Maxi Vs vist.gm.com, and then you will be able to also find this. And it also has some documentation if you want. However, it is quite straightforward. What I've done is I have added a blender folder in your source files that has the tool in here. And in case you didn't know how to install it is simply going to file, sorry, edit preferences, and this is considered an add on. So in here, you can simply press Install, and then you can select your Maxi Vs tools. You might need to turn it on. However, it will pop up, but you can also just type in Max, and here you can find the generic Maxwstols and you can turn it on. This will simply art this little window over here to the side, and that's it. This window is really great because it has some very easy features like doing quick pivot and pivot editing, turning on target belt and a bunch of other stuff that although they are really nice, we will not be using them a lot, but they will be there. Now at this point, as you can see over here, our third person scene has activated. We can also go ahead and we can play, and then you can see that over here, we can just play just like normal and do whatever we want. Now this is quite nice, actually, because we can also use this third person character wide away for our scale reference. So what we're going to do is we are going to go ahead and I do want to create a new scene. So let's get started by just doing some organization. I'm going to get started by creating a brand new folder, and I will call this folder, Western town. This is where all of our stuff will be located. All of this other stuff, it is just mostly unreal stuff, but this is where we will have all of our assets, so let's create a folder. It's called assets. And by the way, if you do not see this content browser, it is down here. For this, I do expect that you already have a basic understanding of unreal and how it is being used. And else, I would recommend that you just watch a quick introduction, just like where the UY is and everything. Forrest's not too difficult, and there is some stuff that will most likely be it will most likely not be explained in, like, the introduction. But then, of course, I will just explain it to you. So we have assets. Rice click, creates a new folder, textures right click New folder, materials, right click New folder. Saves let's stick with this for now. So in the saves folder, we will save our scene. For this, what we can do is we can go ahead and we can go to Let's file, and let's do a brand new level. Let's grab for now a time of day level because it already has some handy lighting right away. Now for this level, we can go into our World Outliner, and there's a bunch of stuff that we do not need. We do not need to use text renders the material preview. We do not need the player start we don't need. Yeah, no, we don't don't need the floor. All that you want to have left is is some of the lighting, which is our direction light and just our sky over here. Then what we can do is we can go to file, save current levels, and this will be our final level later on. So Western Town saves and we are going to call this one. Western town scene and press Save. Perfect. So we now got our base level set up. If you want to go ahead and you just want to always load up this level whenever you close down your engine because I assume that you're not doing this entireoal course in one go. I certainly will not. Then we can go to project settings over here to the site, and then you can go to maps and modes. And in here, you can find your Editor startup map, which will be our Western town in our game default map, which will also be our Western Town. So this is quite handy. Now what we can do is it will just load up this scene. Okay, perfect. Now, there's a few smart things that I want to set up before we can get started by just creating our first walls. The first thing that I want to set up now is I want to already set up a basic train. This train will not actually have anything in it yet. It's just going to be like a very basic train that we might or we will most likely remove and redo, or we can already use it. It kind of depends on how big our scene is going to be. The way that we're going to do this is we are going to go up here to activate our landscape editing mode. And now what we get is we get this massive green box over here. One thing that is very important that we need to keep in mind for this project is that I want to have a lot of geometry in my train in this area. And the reason for that is because I'm going to have everything from food steps to cart wheels to horse steps to, like, dance. Everything is going to be in our train. And I want to actually have this geometry because I want to really push the limits of what we can do with this. So knowing that, a cool trick that you can do to push in more geometry into your train, right now, your train is very, very large, and as you can see, the squares are not very small. This sort of corresponds with geometry. However, if we make our train insanely large, so we make it, for example, 255 quads and two sections. This is probably the No you can probably go even larger, but let's say that now we have this massive train over here. However, if we now set our scaling to, for example, one by one by one, what you can see will happen is that it will become an incredibly dense train. So it will be a little bit more expensive. However, that train does have built in optimization tools. And it will be a lot more interest. So if we go five by five by five, for example, he'll see how big that is already. So two by two by two maybe. And I think two by two by two might actually be let's do for just in case four by four by four. And let's do that. I feel like this is big enough. The reason why I say that we will most likely remove it is because as you can see, we don't really have a perspective of how large this actually is. You then go ahead and press Create, and that will create our train over here. There we go. And at this point, you can see that you can sculpt, but we can just close this. So this is our train. Now, as I said, I was curious how big this actually is. So if we go to create shapes and create a cube, and then in your cube, if you press a little button next to your transform, you can reset it to zero, zero, zero. So this cube is 1 meter by 1 meter by 1 meter. That's very good because this will also be our base scale. So as you can see, one by one by 1 meter, it looks like that our terrain might actually be a little bit small. But for now, that does not matter. So over here we have our cube. Now, what I want to do is I just want to drag in my third person blueprint. Let's see. I think third person character. Or is it this one? I forgot if it was this. No, why? Of course not this one. This one over here. There we go. So here we have our character. So this is great because we can use a character to basically just run around. So I believe that we do not even need to play a start for this. If we just go ahead and we now go and press play Oh, no, wait. So we do Oh, I get it. So it automatically adds it in a players start. That's the thing with the third person counter over here. But it does mean that it will still keep this tur person counter in here. So if I just to test, yeah, see? Yeah. So it will just automatically drop in Tur person coounter. This is an engine thing. The engine will actually just do this for us. That's a buck. Okay? That's what weird. But in any case, that is good to know. However, I still want to drag in my third person character over here temporarily. And then if I just grab my cube over here, what I can do is I can grab this cube and I can scale it to be the size of this character. Or maybe we can we find the model, maybe? It would be nice if I can just find the actual model because it will be a lot cheaper. Third person mannequin characters mesh. T this There we go. Let's do that one. So this is the model that makes it a bit easier because then I don't need to do my cube. I'm going to use this model for scaling. It's basically just going to be here so that I know about my correct scale because there's always a little mismatch I find between blender scale and unreal scale, even though everything is set to meters and it is 1 meter by 1 meter by momere, it still seems to sometimes mess up. So wall plane short and wall plane long. Now, what we want to do is now want to go ahead and go into blender and we will start by creating that. I'm going to go ahead and I'm going to shift A, go to mesh, and start with a simple plane. So this is going to be our wall because it's just going to be blockouts. For our wall, um, right now, it's a little bit of guesswork. I know that the height. So I can guess, if the person, let's say that this is 2 meters, this is probably around four to 5 meters. So let's do 5 meters. The length is something that I need to kind of, like, guess. I think what I want to do is I want to say 10 meters, just because I know from experience that we often need to go a bit. Larger in game than it would be in real life in order to make the perspectives work correctly, but you will not really actually notice that in game. So let's do short five by ten and long five by 20. I think that's sort of the general idea that I want to go for. So what I can do is I have over here, I have my plane. You sometimes might see me pressing the Wong buttons. This is because I'm currently working on a project in Maya and also a project in Blender. And that's the annoying thing that when you switch, it's quite annoying to just transition over to these shortcuts. The way that I'm going to do this is so we have this plane over here. We can go to item, and then over here we do have our dimensions. So right now it's two by two, or you can use your scale. It kind of depends. So these kind of correspond with each other. If I set this scale, I don't know which one, this one. This is the scale. So actually, I need to go for the Y scale. If I set to 10 meters, you can see here that this becomes 20 meters. So if I do 10 meters here, Yeah, so we might actually want to go for 20 meter. Let's just see. So let's do 10 meters here and let's do 5 meters high. You'll see, that's what I mean. So we might actually want to double it inside of blender. So if we go 10 meters by 20, which basically, then it makes it easier for me to use this one because these values are a little bit easier to read for me. I know. It is quite large. We just need to see. We need to see. So let's say that we have this. What I'm going to do is I'm going to go to my Maxifst tools, and I'm going to press AdditPivt. This is very nice because now I can just freely move around my pivot and I don't need to mess around with all that weird snapping stuff that happens in Blender that I personally I am not a big fan of. Now I want to snap this pivot to my corner. So I'm going to go up here to snapping, and I'm going to snap it to vertex. Then when I move this, I can snap this to this vertice over here, and then I can press at a pivot again so that it is turned off. At this point, we can go ahead and set a location to 000, which means that this is where our pivot point will be. The way that Unreal reads is Unreal will always place your PIVOPoint on 000. All your models need to be on, you guessed it 000. Now that we have this one over here, I will have a look if I need to go. Let's start with 5 meters. Let's do a simple square to get started with. It's handy to keep it a square because then it is very easy for us to keep it tilable. Now, in terms of organization, we need to always go ahead and we need to organize it in this way to keep everything nice and clean. We go ahead and we right click and create a new collection, double click on it and give it the name of our asset list, which is plain, wow short. This is why I gave so much attention to our asset list and the naming so that we can correspond everything. In here, we can also go ahead and we can also keep track. For example, if we've done the blockout, we can say slash B. If we done the final modeling, we can say slash F. And just like that, we can just go ahead and get everything done. So you just want to go ahead and drag your plane into your plane well short, or you can, of course, right click move to collection plane well short, whatever you want. We have our wall now over here. That's all we need to do. We can go ahead and we can start by just doing a save as on our scene. And we are going to go ahead and we are going to save it in our source files. Let's create a folder called saves. And let's call this one structural pieces so that we have small props separately from this. Structure pieces and press save. We can now go at the Expot and we want to export this as an FBX file. So in here, if we go ahead and let's create an Expos folder, you can export it directly to Unreel. I like to have it in this folder just because this is a tutorials that people have an easier way of finding it. And you can go ahead and over here, too, Unreal, a folder. And in this one, call it once again the same as your scene collection. Do not call it different names. Just keep everything the same because else it will become a pain later on. Turn on select objects. It will remember you having this turned on for everything else. And then for scaling, often the scaling needs to be set to three. I know this does not really make any sense, but as I said, there seems to be a mismatch between blender and between unreal. Now, I can dive into metrics and setting up specific metrics between the two programs to get everything correct, or I can literally just set the scaling to three and be done with it. So make your life easy. So yeah, let's go ahead and press port FBX. And now what we can do is we can go into unreal and now if we go into your Western Town assets, we can go ahead and we can import this. So let me just navigate to the folder, exports to unreal. Here's our FBX. And this is the nice thing. We can create a blockout, and later on we are just going to overwrite this with our final version and it will automatically be replaced. So you just want to click and write this in. And now there's a few settings here. Do not build nanite at least unless you want to use nanite but we're not going to use nanite. We want to drop down and very important, set the combined meshes, turn it on. Everything else is pretty much the same. Yeah, we don't need to really do anything else, so we can now go ahead and just press Import, and there we go. So now we have our WAL. What we can do with this is we can drag it in, and now we can go ahead and we can rotate it. So here we can see, for example, that our WAL, I think we need to set this to 0.1 in terms of scale. So I think our scale is a little bit too much. Although we can also twin and set the scaling in here. Normally, it's three. I can twin and set the scaling in here to make it maybe a bit easier. It doesn't matter. It will remember all of these scalings. So let's set this to one, export again. Right click and press reimport. Here you'll see, so that's still a little bit too large. Now, what we can do? So there is like a starter content in here, and the starter content, oxygen, now, we can use this.To one, 2.5. There we go. That's pretty much the rough scale that you need to go. Don't worry. We are going to create a door frame next and a door frame, and then we are going to create a window, and that will kind of, like, fit everything together. That's all we need to do. So for now, we can see this over here. What I'm going to do is I'm just going to go ahead and set my scaling down here. So if you double click on your wall short, you will open up the mesh editor. And if you go down to transforms that set us to 0.5, for example. It's a bit of a weird. On the scaling is behaving a little bit strange, but as you can see, So 0.4. Then we are just going to set a scaling inside of this one. So over here, in the end, the primitives will stay the same. We will have even spacing, which means that if we Oh, no, wait. I'm doing this wrong. No, no, no, wait. I'm doing this right. I'm talking about grid snapping. I need to make sure that my grid snapping works, and 0.4 does give me correct grid snapping, so that's totally fine. Okay, test it out. Just press CtraZing Contra V. Then you can go ahead and you can just move this around and just make sure that everything fits together. I can remember in the past accidentally making a mistake with that, but that was actually something different. So right now over here, we have something like this. If you want, we can actually make this even easier. We can go to shapes, cube. I don't know why I didn't think of this before. That's my fault. I can simply set the cube to be 5 meters that I know here. So you see? So I made a mistake after all. But I always like to leave in my mistakes as long as they're small. So if this is five by 5 meters, I can simply go in here and I can simply set my scaling to be exactly this. And then the metrics are exactly correct. So it looks like that we had to go for 0.5 after all. See, 0.5. So that was the correct metric. We just had to split it up into half, and that makes more sense. So this wild is now correct. Everything that we import is going to be imported at 0.5. And now what we need to do is we kind of need to guess how we are going to have our windows and everything like that. However, we will go at and we will do that in our next chapter. 4. 03 Creating Our Blockout Pieces Part1: Okay, so let's have a look. So we're going to go ahead and start with our windows and our doors. Why is this stuff so important? This is so important because remember how we also have this walkway. So we need to kind of, like, guess that we have a spacing for the walkway, that we have a door that is big enough, and that we then also have a little trim that we can fit on top. So as you can see, all of this kind of, like, ties together. And once we have this one spacing, we can base everything on this. So that is the general goal for this. So if we go ahead and let's go into blender. Now, for this piece over here, yeah, that is actually a tricky one. I need to have a quick look at it. So let's go ahead and let's create like a very basic cube, shift a mesh cube. And by the way, I need to move this up because Alsa can never see my settings over here. And for this cube, what I'm going to do is I'm going to set a scaling. Let's see. I'm just going to use these scalings for this most likely. Now, actually, you know, let's turn on snapping increments and snap this to an absolute grid over here so that we can just here, see. That way we can snap this properly to our grid. And then the nice thing about this is if you press tab to go, of course, into your edit mode, we can press three to go into face mode and select this face, and it will just snap everything to the grid. So what I'm guessing is three grid points by one grid point is like the base. And then we can always make it higher. But when we make it higher, we will simply move the building up and down. So that's what I'm talking about. So we want to have a basis, and then on top of that basis, we can move things up and down. So let's say that this is going to be a pretty good base. Actually, you know what having this piece. We can literally just create a new collection, drag this in here and just call this sorry, what was the name? Walk quay straight. There we go. See? So we can literally just do this. So we already have a wa Quay strait. We can go file export FBX. Walkway straight and export this. We can go right away, jump into unreal. Where's my folder? Here's my folder. Got a love three screens. I recently got a new screen. So now I can just quickly do this. And then I just need to set my uniform scale to 0.5, remember? I just need to do this once. It will always remember your settings after the first time you do it. But we didn't do it last time, so we do this, and this should now fit perfectly. So with snapping on, if we drag this well, okay, rotate it a bit. Here you can see, all the snapping just works perfectly. Okay, so that's already a bit higher. So we got this point. Now we want to have a door, and the door needs to be actually quite a bit higher. So let's go ahead and make the door two meter fifth. That feels really large for a door. But okay, maybe that was just the way that it was at that time. So all the person is really short. Yeah, let's do like ten to 24 door. Let's go ahead. Shift A mesh and just do another cube, and we can just use increments. What I'm going to do is I'm going to go ahead and yeah, this door I can try to do basic scaling, but I'm not sure if that will actually work as well in this case. So let's go in the Z axis 2.2. Yeah, I see here, that would probably would not work. So what I'm going to do is because this door logically, this door needs to sit almost all the way to the top. So logically, if we go ahead and we scale this down and we don't use snapping or anything like that anymore, we're just going to scale this in and it's just going to be like a mostly like a test. So we got this one. And now I'm going to go in my edit mode. Let's go ahead and let's move this here, let's tune on incumbents. Let's move this up until this point. Go back to object mode, maybe, like, scale it down a little bit. And I just need to fit it. I'm going to fit it, and then it should be fine. So let's go ahead and call this door underscore A, for example, just because in case we want to make more doors, export it, and let's just give this a go. So the beginning part, I always find a bit annoying just because everything needs to kind of, like, work together. But because of the couch I can basically just guess my wit and scale. Normally, in a game or if you're working on the game, you have all of this predefined. You have technical artists that make everything perfectly logical for you. In here, what I can, for example, now notice is that, yeah, okay, so it turns out that our wall is most likely way too high. So that was then my fault. So let's go ahead and if you want, you can also actually export this. If you want, what you can do, just to get a better guess is you can right click, convert SK Mank to static asset and press Save. And now with this one, you can right click on your asset that it just created. Asset actions, and you can actually export this. And you can go in here. You can say from unreal just call this base character, for example, and export it like that. And it gives us a better guess in here when we import this in here, from in real. Now, as I said before, the metrics will most likely mess up again. So we'll see how it goes. So let's import this. Yeah, you'll see too small. So I think we want to probably scale it up by, um, No, sorry, its imported level of details, which I forgot to turn off. So there we go. Okay, now it is too big. See? That's what I mean. So let's go ahead and go into our scaling, and let's set this little like 0.1. Or maybe I can set it to one over here. Now, see, that is the tricky thing about this. That the scaling. I don't know if it needs to be 0.01. 0.05 maybe. You see? It just completely messes it up all of the metrics, and that is the annoying thing. I know that there is a way that we can fix this. However, out of my head, I forgot what it was. But it's not really worth it because I can just go ahead and I can just kind of like it might not be the most accurate way, but I can just go in and I can compare this kind of stuff, just to get a general feel for things. Like this. And then we just need to go ahead and we just need to move this down. So this might be a little bit more fiddly, but this is just often the way that I do it because yeah, I don't know why. It's just the way that I like to do it. Only if I need to work on video games where we have very specific metrics, I would actually go in and do something very specific. But this door is also not really a normal metric, as you can see. So for this, we're going to go ahead and let's now, skill it in a little bit more. I think a character needs to be a little bit lower? Let's export this. Let's see. So we're almost there. Okay, so the width of it, no, the width can actually go a little bit less. Scale in a little bit more. Let's move this down. Probably a little bit. I feel like that this character actually does nothing. I just want to show you how to input it. So I'm just going to go ahead and I'm just going to delete that because I don't feel it's useful. I actually only adds confusion to my scene. I think something like this is pretty good. So over here, we got, yeah, we got like this door. If you want, you can, of course, do the whole measurement thing and see how close that we got to one point or 2.1 meter, although it does not matter because I'm not going to go for those specific metrics. Yeah. So if this is like one, we can do like 2.1 or something. 2.2, so, so see. We got quite close to it. So 2.2, if you want, you can, of course, scale it down a little bit more if you want to get the exact matrix of 2.2 that we had in mind. And I would do that simply by going in here. By the way, I sometimes press AldX to go into X ray mode, and I do this so that I can select everything because in blender, you cannot Well, I'm sure there are settings for it, but you cannot just in the default, select everything if you cannot see it. So I just scale this down, and just like that, I can get it pretty much maybe like a difference of, like, a few centimeters, I can get it pretty close. So I can go ahead and I can do this one last time. Fine. Honestly, I don't really care about it too much with stuff like that, especially in those times the doors were not all perfect metrics. They were probably a little bit uneven. So, okay, so we got our door over here, so that's pretty good. Now, what we're going to do is we're also going to go ahead and create a few windows, and we want to go ahead and create a window above this door. So that's going to be our first thing, actually. Well now, first of all, and see, that's why I said that it does not matter too much. It's because now I'm going to go ahead and go into Face mode, and I'm just going to press E, and I'm just going to extrude this to give it like a nice window, and don't make it a square window, as you can see, it's not square. So this is going to be like our metric over here. Now, what we can do with this is we can turn off the plane while short. We can right click, create a new collection and call this door under score A. And grab your cube and throw it into door A. This way, we can also turn off our walkway. And then with this door, all we need to do is we need to turn on snapping to vertex, go to our Mcivit tools, and then snap this to, like, the corner over here, turn off at the pivot again. And now what we can do is we can snap to increments, and then we can just snap this to our grid. Or what you can do is you can go ahead and you can go into item and set this to 000. So we have a door over here. That's pretty good. Now, just to indicate that this is going to be a door, what we can do is we can go in here. And if you press I, you can inset this. Now, sometimes this happens. When you do your inset, it is not accurate anymore because we did a lot of moving around, so your transforms are a little bit messed up. If that happens, what I recommend you do is you can go to Object, apply, and all transforms. Now, one thing is that I actually don't really like using shortcuts. Not in Blender, not in any program. I like to use menus myself. And that's what I will be doing. I know that Blender is a very shortcut heavy program, but I'm not going to learn the shortcuts of every single program we use because I use ten plus programs, so that's way too much to remember. So what I like to whenever I use something, I like to add it to my quick favorites. So you just right click artist to your quick favorites. And this is the one shortcut that I have there is that when I press Q, I can overhear and I have my quick favorites. This shortcut, if you go to preferences, Kemp, I don't think it is in here. So if you just type in quick favorites, set it to whatever you want. I set mine to Q just by selecting it and pressing Q. And now that I've reset my transforms, the only one that I will use is Contra B for Bvl, I for ISAT and E for extrude. So now if I do E or sorry, E, I for ISAT, you can see that now this works. So what I can do with this is I can go ahead and I can just for my blockout, I can Oh, sorry, my snapping was turned on. I can go ahead and I can just push this in. So this is going to be like my window. And then it has, like, a little trim above it, which I also want to go ahead and create. So let's make my window a little bit down over here. And then what I'm going to do is it looks like that I just want to hold E and just extrude this hold E, press E, and then we can go ahead and we can select these pieces. Now, extruding these will not work. And this is because we need to go ahead and we need to go I have it over here, extrude phases along normals. You can find it over here in phase and extrude phase along normals will basically allow you to extrude them based upon the direction of every phase. This means that this phase will go ahead and go in this direction, this phase, in this direction, and everything like that. Doing this does sometimes, as you can see over here, change some stuff. So what you can do, wait. I'll show you again over here. So as you can see, when you do that on the corner, it does not always extrude straight. What you can do is you can select this side. You can simply move your scaling to scale it a little bit flat, and then in your resize step, set this to zero. This way, you know that it is 100% straight. And then over here, it looks like we just want to move this one out. There we go. So that's pretty much like our door. We can go ahead and do another inset over here if you want. Maybe go to edge mode by pressing two and move this edge up. And then what we can do is for this one, let's go ahead and E extrude this in like this. And I can also go ahead and I can just delete these pieces over here. So right now if I press delete, I just want to go ahead and go faces. No, sorry, I don't want to do that. I want to go I always forget. I need to set this to a new shortcut. Is it face? Yeah, yeah, it is faces. I just forgot to press X. Delete faces, okay. If I just do delete, right, click Assign shortcut. Delete. Right, click Remove shortcut. There we go. Now if I press delete, it should do my face. Well, it does do your faces. It just brings up your menu. This is something I can change. Oh, God. I have not done this in a long time. So key map. Delete, if I set my key binding to delete, I can go, like, here, this da da da. Was it the outliner? I need to look. So basically in here, I forgot which one this. It's like, you can do, delete phases or maybe it's in here. I don't want to spend too much time on it because I don't even know what I'm doing. Yeah, here. In any case, I will figure it out off camera. But if you press the lead, what you can do is you can turn off the fact that it will show your menu. So I just quickly forgot about that. In any case, what we want to do with this door, now that we have this is we can simply go ahead and go to Vertex mode, select all of these Wertzs, scale them flat, and then set this to zero. There you go. And then if you want, you can turn on snapping and just snap this to absolute grid, which will mean that it will be exactly on the bottom over here. There we go. So this is like our blockout for our door. We can go ahead and we can export this once more. Door A. And now we also have a window over here. And so for the window, you can see that the window is at the same level. So it's quite a large window, and it's just like at a lower level over here with our door. If we go ahead and we just go in and press Conti Contrave, for example, or you can press Chef D and then right click, we can go ahead and we can add the new collection and call this store window Actually, that's just store window and move your door into your store window. So for our store window, for this piece, what we can pretty much do is if we go ahead and select this base over here, let's just simply move this down. And, oh, it's still snapping. Let's quickly turn on my door just so that I know roughly how high I want this to be. Let's do I'm just guessing, something like this looks like a nice height compared to what we have over here. Once we've done that, we can go ahead and if you press next to the one, you have the little wavy button. I always forget what it is called. It's even called just like a dead key inside of my key registration. You can just go ahead and it looks like that we need to go to the right view. We can then go to face mode, Alt x, and just select all of these faces and just press delete. And I want, delete phases. Next to that, we can go ahead and I will show you another one, which is the bridging. So if you go ahead and select over here these two edges, over here by using Shift, not control. I keep forgetting that. Select these two edges, and now you want to bridge them. For this one, you can go to edge and bridge edge loops. Or you can go ahead and do what I do, which is Q and press bridge edge loops, and that will just add the quick bridge. Now having this one done, we can go ahead and we can go to our MaxifsTols. We Wong button. We can go ahead and press AdditPivot. Once again, we can snap this to the vertes and just snap this to the base. And then what we can do is if we want, we can go in here, set this to zero. Do that after you've turned off at a pivot and set this one to zero over here, just like that. Now, also nice thing that we can do is we can turn on the iframe toggle. This way, we will always see our Wireframe over here. However, you can also do that by going down here and just pressing the iframe toggle down there. Depends what you want to use. In any case, file export FBX, and this is going to be store window and that was it. Store window. There we go. And so why was all of this so important? If I now go ahead and I'm just going to import my store window. Where are you? So I'm doing this on my other screen because I'm a little bit blind and I cannot seem to find it. Oh, there are. Store window. Import. So SSM, we can also, click on a door and press R Import. So this was important because we can now use this image to roughly guess what the base size of the front of a store is because we can just guess the distances between them. If we go in and we just go ahead and move this up over here. This is fine. We can just have our door over here. Yeah, there we go. So it's quite a tin door. And what I can also do it is even by engines, one, two, three, four, five, six, seven, eight, nine, ten. So yeah, four, four. So now I know that my door is exactly in the center. What I can then do is I can give some spacing so I can say, Okay, I want to have another door, but this time, it's going to be my store window. Just move it up so that it is at the same level as your door over here. And now you can basically say, Okay, so there's a little bit of space here here and here. Now, it would be nice if this space, it feels a little bit, that feels a little bit cramped, to be honest. Although it would have been a really nice metric if we use that. I'm not sure if this is good because what it will do is it will just make everything feel a little bit short. Let's say if I would go for an ideal version, I would bring a little bit more space here. A little bit more space here, which means that I will probably, like, extend this out to an uneven number. So right now it is five by five. Oh, no, wait, it might not be an uneven number because we need to lower this down anyway. So let's go let's see. Let's do on my Yeah, ten. No, you need to be like eight, you need to be like 128 by 12. Let's try that one. It's always a bit tricky to do this because of the tiling mode. So if we do this, we need to just keep that in mind when we do our tiling. So let's do eight by 12 and let's re import. Okay, so that's pretty good. So we got a little bit of space for our trim. So 8 meters height is quite nice. And then if we go in here and move all of these three, like in the center a bit more, how is that? Does it have too much space, too little space? This is the important one. I might be slow right now, but this is the important one because this is the one that from which we will make everything. Yes, I think I like this. So this is going to be our metrics. Our official metrics are going to be 12 metres long, 8 meters high, which means that for the longer wall, for example, Contra Contrave, we can d a new collection. Call this one plane while underscore, long. And then for this plane while long, it would be 8 meters by 24 meters over here. Like that. And then we can go ahead and we can also export that one. So just like that, plain while short. This one is going to be plain while long. We have now two metrics over here. Okay, that's perfect. The only thing I'm going to do is I'm just going to go in my walkway, and my malt may needs to be 12 meters long. And then what I also need to do is I just need to re snap it back to the grid for which I don't think increments is going to work. No, so I need to do an add pivot, snap this to the corner, turn off add a pivot, and then just go ahead and set this back to zero, zero, zero. There we go. 12 meters long. And this one is 3 meters. Yeah, 3 meters feels fine. Sorry, I say meters. I mean grid points because right now I cannot really trust the grid anymore, but I can still use it for like to make everything nice and even. So this one is going to be walkway straight. So if we go in here, right click, reimport walkway straight, check, and then we will have our plane while long. And these pieces always need to be double. If we do not do that, then we end up just messing things up later on. But right now, everything's even number still, which means that if I turn on my grid snapping, I can nicely snap this to grid, and then I can, for example, click and drag and turn my plane while long into here. And now you can see that now we have a long version, which, for example, will be great to have the back like that, as you can see, and we will have a short version. Okay, now that we have a solid base, everything will go a lot quicker. So in our next chapter, we will continue creating our blockout pieces, but as I said, everything will be a lot quicker at that time. 5. 04 Creating Our Blockout Pieces Part2: Okay, so let's go ahead and continue with our blockout. So we got a pretty decent window. You know what the windows, they can actually be a little bit wider, now I look at it. So let's go ahead and just quickly finish off this stuff because we took quite a rapid ending in the last part, and that will simply because we were quite a bit over time because I try to always keep these pieces below 20 to 30 minutes for you so that it's a little bit easier to digest all of the information. So we have a store window, and then what I'm also going to do is we have our walkway straight, and I just want to make this one a little bit more interesting. So what I'm going to get started with is so far walkway, remember how I said that I was going to make it longest that we can basically move it up and down whenever we want. That's what I'm going to do now. So we have this piece. Let's turn on increments, and let's just press E. Let's just here, let's do that. That should be long enough, something like that, I think. And then what I'm going to do is I'm just going to do something very basic. So this shortcut, it is contre R for me, which basically adds a loop and slide. Oh, I should not do that using snapping. It is very handy to just very quickly add some extra loops like this. And then, for example, here, like, doing stuff like that. The only thing is that this is an interesting one. So this one, it is slightly different than your loop cut, but oh, no, wait, it is not. Yeah, yeah, no, wait. It should be this one, I believe. Contra R. So it's sort of different. The only difference that BS is is that if I do CtraR yeah, so let me just press this. If I do contre, I click, and then I can immediately move it around or I can right click to leave it in place. However, this one, this loop cut, you need to click and then you need to hold your mouse, and then you need to drag to put it into place. And then as soon as you turn off your drag, then it will place. It is a very small difference. I didn't actually realize how small of a difference it really was. However, if you want to use mine, you can find it only in your preferences you keep up and it's called Loop, cut and slide. This is the one that you want. This one, there is actually no menu for it, so I cannot actually add it into, like, my quick favorites or anything like that. So, just keep that in mind. Also, by the way, all of this stuff, it will go a lot faster when we get more into, like, all of the modeling. In the beginning now, everything will just go a bit slower in terms of me explaining things. In any case, what I'm going to do is I'm just going to go ahead and select all these pieces and just press delete and just delete the faces. And then what I want to do is I just want to go ahead and select these two Q bridge edge loops. Do the same over here, cube, bridge edge loops like that. So now it's just to indicate that there's like a different plank over here. To be honest, when I really look at it, it actually can be a lot thinner even. And now what I'm going to do is I'm just going to go ahead and I'm going to do a contra which will place a loop. Now, Coldsig if you right click, you can actually set a number of loops. So what I can do is I can say, like, so I'm having a look at my reference. Let's do something like this. And then I can just go ahead and I can go in here. I can then Alt Shift, double click or Alt Shift click on here to select the loop. Oh, still need to get used to that shortcut because in other programs as control, double click. And then you can do like a contro B, which will basically just place like a bevel like this. And then if you do like one extra ControR also place an edge on this side, and it also place an edge on this side. Now the nice thing what I can do is this is just basically me indicating if I also place one over here, that all of this stuff can go backwards. So I don't think that we need these pieces. So if you just click Hold Control and click on the face down there. Yeah, I know about that one. I often forget about that one, but now I know. And oh, you know what? Actually, that's double as long. So yeah, well, it does not matter for blockout. In any case, for blockout, I'm just going to do E, and I'm just going to, like, extrude this in to a point where you cannot see it anymore. And then I'm just going to also delete these pieces. This is basically the goal. It's just that it kind of looks like there's something going on there. Of course, it's not evenly spaced, but honestly, I could not care less for something like this because it's a blockout. So this one is going to be Walkway straight, and we can now go ahead and go in here. Store window, let's reimport that. Maybe move that back a little bit to make sure everything fits nicely. And our walkway. See, it's just that we have an indication that this is going to be our walkway and that it has, like, these kind of pieces in here. Okay, let's have a look at our asset list. So dash, B, blockout, done. Dash, B, blockout done, double sided window or double sided wall. Yeah, we can do that one. That is basically like this kind of wall over here. It will just have two sides in case you can never see the other side. Of course, you could just technically use two planes. But I think for this one, it's just easier if we just do like a double sided wall. And the way that we're going to do that is we grab our wall short. We duplicate it Contra C, Contra V. Right click New collection. Double sided. Wall throw this in here and now we can turn off our plane while shot. And then for this one, all that we need to do is if we go ahead and go into tab mode, let's extend this one backwards. So let's hold E and just extrude this out backwards. For the thickness, it doesn't need to be too thick right now because we are going to improve this later on. So for now, actually, this should already be fine. So yeah, because the thickness does not really say anything because we will have these beams sitting next to it. So we can go in, export this, so this will be double sided wall. And I know that I made a small mistake where I accidentally did it on my wall short instead of the other one. Does that matter. I can just swap these two around. There we go. And then turn off my well short. Okay, double sided will check. Shift A mesh and create a cube, and this one is going to be like our if we set to increment, this one is going to be our pillar. So we want to go ahead for a dimension of sorry on the Z axis, a dimension of eight. Huh? Oh, wait. Sorry, this one needs to be eight. Dimension of eight. No, not that one. Z axis, eight, there we go. And here, let's just boost up the increments. And then I'm gonna go for 0.5 probably by 0.5. You know what might actually still be too much. 00.4. Or you can just do 0.4. That also works. 0.4, yeah, that seems a bit easier. So right click New collection, is two here, and just call this generic beam File Export, FBX generic beam. And let's just go ahead and also set these ones up. You might have guessed what we're going to do. We are just slowly going to build up a few houses that we know everything works. And once we've built up every individual house, we can then go ahead and just nicely organize it into folders, place it together. These pieces over here, we probably need to, like, a bit more work on, but that will come a little bit later. So generic beam and double sided wall. Let's import those. Here, so now that the metrics are done, it's a lot easier to work with. So what I can do is I have over here my wall. I can turn on grid snapping up here and I can snap this to my grid, and this is going to be double sided while there we go. It looks like a the wall is inverted. For this, the way that you can fix it, this sometimes happens when we extrude this because we extrude probably the one way around. You can also see this. If you go down here and turn on phase orientation, you can see that it is inverted. So if you just go ahead and you basically want to go in edit mode, press A to select everything and press Shift N. Shift N will basically recalculate your normals, which are often inverted into the right location. If something is still red, you just select that one phase, you press Shift N, and then you just press the inside button, and that's one can flip it around. Now we can just turn this off. And we can go ahead and we can export this to be double sided wall. So there. Let's fix it. And the only thing that I need to make sure of this one is flat, so that it always goes backwards because else, yeah, it just might cause some problems. Okay, so what do we now have here? So we need a rooftop. We do need some. So here we have our generic beam. Coulswig if you select your wall, Right click on your location and press Copy. You can grab your beam, right click and press paste, and that we'll just instantly paste it nicely together like that C, and that often already does the trick. And then you can just go ahead and you can duplicate this. And because we are using even numbers, everything is just nicely duplicated exactly to the centimeter correctly, and do the same over here. So that also looks nice. Now over here, we have this wall. For this one, we can just go ahead and weg rotate it 180. Move it over here and then rot it and then move it back. There you go. So now we have two of those walls sitting over there. That's also working. And now what we can do is, let's get started a bit like our generic roof, shall we? So for our generic roof, if we, by the way, save your blenosine, it's been a while since I've done that. Now, for roof, we can pretty much state that it almost always will be based upon the short length, as you can see over here. And even if that is not the case, we can literally just scale up the roof. So that should not really be a problem. So if we go ahead and let's turn on over here while short, now, this is a tricky thing that does sometimes happen. So we have our wall short, and then we also have these pillows on top. But it's very hard to keep in mind like the actual metrics of our pillows on top of the rest. And the reason why this is difficult is because we never know where exactly we're going to use our pillows or our beams and where not. So it's kind of like guesswork. I'm going to go ahead and create a didn't mean to do that. Shift A, create a cube. Metrics is turned on, which is fine. So I can go in, and what I'm going to do is I'm going to, let's see what metrics shall we use for this? So you are 12 meters long. Well, okay, so that one is. So this one actually 12.5. So as I said before, we are going to just, like, push it out a little bit more. For the backside, shall we go for eight? I feel like eight would be logical. Yeah, because then we can duplicate it over and over again whenever we want. So let's go for eight. And then if we go for so this eight is pretty much like four. So let's go for like four. To get started with. And once you've done that, let's go into Edit mode. Pase select and your scaled is flat. There we go. It's very basic, but for now, it hopefully does the twig. So now what we can do is we can just go ahead and right click New collection. Generic roof A, just in case we want to make new ones. And what we can do with this one is I'm going to go ahead and I'm going to Maxivsd the pivot, set my snapping to vertex and just snap it to the site, and I'm going to just set this back to zero, zero, zero, like that. There we go. File export FPS FBX, generic roof A. Do that one. And if we go ahead and then also go in here and import it, Cool. It's rotated 90 degrees. And then for this one, as I said before, it's a bit streaky to get it's like an exact lineup, I think, something like that. Here, 0.5. Wow, that's pretty spot on, actually. Oh, no, no, wait. It's not spot on. But that's no problem. That's what I was intending to have that it does not that it does not really need to fit perfectly. So now that we have this one, it will fit perfectly on this side. So we can go ahead and we can just, like, duplicate this three time, and it should give us, like, a nice effect over here. And then if we grab these pillows, that's the only thing that I'm a bit worried about. I wonder if they stick out or not, and else we can just No, I see here. That's pretty perfect. Kind of like I almost feel like that I want to make the stick out. So you can, if you want, turn off your snapping in the scaling. You can scale this like a tiny bit sometimes, just to give it like that little stick out effect. Now, at this point, you basically can go ahead and rotate this. Set this to be a plain wall short. And now we have a closed off roof. See? There we go. Of course, later on, we can have some small windows in here and we can make it all look really nice and cool. But it is already starting to look a little bit more like what we have over here. So for a plane wall short, I feel like my roof needs to be a bit higher. So let's make the generic roof. Let's just snap this with increments just to keep it fairly even. There we go. Snap it one higher. So one grid point higher and that's tight again. Yeah, see, here, that feels a bit better. Okay, so we've done that one. We can go ahead and go into our list. Generic Bam Bam, B. Well, short B, generic angled roof, B. So now we are going to start working on our shop trims, and our shop trims are just going to be like these two versions that we have over here, which should be quite basic. Now, what I'm thinking is so this version over here, I don't really like it. But we also have this piece down here. So I think I'm going to turn this into a version, and I'm going to turn this one into a version. The first version is going to be very easy. All we really need to do is we need to open up, let's say, our double sided wall over here, create a new cube. Shift A, create a cube. There we go. Move those down here. So no, not X. I always forget which one is. On the Y axis, eight. Not eight, 12. Sorry. So 12 on the Y axis. Now, this one also once again, needs to be often a little bit bigger, and also it has an ending. So because it has an ending, it might be easier if we go instead of 12. If we go for 6.5, that extra 0.5 is that it sticks out over here because we have, of course, our beams. And then if we do 6.5, as you can see over here, it sticks out a tiny bit, my thought is that we have an end and then in unwel, we simply rotate this end around to basically close it off. So that will still mean that we only need to make one piece. Now, if we go in here and let's set this to 0.5, I feel like 0.5 might be like pretty decent metric. I don't worry too much that it is not offset correctly. I'm just having a think about how thick this needs to be. So we are basically going to judge. No, wait, we need to have it based upon the thickness of our beam. That's it. So our generic beam over here, let's go ahead and turn off our double sided well. It needs to be based Perfect. Oh, yeah, so that's already good. Okay, great. Okay, so we got this piece over here. Now, in terms of, like, our height, what we're going to do. So I'm basically going to, like, draw this profile. And for that, if we go ahead and it's right click, create a new collection, throw this in here and scull this. Shop top trim. A? Okay, so we have our I don't know why box was turned on. So we have our straight. I'm just having a guess about how high this needs to be. It needs to be quite high. Let's turn off increment scaling. Let's start with something like this. We can always change later on. And I'm just going to have a very basic profile here just for now. And this profile is going to be a contre R looks like it has like around here where it basically just you sticks in calls R over here. And then it pushes out. And then for the ending. So for the ending, let's see. What kind of ending would be interesting for us? Can we just, like, push this out like this? That might just be enough already to keep it quite basic? So we now got something like this, and now what I want to do is I just want to have it on both sides. For this, what I like to do is my pivot point is still at the center, which is pretty good. I like to go down here into my modifier properties. Art modifier and I try and I always art just like a simple mirror. The mirror, it will basically flip it around. And because our Pivot point is still in the center, it will just do like a good flip. Now, also go ahead and turn on bisect and set your merge threshold maybe a little bit higher. Turning on bisec basically means that it will not just keep it as two models, but it will actually merge these models together. You can see that it works when it has a perfect center line. If your PIV points not exactly in center, you can use the added pivot as you can see over here, see? To basically move it around. There we go. But I'm going to just leave that like this. Once that is done, you can click on your modifier, press contra A, and that will basically apply the modifier, which means that you no longer need to worry about it. Um, I'm going to go ahead and just select this line, and I'm going to press delete. And this time I'm going to delete my edge loops, which will basically just delete this one edge loop along with the vertices with it, just to keep things nice and clean. And that should already be it. So at this point, we can turn off a generic beam. I'm going to go ahead and edit my pivot and snap it to this little corner over here and set all of this to zero, and there we go. That should do the twig. So we have file, export, FBX, Shop, top, trim underscore A. Let's export that, and that's the final one that we will do this chapter. So shop top, trim A. Let's go ahead and import it in here. And we can start by just moving it in here to make sure that it works. Seems to work. We're not going to use snapping this time, we're just going to have it over here. And with this one, as I said before, what we're going to do is we're basically going to kind of, like, move it out like that. And then if we go in and we can just Consul C contro V, rotate it 180, and now what you can do is if you go ahead and you hold V, you can actually snap your piece to erzi. So we can actually snap this exactly to this erzie and that we'll just make sure that they are perfectly aligned and they are perfectly flowing over. At which point, we can just go ahead and make this more nicely in the center like this, and there we go. So now we have this shop trim. And what I was going to try is to then duplicate this and hopefully also have this over here or we might want to do like yeah here. So we might need to do a little cut or something like that. In order to make this work or at the very least like do like a scaling, but that's something that we can do at the very end. So when we have a final match, we can simply cut off after we've done all the texturing, we can just cut it off, and that will kind of, like, make it fit over there. And there we go. So that is going to be our first little window over here. I just want to make sure, so yeah, as you can see over here, the roofs, they are a little bit closer. I actually quite like that because it feels a little bit unlogical to me that you have such a big slab of yeah, see, it just feels logical to me that you have a big slab of boot with all of the weathering effects and everything like that, that it would work. So I'm not sure if we can maybe make this one a bit higher, because we need to make wall version anyway, and this wall version is going to be like cut in half, basically. So I wonder if I feel like it would make more sense if I do something like this. Now, for this wall version, as I said before, we cut it in half, or what we try to do is we can try to basically do this, where we move this one up by default. Until nicely fitted. Then we turn on grid snapping, and then we basically move it down. Doing this technique might sometimes also be handy for when we want to move our walls up and down, but it kind of depends. So I will make a shortcut, like a half cut anyway, but I will do that in my next chapter. Save scene and let's continue to the next chapter. 6. 05 Creating Our Blockout Pieces Part3: Okay, so we now got a pretty basic looking thing done, so that's looking pretty good. Although it feels a little bit high, but that's something that is mostly just angles. So what I'm going to do is I just want to go ahead and see if we can also create like this little bit next there just to see how everything works. So, let's say that this is a real case scenario, which will become later on. We would most likely, like, duplicate this. And then it would just be like we would probably, like, grab this wall over here. Here, see, and that's where we get into trouble, as you can see, because we do not have a short piece of, like, a wall. So that's why I'm testing. Basically, what I'm talking about is if we would grab this piece over here, what we would need to do for this one is it looks like it is a little bit further back. So we would go in and we would, like, push this further back in. Now, I can see that there are now a few problems that we would get. So we can go ahead and do this. We first of all, need to probably, like, move this piece, also back so that we have a little bit of yeah, that we can, like, play around with things a little bit more. Now, next thing is that this one would go halfway there. So we would need to, in any case, have some kind of, like, a system where let's say we push this one up here. And then once we've done that, we can see, like, Oh, wait, we need to push it forward because else it will be looking strange in the roof. And then I guess that we can go ahead and we can move this down here. So that would work. And then if we grab this piece. So maybe we don't have a problem now that I look at it. Yeah, maybe we can actually make this work. So we say, Okay, so I want to grab this piece over here, and this is going to be the little roof piece. And that kind of just sits in there. And then over here, what it will do is it would most likely just turn back into a normal bow so yeah, actually, you know what? This works pretty well. I did not expect it to work this one. It's just like they're pushing it out. We need to be very careful about this that we do not accidentally or that I do not accidentally mess things up. Of course, I'm not saying that you will mess it up, but I'm quite prone to messing things up quite quickly. So like I turned this into like, Oh, no, you know what? Let's keep this like a short one. So this is going to be like a little short piece, because we can later on just use these pieces also. So this would then become like a short piece. And then down here, yeah, it's more like a matter of if you want, you can rotate this 180, move this back and then move it in here, and then have it just sitting like in front of that. So that can work like that. Do we need tops for these pieces? I wonder if we need to have a specific flat roof in here, or if we will never ever see that anyway. I don't think we will ever see that unless we do, like, a flyover piece like this, which I guess if we go high, we can make that, but let's just make that in like default. So you should use like a default shape like a cube in order to do that. In any case, let's say that we now have this piece, and then over here, we select, let me just select these pieces. Okay, so we place some of these pieces over here. We would grab one of these shapes, and this would become like back. And then later on we will do is, we will populate this with small little windows, maybe like a back door or something interesting like that, and then everything kind of fits all together. So we have something like that, this and that would work quite well. Okay, so that works quite well. So for this piece, in order to basically push it back, I think this is always clipping inside of a building. Because this clipping inside of building, we do not have to do this, but we can just go in. And if we grab our walkway straight, we simply also just want to move this a little bit more if we just oh, sorry. If we just go ahead and add X, select this, turn on my snapping to incumbens, I'm going to go maybe like two back like this, so it will basically be clipping into a wall. And because it will be clipping into the wall, we just won't be able to see it anymore, which should hopefully give us a nice look. So while quite straight. So if I now go ahead and I can go in here, while quite straight and re import, there we go. So we basically get like an effect like that, which should work pretty well. And then what will happen is there will be like a door. So this is another one that we can make. So we have a door with a window, but I also wanted to make like a door without a window. Um this door feels actually, no, no, wait. That feels correct. In this specific context, it doesn't feel very nice, but that's something we can also work on. So let's say that we have, where are you door? Door A. Let's duplicate that. Let's add a new collection and artist to here and call this door score B, and door B will just not have a window. So door B will basically just become let's go add mode, Mold X, let's delete this stuff. Oh, turn off door A. There we go. So, you know what? I'm going to also delete this stuff over here. And I'm just going to go ahead and just going to Oh, turn off snapping. Yeah, let's do something like that. And now what we can do is we can always go ahead and we can select these pieces, Q, bridge edge loops. There we go. Sim Easy does it. So export FBX. Door underscore B. Let's export that one and then we can go ahead and just in here, we can import door B. That one is now also sorted out, and what we can do is we can replace our door A with our door B, then this one would, for example, become a door here, and then it has a smaller, let's do a smaller window for this one. We got a large windows. For blockout, we can pretty much just repurpose this. So we have our store window over here. Let's duplicate this and let's start actually with a new collection. Artist studies. Call this store window white because I was going to make one of those. And then if I just go ahead and ld X and select this, incumbents, one, two, there we go. So we have like a store window white that we can use. So that's already one, FBX. Store window white. Over here. And then what we're going to do is we are going to go back into our store window again, CantleC conto V. And this one, we can add a new collection and call this one small window. And if we ever want to, we can also do actually, let's do small Window A so that if we ever want to, we can also have multiple variations of this. Now, for our small window, what I'm going to do is it's going to mostly be used for, like, stuff like this. So for now, I'm just going to leave the same profile, but, of course, I will not use this profile. So let's just move the top down Let's move the side in a little bit. There we go. Something like that. So just going to be like a smaller window. So file export FBX, and this one is going to be small window under score A. And we can just go ahead and go in here, store window white and small window A. Let's track those in here. Import. There we go. So that's pretty good. So now over here, we can do, like, you know, let's do like a store window white for this one. So we have like a store window white, which I need to make a lot lower in terms of over here. Oh, yeah, because we don't have a window, that's why it's like that. So yeah, we need to go ahead and store window white. We need to go in here. Actually, no, always do it from the top because else becomes a bit more annoying. Here we go. Let's make it a bit lower, and I'm still using increments. I like to use increments wherever I can just because I know that those are even. So just in case it's just like a good practice to twine keep everything a little bit even move this up. Probably up until this point, there we go. So we have a store window white and it has a little piece over there. And then what we can maybe do is maybe what will also be cool is we duplicate this, and then we grab our small window A and just have, let's see if we do this, a small window A, I'm going to make them a bit wider, but then a bit smaller. I think that looks a bit nicer. So let's go in here. Let's not to increments this time. Let's make them a little bit wider and then a little bit smaller. Maybe it's a bit too much. Yeah, let's try something like that. So export, small window A. Here we go. So that already looks quite nice. So we got now two pieces over here. So that's pretty good. Okay. So the next one that we're going to do and what also would be cool is if we sometimes do like a little step. We can pretty much do that because we are going to now because of the new techniques that we're going to use where we are going to cut out our doors, we can later on also just like always just whenever we want art a little step and just make stuff a bit larger. Okay, now the next one would be that we are going to create a longer building and this longer building, it will not so much be longer, but it will be higher located, and then we're going to start working on our balconies and everything. So if we go in here, oh, yeah, we need to also create another rooftop trim for that door, slash B, white, slash B, small windows, slash B. So we are slowly getting there. Walkway straight, slash B. There we go. Okay, so for this one, is it the same width? Yeah, this one feels wider. So this one is like a wider one. For this one, I just want to see how much variation there is. So long thin, long, so there isn't. There's a little bit of variation in between the pieces. I do want to see if I can get that same variation sort of in here just because it will look nice if we just add that extra variation. So let's see. So now we have this piece. Can we maybe, like, cut it in half that we have like an even shorter piece? That might work. We just need to be careful. It might work, but we will need to be careful. So if we go plain wall, short, contro contro vis Expect a number. There we go. That works. New collection. Plain while extra short. And let's art this one in here. Let's turn off the original one. Okay, so plain while extra short is basically going to have a contra R click like this. And then if we just simply delete this phase, there we go. So this is going to be plain while extra short FBX. Plain will extra short. I could have done naming a little bit better, but that's not too big of a deal. It's input as, okay, like this. So we have that one input. And yeah, so this is basically just going to be a process. It might take a while. So it might take us a couple hours. Probably if we also want to place everything together and place everything into place, but in the end, at least we have we already have a ton. So all we need to do is turn it into finals, texture it, and then we instant already have it. So it is actually really important. So we got these pieces. I'm going to make this piece a bit longer. And then I wonder how that will work like over here with these. So if we go ahead and turn on more snapping. So let's say that this piece will become a bit higher like that. Over here. So this one is still sitting next to it. So if we go in here, we grab these pieces over here. If we then grab these pieces and move them back, but turn them into plain while extra short, here we go see. So that's how we can add an extra piece. The only thing that I need to be careful about for the balcony pieces, I probably need to make them as short as this. So you kinda want to make them as short as the shortest piece that you will most likely use. So we got this piece over here. It looks like it's going backwards a little bit more again. So this is an interesting one. This This is one where we kind of need to decide how far back do we actually want to have all of these pieces. So first of all, I'm going to go ahead and I'm going to move this up, and I can basically move this up. As long as it doesn't get higher, then this piece over here, it should be fine, although that might actually cause problems in the end. So maybe just move it down here. So that is not high enough. If it is not high enough, then I rather just want to go in here. Let's see, I move this back. I make this. I know, you know what, because we're going to have a double window. So maybe we do this. We then grab this one, but now you can see what will happen is that if we grab this piece and we turn this one into our double sided short over here, as you can see, it means that we are missing a while over here, and that is always a bit annoying plus. Is it too high? No, you know what? No, the height is fine. Okay, so the double sided window or double sided wall, in this case, does not technically work. However, what we can try to do is we can tie them for this specific piece, duplicate this over so that this at least fits together nicely. And then for this double sided window, which by the way, oh, no, it only feels like there's a loop. We can later on grab this piece and we can literally rotate it. Move it like this and then place it into location. And I kind of want to try this anyway because I want to see if this works fairly well. We might actually be able to also save a little bit of time by just not making this wall over here and just turning it into another plain wall. So over here, that does work. I just hope that it will also work when we actually have geometry on here because this will not be a flat wall when we actually work on it. So let's say that we got something like this going on over here. Now, in the back, we will have a wall over here. Well, roof over here, I should say, a roof. And what I'm going to do is I'm going to move this down here, and I'm just going to basically see, I'm going to move this up. And I want to basically scale this out like this until it hits the back and then move this down. And that should work. So even though we have the scaling, it should still give me decent snapping. It does not give me de snapping because I did not do the scaling exact. So let's do a scaling of 1.5 exactly. Oh, you know that, if you just press this little lock and then do 1.5, you get an exact scaling on every single axis. Here we go. And that should hopefully matter and give us a better snapping. So he's an out snap, so unreal just likes even numbers when we work with snapping and everything. So we got this piece. Now, if we go ahead and now duplicate, for example, this side over here, We can move it down here, and then we can turn this into our plane while long like that. And then we have this one. And then over here, we can pretty much do the same. And I know that you can technically just art like two. L on your plane wall, you can technically just art a wall on every side, and then just, Yeah, so you can add a wall on every single side. So on this side on this side, so that you do not need to rotate it, but it will add extra expense that will be not really useless or useful. Now, having that done, I'm going to turn off my grid snapping, move this one down so that it actually fits with the wall. And see. There we go. Okay, so that looks pretty good. So let's get started well, first of all, these pieces, we need to probably cut one in half so that we have an extra piece. But let's get started with the top trim. For the top trim, we're going to go for a little bit more of an ornate one. So let's do that one, and then we can close off this chapter. So if we go ahead and use our, where are you, by the way. Was this one? Okay. So this one was like a nice length. So let's try and get roughly the same length. So if we go in here, we want to turn on just like a generic beam over here. And shop trim A, okay? So we got that one. Now for this one, I actually want to use a slightly different technique, which I will still be a blockout. So basically, if we go in here, so if this is the beam, then I can actually turn off the beam and can use this one. If we press next to the one, the little button and go to, like, our I'm clicking too fast. I always do that. Go over here to this view. What we can do is we can actually create a plane, shift a mesh plane. I know that Blender has a spine system, but I also know that I just, it is not useful for me because it's just not good enough for what I'm used to, at least. So I have my plane over here. I'm going to snap using increments like this. And then what I want to do is if I just go ahead and get started with it's going into vertex mode, move this down. Oh, make sure to press Alt X that you select everything, move this down. And now what you can do is if you move this down also, and I'm just having a quick look at my reference and maybe move it out a little bit. We can now go ahead and we can go into edge mode. And if we just quickly rotate around, let's grab this edge over here and just hold E Okay, maybe it's easier if we do this into our front view. So basically, we're all E, and then we move this one down. But I'm more focused on this edge over here. Yeah, so I'm just making sure that I have it selected. So let's move this down over here. Now, let's move one back. And now I'm just going to basically guess what it's going to look like because I don't have enough resolution to actually know, but I'm just going to make a rough guess, and then when we are actually, sorry, I keep doing that. When we are actually going to create a final, then we can just go ahead and mess around it. The nice thing about this that I can just press E, and because it is snapping to the grid, I can simply go ahead and I can snap this until I hit this high point over here. So what I can do is I can, for example, snap this over here, do something like this, this here, let's do something like like over here. Actually, let's also now select both of these and just move them out a little bit more. And then what I can do is I can grab this one and I can do one extra E and just move it down. See, and then I can just very quickly create a very basic looking profile like that. At this point, you can go ahead and for these two pieces. You can just press Q, merge at Center, which I added, but you can also go to Mash, merge at Center and you can right click and, of course, add this one to your quick favorites. See, and that one goes quite quickly. At this point, we can turn off our increment snapping. We basically move this over here, and now for our thickness, we simply add, once again, our mirror modifier. We mirror it on the Z axis and also do a bisect. And this time, you can see that my pivot point is not in the right location. So I can go to my Maxafs tools, press Added pivot, move it out a bit, and often it is quite sensitive, so you need to not move it out too far. Like this. And that's looking pretty good. So at this point, we can just press Contra A on the modifier to apply it. With this done, what you can do is you can go ahead and if we just turn off our shop trim, we can select these two pieces and just do, delete and delete the edge loops this time. And now, if we go to Vertex mode, select this side, Shop trim A, I want to go ahead and I want to move this. Up here. Let's see. Is this one already at 000? I just want to make extra sure by turning on my increments. There we go, see, it was not at 000. So we got this one. Let's turn off shop trim A. And what I'm going to do is, it looks like it only at the very last bit, it is actually pushing out. So it looks like it kind of just looks. Well, actually, you know, maybe we can do it like one further. Let's do this. No, no, I don't like that, actually. Let's just do something like this. I'm sure that they would not spend too much time on the woodwork because you're in the white best. There's a lot of dust and everything. You're not going to make very amazing ornate looking designs or something like that. So then we go ahead and we just shift click and you can see it down here, of course, hold control, and then then the select these two edges. And now you can cue and you can bridge the edge loops. There we go. That should do the trick. Maybe for good measure, we want to do the same over here. So we also want to do a bridge edge loop just in case in here. And we can go ahead and we can art a new collection, and we will call this one Shop top Trim B. And then what we can do is we can file export FBX, and this one is going to be Shop top trim B export. Let's go in here and let's just import it. And the nice thing is because it's all the same metrics compared to the other shop top over here, we can go ahead and we can use this one. Now, as we know, this one is a little bit longer, so that's going to be a bit interesting to see how it will behave and if we can maybe use some small scaling or if there's anything else very specific that we need to do. However, that is not really something for the blockout because that's more for our modeling tools. So if we go ahead and we grab this piece over here. We can now just swap these around for Trim number B, you can see over here. I feel like trim number B does actually need to come in a little bit, so it does not need to push out as much. So if we go in here and let's see. Let's move this out. Yeah, so we need to have an extra piece in here, we can try and duplicate it and see if it, for example, does not show the clipping as bad. That can sometimes work. However, I'm not sure of it yet. That's something that we can figure out a little bit later. For now, over here, if we just go ahead and go to Vertex mode, select this and just scale it in a little bit more and maybe move it in a little bit. There we go, so that it's not as white or not as extended. So let's re input this. There we go. So that's not as extended. And what I'm going to do is I'm just going to go ahead and I'm going to just use this one version over here. And let's see. I think we want to scale it maximum 1.25. If you scale it above that point, you will see texture stretching later on. So that's why I'm not just scaling it very far out. So what I can do now is I can grab this piece, rotate it 180. And actually, that's properly move this in here. Don't know where my pivot point is located. My pivot point is not located in the right location. Oh, yeah, here, see, it's not. So what I need to do, first of all, is add a pivot. I need to snap this pivot to one of the vertices. And then I need to set all of this to 000. This is why setting your pivot point in the right location is so important. So we can re input this one over here. And now that we've done that, my Pivot point will be in the right location for me to then use press V and to then snap it together. Oh, wait, this is because we did not do an even scaling, but that's no problem. This is just a blockout. I do not care about that specific thing. So we got this version. See, as you can see, we are missing a small version over here, so that is a tricky one. We might just want to go ahead and make, like, centerpiece that is just like a small extra piece. For now, what we can do. So we can work with that later on because I have a few ideas that we can use. For now, I do this. I scale this in, but I do this while knowing that I will replace this because yeah, for now, it just needs to look a little bit decent. So we got this stuff. Let's save scene. And in next chapter, let's go ahead and start working mostly on, like, a balcony. We can already add some windows and everything and just make this look like a house. So let's continue with that. 7. 06 Creating Our Blockout Pieces Part4: Okay, so let's go ahead and continue. So at this point, we do need to make a choice. So first of all, yeah, we need to cut one in half. But basically the choice we need to make is I cannot just keep extending this piece infantly. So at this point, I feel like it is better if we would, for example, move it like this. And then maybe we'll just have something in here to block it up. Or what we can do is we can rotate it. And if we are very careful, we can perfectly line everything up so that when we rotate it, we can simply move it down here and it will still, flow over properly. However, these pieces have also been like their own single planks, so it should not be too difficult to do something like that. For the other piece, however, what we're going to do is let's grab our walkway straight over here. Let's go ahead and duplicate it. And let's add the new collection. Walkway score. Straight score. Short. Let's turn off the old one. And then for this one, well, there's already like an exact center line, pretty much. So all we need to do is we just need to go to face mode, select all of this and delete it. That's pretty much it for now at least. And then what you can do is share. So again, if you want, I don't know, bridge edge loops over here. And then if we go ahead and let's see. Let's do a bridge edge loop here. I don't know, it does not allow me to do that. We can do one here. Oh, it's because I'm using control once again to select, which I always forget that I should will not do. Here's a good one. So over here, we have too many vertices, as you can see, or, don't we? Oh, no, no, wait. No, we don't mind. Just ignore what I just said. I'm going to move this one up, however. Select these two Bridge edge loops and select these two Bridgedge loops. There we go, Good enough for now. It's just going to be a blockout. So we're going to remake all of this anyway. So, this one is going to be our walkway straight underscore short there we go. So that will go ahead and that will fix that one. So Walqay straight short. That's arts in here. Import. Perfect. And then this one, I think we can just use grid snapping because it should fit together. There we go. And for now, I'm just going to snap it like this because I know that we'll place this properly later on. So okay, so we have our walkway over here. That's pretty cool because it's already, a little bit higher. Now, this one, we're going to go ahead and we're going to have once again like a door, and then we will just have probably two shop windows in here. So I'm going to go in, and I think I will do a normal door, so we will keep this one a little bit lower. So let's grab like a normal door. Oh, sorry, this is a window. I need to grab a door B over here. Okay, so we grab a normal door. Wow, that feels really small. It does feel really small compared to, like, what we have over here, but I can make it work. So we'll have one door here. What if we then do like one Yeah, you know what? I think for these pieces, it's better if we do like a larger door because else everything just does not really fit together properly. So we will have one door over there. Then we will have one window sitting here. And then my idea is to have another one that is going to be like a store window white over here. And maybe it would, in this case, be beneficial if we scale this one up a little bit. So that kind of fits together a bit better. And then we got to move it in. I don't know if exactly that will work nicely, but we will see. So we got this one over here. Yeah, I think I might want to make my door a little bit wider, but that's something we will balance this out a little bit later on. So then it will have an extra piece, and then we go ahead and we can start by creating our balcony floor straight. So let's do that one. I want to make that one based upon the shortest version, which means that it will become this length. So if we go plain wall extra smile short, that's art a cube. And this cube is basically do incremental snapping over here. Here, let's see. So this cube, it's going to be let's do. So normally it was 12, right? This one is like 6 meters, I believe. Yes, 6 meters. 0.5. Oh, no, sorry. This one needs to be three, actually. I think that's one I'm just guessing. 0.50 0.4, maybe. So 0.4. And now we basically to turn over snapping because we can no longer do incremental snapping. And what I'm going to do is I'm just going to go ahead and I'm going to go to my Maxafs tools, add a pivot, snap the vertices and just snap it down here and then set all of this back to 000. So that one works like that. Okay, so let's see if that balcony sticks out far enough. So we can use this one. We can add a new collection. Call this one balcony on the score floor over here. Select it and export this. So this will be balcony underscore floor. Okay, let's see. Let's see how we're going to do this. So we will have a balcony floor to rotate at 90 degrees. So this balcony floor will basically sit up until probably this point over here. And now I just need to guess how high it will be. I think this high should be fine. Now we are basically going to just duplicate this over here. Okay, so it looks like that we need to have a balcony floor like this after all. But that's no problem. And else we can always do like some scaling. Okay, so next thing is that when I look at this, that is a very short area. So we want to make this one a little bit longer. So let's go ahead and go in here and turn on our grid snapping again. Let's make it too longer. Let's see, because they can be longer. It's not like it doesn't have supports. So that should be fine. So let's try that again. R Import. Uh, here, you. I want to grab you and place you over here. Yeah, that seems like quite a nice area so that you can walk around and everything. So that's pretty good. Now, I'm already going to quickly place some of these windows over here, and these are going to be our smaller windows. So it will be store window, no. Oh, yeah, wait, here it is. Small window. So we will have this one. And actually, you know what this one kind of like, I can use a bigger window. When I see this, I do feel like it can use some windows, but I think that we can use upscaling for this. I think we can basically just scale this up to basically get it to our correct size without it feeling wong. So we got this one. Let's start by just setting one in the center because we want to have three. So one, two, yeah, see that feels a lot better if we do something like that. Three, so we got these three pieces, then we have this one around here, and then we have a lower one sitting down here. So that feels pretty decent. Only I want to make my door a little bit wider, which I'm actually I've already mentioned it like three times now, so I'm just really annoyed by it. So what I'm going to do is I'm going to go to my door A, and I'm just already going to do that now. So let's set this to 2.5 here, just a little bit wider. Doesn't need to be too precise and door B. Let's do the same like that. Okay, so first of all, let's go ahead and export door B. And now we can also go ahead and we can file export FBX door A. See, that feels a lot better. Yeah, here, that feels a lot better. And it doesn't. And it also still does not feel too big or anything like that. Okay, perfect. So we got those pieces, so we got those. Now what we're going to do is we are going to work on then our balcony fences. So we've got that one done. Yeah, so our balcony fences. And for that one, I'm going to make it very easy right now, yeah. Let's just make it like a very basic one. If we open up our balcony floor over here, right now, the size is one, two, three, four, five, one, two, three, four, five, six. Okay, so that is a little bit unfortunate that we cannot just go six by six. Yeah, no, we can't can't go six by six. That would be too much. In that case, go in here, shift a mesh and just create like a basic cube. And we're basically going to just move this cube down here. In terms of the size, I kind of need to guess for now and then I can later on just move that properly. So let's do something like this. And basically what we'll do is we will have one. Let's see. Let's have one large post on this side. So this post just press a little blue angle to basically set it into the right location. And I will go at it and I will move this properly later on. So we will have one large post, and then what we have is we will have one much thinner post like this. And this post is basically just sitting probably this distance. And then finally, we will also have another one that if you hold control that is rotated, like this. And we just move this down. We grab this side and just in increments, just set it to roughly those increments. And now for this piece over here, what you can do just to make it even is you can alter a modifier and you can add an array modifier. And if you go ahead and set this modifier on the y axis to like two or more, until we have a default spacing, so maybe like 3.5, and then we can just go ahead and we can set how many pieces we want to have here. Let's go at for nine because we need to leave some space over for this large piece over here, and then you can press Control A. At this point, the balcony floor, we can just move down. These pieces over here, what we can do is we can press Control J to basically combine them together. Then you guessed it, add a pivot, snap to vertices and snap this one over here. Turn off at the pivot again, and now we can go ahead and in our transform, we can set this to zero, zero, zero, and we can go ahead and use this one. So right click New collection. Let's call this collection, Balcony, underscore, fence. Underscore straight. We can go ahead. And what I actually want to do with this one is I actually want to go ahead and I want to go to press three. Oh, I don't have my shortcut set up. So there is this shortcut. If you set this up, if you go preferences, key Maps, and just press Select Linked. And we want to have this under our mesh. And here we have Select Linked, and okay, right now, it's L. I want to actually set this to I think it's this one, right? Yeah, I think it's this one. I can double check. So if I press L, no, Contra L. Okay, so Contra L is the one because, yeah, they have the same name, of course. Select Linked mesh Control L, I want to set this to four because I'm used to using four to basically select everything like this. And once you've done that, you can go ahead and or you can press P, which will separate it. Or what I like to do once again is I like to mesh, separate selection. Yeah, let's tie do quick favorites because I am stubborn and I just want to use menus. There we go. And the reason I'm doing this is that this one, we can do, like a simple export. So this will be balcony Balcony fence straight. But then what we can do is we can also just select this single one and export that one also and call this Balcony fence beam. And doing it this way, we don't need to make any extra models. We can just quickly grab that one model, and we have two for the price of one. So if we now go ahead and just import these pieces in here, Import. Here we go. Nicely throw this one in here. Rotate is nine degrees. Oh, turn off my grid snapping. I can't really use grid snapping right now. And for this stuff, we don't really need grid snapping. We can just go ahead and we can nicely move it until it all fits together. And then over here in these pieces, well, actually, for these ones, we can just do this because it needs to go down in here anyway. So let's do this one. But then over here, if you want, you can go ahead and turn this into, like, a balcony beam, and you can have a nice closure off like this. So you can just kind of like close this off as if it is going inside of our mesh. And then over here, this one is a bit more tricky because we already have a tick beam here. So we kind just want to go ahead and invert this one. You can see over here. Okay, so that one is a little bit showing up near the end, which I don't like, so let's see if I move this in, I need to kind of move this one in over here, and then I kind of just need to scale this in. You won't notice small scalings like that. Oh, but I don't like that. So let's move this in a bit more here. But then if we just scale multiple of these a little bit, so we move this one in and we do the same over here, that kind of all evens out when you do something like that. And then you can use like your balcony pole over here. Like that. So as you can see, now we have a balcony. And then what I can also notice that, okay, so this balcony is a little bit high. Not too, you can see that your arms need to be or you need to be around your waist. So we need to go a little bit lower for this. But for this, we can just go ahead and we grab both of these, go to added mode, select all of this, simply move it down. And then if we go ahead and we just go ahead and export it, so balcony fence straight see, that works a bit better. And then we can also go in here and just grab this single one again, File Export FBX Balcony fence beam. Like that. And we have ourselves a pretty good balcony. Okay, save scene. Now, those beams that we have, so those extra bits over here, it would be nice if we can just reuse our generic beam for this and, like, maybe scale it down a little bit because once again, it just saves time. The more that we can reuse, the more it will simply save time. So if I do this, and also, we might later on need to also make a nicer version of this. I think for this one, I also I need to start by moving this down, and I just need to scale this in because it's not going to work else the way that I wanted to. Okay, so we got these ones. I'm going to make it a little bit thinner here. You can just scale it like in blender, you can also scale it on these two axes simply by pressing the little square in between. So let's say we have something like this. Let's move it. And unfortunately, we don't have an array mode, so I kind of just always do this where I just split it up into two. And let's see. No, that's not too bad. That actually does work quite well. So we can go ahead and save scene. So over here, what do we have now? Balcony beam, blockout, balcony straight blockout. The angled ornate overhead would be next one. But let's first of all see if this all work. So we have our roof. But yeah, actually, our roof is fine. So if we have these pieces, I just want to see if everything works. So there's quite like a flat piece over here. We will have some text in here just to fill it up. We have a balcony sitting over here. Oh, sorry, I'm looking at the wong one. Yeah, so we have a fence here, and that is pretty cool. So yeah, you can imagine, like, a cowboy. He's just, like, kind of, like, walking across this area. Maybe we want to move this one bit forward. But we are going to later on split all of these houses up into their own little house that we can move around and we can place and everything and just have everything look correct. So that's pretty good. I'm going to save my scene. What we will do in the next chapter is we will get started by doing this tilted overhead that we have over here, do some smaller pieces like over here, our stair and everything, and then just make sure that everything works quite well and also maybe, work on, like, a larger building. So let's go ahead and continue with that in the next chapter. 8. 07 Creating Our Blockout Pieces Part5: Okay. So what we're going to do now is we are going to work on our let's see. So we've got those pieces done. Yeah, so our angled roof. And then yeah, then it's just a stair and then we are printed my son. Like these extra pieces, I'm not going to do a blockout of those just yet just because they are very basic and they're standalone props. So we'll do that later. Okay, so for our angled roof, do we have maybe a little bit better reference for this somewhere? Yeah, like here in the back, it sort of looks like, Oh, well, yeah, we can, I guess, use these ones also. But I don't really want to use three D reference just because I don't know their logic behind it. They might have had different logics behind things. So maybe, like, something like this is, like, quite a cool reference over here. Um, yeah, it just means that this is going to probably be like its own little pole, something like that, because we need to be able to make this sort of modular. So let's just go ahead. And let's use that one, for example, on here, just like a test, for example, or maybe on here does not really matter too much. I'm going to go ahead and I'm going to probably make it, probably the same length as that. So let's just go and try something out. I'm not sure what I want to do. So we have a balcony floor. Let's go ahead and duplicate that. Artists to a new collection, and I will call this collection. What was it? Angled overhead, generic. Like this. And then for this angled overread generic, I'm going to make it a bit thinner. Maybe I actually do want to go ahead and just turn on increment snapping and I want to snap it, maybe like one furter and then like 12 down. To down seems like quite a nice area. And then what we will do is, so we are going to create a few more pieces where we will go ahead and just create like one of these pieces over here and also on the other side. Now, I'm not yet sure, actually, if I'm going to do the ornate pieces. For now, I'm not going to do them just because I'm not sure if we even need those. That's more when we start placing all of these blockouts into their actual position that we kind know where do we need to add some stuff, do we need to improve some stuff, stuff like that. So angled over at generic is what we're going to start with, and then we will also go ahead and just do like an yeah, like one of these and then maybe like an extra beam. Let's do that. So we got this overhead. Let's file Export FBX. It's generic. Let's export that. First of all, we need to make sure that the angle is white before we do anything else. Let's go over here. Let's import this. Okay, let's say that I just press height. So this is like a good use case because it's like a default thing. Let's say we we have a building like this, we just basically move this up a little bit more. Yeah, it is only just above. So this is actually the correct angle. But then I got Vox sample. Now, see, and this is why we test, I can see that this is a little bit too far. So let's go ahead and let's make this. Let's see. Let's move it up once in once because when you move it in, it also becomes a little bit more angled. So let's try this one. And let's see if that one works. So right click Riport Yeah, here, see, that looks quite nice. And then if we just go ahead, oh, turn on my grid snapping. Here we go. So I'm just snapping this to my grid and then moving it back into the center. Okay, so if I move it back into the center, I will most likely get a problem or not. Ah, yes, I will most likely get a problem over here where we want to have this against it. So knowing that, I probably want to move this over here, and then I probably want to just give it like a tiny bit. I do know that I will break my modular flow, but I think it is better if we just give this a tiny bit of turn off grid saving, like a scaling back. This is pretty cool. So we are almost at a point where we can go ahead and we can actually see if this all works. So now we can also have this one and just move it back. Here, sees and now we have everything fit a little bit better. So for this one, what we're going to do is I will go ahead and already do a contre R and I'll just make like a plank here, a plank here and a plank over here. Et's go ahead and just do E and then move it down. Let's see, something like this. There we go. So this is just like a plank. If you want, you can also already just do only actually only select this one and then do like an E and then maybe like extrude it out a little bit like that. And now that we know that we have this one, now what we can do is just for a very basic, we create like a cube. Let's see. We just like scale is flat, something like this, scale is in. That's a nice thing about the Western. So all of the shapes are often very simplistic on purpose because it's about just making everything very quickly. So this would be like a cube that we kind of, like, just push in here. That should be fine. So this one will be pushed in there. And then it will have another cube, maybe a little bit thicker, but also not as white. And this cube will kind of, like, just sit in here. Like that. And then how this will work is it will sit here just through the side later on. So we can just go ahead and do something like this. So if we have our angled balcony, let's go ahead and create a new collection and art these to this angled overhead support. Here we go. So this is the angled overhead support. Angled overhead. Support. Let's do that one over here. Let's just saw where the import this, where are we? There we go. Here we go. Let's go ahead and Import this. Import. And then you can just nicely move this in here and we can start by moving this against it, move it up. Like that. Then we can also just quickly re export file export FBX, and we can go ahead and we can re export our overhead generic. So we got that one done. And now for our balcony, we have a square beam. It would be cool if we maybe also switch it around for like a round beam or over here, they also have two different ones. So it might be interesting if we here seeing here, they also do that. So let's just grab a basic cylinder and use that one. So for that, I'm going to quickly turn on my plain will shot, mesh, create a cylinder. Let's make it only like 18 sides or something like that. Doesn't need to be a lot right now just throw away work mostly. Move this like over here, maybe, like, scale it in a little bit more. Let's move this up. Actually, we can just do increment scaling over there. Here we go. So let's say that we have something like this. Let's turn off playing while short. Maybe we may move it in a little bit more. And then what we can do is we can go ahead and we can duplicate this. And then for this version, what I'm going to do is I'm just going to press quick pivot in my Maxifst tools, which will quickly just center your pivot. And then I'm just going to go ahead and I'm going to scale this entire thing in move it out a little bit like this. And then what you can do is if you go into Addit mode, you have another one, so you have your knife tool. If you press K, you have your knife tool and let's press Add x here. Okay, I can press my knife tool, and I can actually just do something like that where I just basically cut it along. And if you do that, if you now go ahead and go to Face Select, you can select these, and then you just delete the face Oh, so my knife tool did not go all the way. That's unfortunate. I would have been nice. I can't remember that normally it goes all the way, but then not. In that case, you do contre R. There you go. It makes no difference, pretty much. So it deletes all of this stuff. Come on. What's going on here? Um, let's go ahead and press Shift And Shift what it will do is it will just hide all the unselected objects. Let's undo all of this stuff because I think something meant a little bit wong, so let's til it again. So here, we can do like Shift Although now doing Shift H now doesn't really make any sense because I just need to make sure you see that goes all the way around. So if I go ahead and if I then press dH to unhide everything, let's ty it again. So conto R, Thank you. Contra R, thank you. That's all I wanted. Don't know why I didn't do that the first time. Let's select this. Press contra I to basically invertile selection and then delete all of these faces. And then what I recommend here for the top, you can go ahead and just select the top and just scale flat and then do the same technique where you just press zero. And then for cylness you often kind of need to here bend them around a little bit. But we can, for example, move this along here, and then we can say, Okay, so this now exactly along. So I can now go in and also over here, I can also I don't know what's going on here. My rotate all of a sudden decided to stop working, which is a bit strange. Oh, no, wait. It's because I'm pressing E. Sorry, that's that's just me. It's because in object mode in blender, you can press E to do like a rotate. But in here, you need to do was it. Oh, no, wait, here rotates. But it's also extrude. That is confusing. Shifty. No, that is very confusing. I think my shortcuts are messed up because normally rotate does not show up like that. If you ever have overlapping, I will just leave this in the tutil because it can be good. So here, the rotate sets to shortcut E. However, that is overlapping in here. But if we then go ahead and go to, like, our filer preferences, it is overlapping with our extrude. So if we go in key Map, type in extrude and we find the extrude in the addit mesh tab. So here, mesh, extrude and move on normals. We can go ahead and, we can do Alt E, for example. And I believe that now here, see, now it does work. And now if I do Alt E, there we go. Then we can extra. So it's a bit strange that I only now noticed that it was wrong. So okay, fair enough. In any case, what we're going to do is we're going to duplicate this. We are going to go ahead and we're going to rotate this 180. Oops. Sets to 180. There we go. And move this over here to this side. And that should be enough now. So we got the pole over here. We can go ahead and we can create a new collection and add it to here and call this. What did I call the first one? Generic beam A. Generic beam B. Why not? And then we can go ahead and we can just export this generic beam B and export. There we go. So that should do the trick. Now go ahead and go in generic beam B, import U. Yeah, import. That's fine. So yeah, this one, of course, it will just work fine like this. I know that we've hidden it, but what I want to know about generic beam B is that when we place it like this, Well, that's interesting. Because of the spots, we don't need to have one very close. So we can kind of just like, move it here, move it down, and I will have it kind of close like this. Okay, so this will be sitting in front of it. However, most of the time, but that kind just depends on the walkway. Like, how is this extending? If I go ahead and, like, move these ones closer, I feel like that then this piece over here would become a bit small. Yeah, maybe a little bit maybe make it a little bit smaller. So if we go to the overhead generic, maybe if we make it a little bit smaller like this, and let's start by just exporting this one. Yeah, so I think that will make it feel a little bit better. So here we go. That's a little bit close together. Yeah, okay, that feels a little bit better. And then for these ones, what we need to do is we just need to go ahead and actually for now, it's fine. We will, of course, just make sure that that works later on. But for now, that's pretty good. Let's go ahead and save our scene. So there we go. We also now have the overheads done, which is pretty cool. So let's have a look. Top, you are a blockout. So I think we've got everything done. Oh, no, wait, the walkway stairs. That's the one that we still need to do. And the walkway stairs will just be quite basic. So I'm just gonna create some stairs, and we will just use those, and let's do, like, four stairs or something like that. So let's turn this off. And for our stairs, if we just do a mesh stood like a cube. Let's have our Where are you? Wal gray straight also turned on temporarily so that we kind of, like, know the scaling and everything of these pieces. I know. Let's move this. I feel like they would not leave that little bit of, like, a trim over because then you can trip on it and fall and although there probably wouldn't be lawsuits back then, it still would be a bit dangerous. Et's go for something like this. And then if we go ahead and let's see, we can try to use an array modifier and do like four. And then what we can do is, Oh, not that one. Here we can do this. So then we kind of, like, step it down. And if we now go to, like, where are we front view or something like that, here, we can kind of move this down. Yeah, that looks pretty good. Press contra A. Now if we just go ahead and also create very quickly something in between here and in most of time it would just be here, let's duplicate this. Let's go ahead and go into added mode and just press four to select this one, contra I and just delete everything else. And now we just go and vertex mode, I can just go ahead and I can, like, basically select these pieces. Oh, maybe this one would be good to snap to the ground or not exactly the ground, but snap somewhere. And no if we go to face mode, if we just go ahead and do like a contre R, we can place the contre R here. Oh, LTE, see? Now I now get confused about those shortcuts again, and that's why I don't like using shortcuts because they it's only for very obvious things. Like, I guess extrude is one of the obvious ones. But you've already seen me spend multiple times where because I'm using multiple programs, it gets quite annoying. And it is something you should actually keep in mind, because if you are a professional artist, you will be using multiple different programs. Um, although the modeling program will most time be one. So I am a special case in that one that I need to use three different modeling programs, so Max, Maya, and Blender, but that's just for teaching for personal projects, although I started with Tres Max, and I still prefer Trees Max. I'm currently trying to switch to Maya, also for personal projects, which is just because, yeah, it I just like it. But in any case, the reason that I'm telling this is that there is some reasoning behind not always using very specific shortcuts. In any case, do add a pivot, vertex, snap it to that one, set this all to zero. There we go, and then we can go ahead and we can add a new collection. Walkway underscore Sir having this one, we can go ahead export FBX, Walkway Sir. Here we go. Now if we go in we can input it and we can go ahead and add this one. I feel like something is here or see, I already saw it happening that the normals are inverted. I don't know exactly why that happened for this one, but just select everything by pressing A in dit mode and just do a quick shift N and doing that shift N should immediately fix everything. So you can see it from the thumbnail. Oh, hello. No, face orientation. What do you mean, no? You are totally fine. Let's go ahead and press Q, and let's just reset all of our transforms just by pressing the Apply button tick. Are you still Ai, here. So that's a good one. So object, apply and all transforms. As I said, sometimes things mess up a little bit, and then it's great to just quickly try that out. So wel Quest, and now it should work. There we go, a bit more logical. And then we basically place this here. And whenever we have a small stair, we do this, or basically we can just do, something like this over here for small bits. And then if we ever have a higher stair, like over here, we can go ahead and we can, for example, grab this and we can just move this out, and then we instantly have a higher stair. So that's a nice thing about just sinking stuff in here like that. And then over here, same thing. You can just go ahead and just have another one there. Okay, perfect. So we got our blockade done, as you can see, we can pretty much create quite a bit from this. With a grand total of 22 items, that's not that many objects in order to basically create an entire town. Of course, we might want to change some stuff around and everything, so don't worry about that. But these are like our main objects. Oting to keep in mind, for our plain walls, we have like one to three plain walls. The double sided wall, I'm going to get rid of. So that's one I will actually not be using. So the double sided wall, we will get rid of, so that's already 21 objects. The three plain walls, you only need to make one and then the rest, that's only so yeah, that makes 19 objects, and we can reuse a bunch of different pieces. So in the end, honestly, modeling wise, we are pretty good. We can really put our focus on texturing and make sure that everything looks amazing and doing lighting and the twain and everything. So this is looking great. Okay. In the next chapter, what we will do is I will actually leave this off by just setting the double sided wall back to a plain wall short over here and maybe moving this forward a little bit and then duplicating it and moving it back. Like that. And then what we can do is if we save a sine, we can now safely remove our double sided well, like that so that we do not get confused with that. Perfect. Okay. Having these pieces, what I like to do to leave off this chapter is I like to go into my materials, right click and just create a very plain material. So create material and just call this like plain and this plain material will just have like a color. So if you open it up, we will go over materials way more in depth later on. But for now, simply right click and trust me, add a constant tree vector, right click, type in constant, and then you can find it and set this to be a slightly darker gray color like this, and then just press safe. Because what I want to do is I want to for all of these pieces, I just want to quickly add this color. Now, if we go ahead and just open up a pieces, which I can see is a little bit annoying to do it all one by one. But then we have full control over all of our colors as like a base. And I prefer it that way because I do not like to look at the squares or the square texture when we have not yet textured anything or done any UVs or anything like that. So I basically go in here. And after this, it will be quite quick to add our material. Your PC might run a little bit slower when you open up this many models. So basically, if you now go to your materials, click once on your plane. You can go to every mesh, and you can basically go ahead and just press the little button, and then you can close it. So here I can also press a little button and it will outer save. So it's easier if I do it over here. Close, press. Press, close, press close, and you get it. So that's why everything will automatically be added. And then all we need to do is we need to press save once on everything at one go. So just press save all, and that should do the trick. And then in the next chapter, what we can do is we can start by actually building our city and make it look very nice and interesting, and then we can immediately see what we are missing in terms of, like, a blockout. And we can also just get a feel for our environment. So that one will actually be quite a big chapter. And with the chapter, part of it will be time lapsed. So but as you can see over here, now we have this, and what we can do is we can always go in here and maybe make it a bit darker, rest safe. Here we go a bit darker. So now this is a little bit nicer to preview everything. Okay, perfect. So we got all of this done. In our next chapter, I will go ahead and I will show you and we will start by just creating this one street over here. And then in the time laps, we will do the other street. And of course, our terrain, we cannot yet do too much of our train until we have our materials and everything. So that will be the next focus. The next focus is actually going to be creating all of our materials. And once we've created all of our materials, it's much easier for us to then create our final models. So let's go ahead and continue with that in our next few chapters. 9. 08 Setting Up Our Level Part1: Okay, so what we're going to now is we're going to start replacing our level together. So, I had a quick look off camera, and I feel like that these are still straight. Like, I basically all said, like, a look over here. And yeah, so I think it is not so much that they look like they are going a little bit bend, or maybe they go for, like, this specific scene. However, I think it's easier if we go for a little bit straight and that we then, as you can see, over here, move them back and forth a little bit to add a little bit more interest. Also something that I find quite interesting is that this is the one side is fully packed, and then the other side is a little bit more sparse. So we have some extra room for roads and everything in that. I think that will also be quite interesting if we do something like that. So let's go ahead and yeah, let's do that because I don't think there's much difference. It would be cool if we can maybe later on, like some extra different pieces over here, just like some of these type of things. Oh, maybe something like this would be quite cool, but we'll see how it goes. Yes. So, in any case, let's go ahead and move this over here, and let's get started with this. So I'm going to go ahead and let's make this bit bigger. Let's move my keyboard registration. Okay, perfect. Now, the first thing that I'm going to do is I need to sort these into folders because these are already quite far done. So we can just go ahead and reuse these, and then we can work with that. Another thing is that I just want to have a look that when I drag in an asset, Okay, so we want to have our main side to this side because that makes it easier when we drag an acid. So we just want to rotate these pieces around a little bit. For this, I should have done this in the beginning. I should have done everything into, like, folders into the beginning, but oh, well. So I'm going to go ahead and I'm going to just select most of this stuff. And I don't think, let's select like this backside over here. I don't think it will take too long to select this. Yeah, let's also select the balcony or balcony, select the overpass. Luckily, we don't have like many, many small pieces, so this doesn't take too long, else, it would have been a bit more annoying and I would have probably just done it off camera. But now, for something like this, we can just go ahead and do this stuff over here. I think that's one. You can just test it by just moving it, and then you can see, Oh, let's say we forgot something, and then we can move it again because I can't remember Ds nothing. There we go. And once we have our house selected, we can just go ahead and go up here and create a folder and call this house underscore 01, for example. And the easy thing is that now I can turn it off. So that way I can just go ahead and I can go in here, and all I need to do is do this one, and then the other one is automatically everything that is left. So that's why it doesn't take too long to select this. We don't have that many pieces. Uh, oh, yeah. It's a bit difficult to see sometimes, because everything is still gray scale. Yeah, but we're just going to do stuff like this where we move it back and forth, just create some interest. And for the rest, we will also just make use of simple cubes to basically already start kind of like map out where we want everything to be. So let's move this. Oh, is that everything already? Okay. So this one is going to be house underscore 02. There we go. We can hide this. Now, if I just go ahead and just grab all of this other stuff, which is our landscape, our lighting, our mannequins, Well, I will remove those mannequins later on our sky dome, our skylight, and our volumetric clouds. And I'm just going to quickly throw this into foll called lighting. I know that not everything here is lighting. The mannequins, we can go ahead and we can delete for now. But this way I can just turn it off. Oh, well, not turn it off. This way, it will just be in its own location, which means that now I can just click Shift click and select everything else. And then I notice that this one, you need to be into House 02, I believe. No, House 01. So where are you? You need to be in house 01. There we go. So two, one. Yeah. Okay. So we got that stuff done, and this one will be House 03. And that's a really good starting point. So it's quite nice. So we have tested out our blockout pieces, but we wide away House underscore 03. We right away already have all of these pieces set up correctly. Okay, perfect. So we have that stuff. Now, I'm going to go ahead and let's make this our center point of our environment to just get started with. So that's kind of where we will place everything from. So let's go and get started with House 01. This stuff is quite easy because all we need to do is right click on it, go to Select and then press Immediate children, and this will just select everything. If we go to rotate, we can go ahead and just make sure that snap rotator is on. It will just snap everything as one object. So we can just nicely snap this 90 degrees and then we can I think this is actually a pretty good spot. So we got this one over here. As you can see, it does feel a little bit long, but that's something that we might just work with once we actually have a camera set up. So we got that one. Now let's go ahead and go House 02. Right click Select Immediate children, 90 degrees. And then for this one, it looks like that as we've done before. So these ones will be pretty much the same, but here we go. And I have my snapping turn on still, so that makes all of the pieces quite easy to move. See, this one, we already had, like, interlocation. And then how 03 was going to be like this one over here, which I believe is also fine. So I guess we could have just rotated everything, but I wanted to have the option to move it around if needed. So that's why I didn't just rotate everything in one go so that now I can just go ahead and I can also go, like in here and I can see, like, check, like what I want to do with this stuff. Let's see. So we are clipping this in? Yes, we are clipping this in. And I don't know. So if we go over here, Let's have a quick look here you'll see because you sometimes see that the walkways, they are actually in a slightly different place, so that might also be an interesting thing to have that the walkways over here are also in different place, and then we will have a small walkway sitting over here. So let's say something like this actually looks quite cool. And then, for example, over here, what you can do is with this walkway, you can rotate this one, and you should be able to just move this one in here. Let's turn off snapping. Move it a bit closer. There you go, see. Here, that already starts to look quite cool. Okay, so we got this stuff ready to go. That's all fine. Let's see. So where are you? There you are. Let's go with, like, the one next to it, which is just, like, a little bit lower, but pretty much around the same height. Let's see. One large store window, and for the rest we make up whatever we want. So for that one, we will use these pieces over here. So for now, let's move them. Oh, let's also use this one. Give it a second out to save. So we're going to move these pieces around. So let's have a look. So we got this one over here, one, two, three. I'm going to use my reference to see if there's any more inspiration. For example, maybe something like this that we can do that we maybe make it like, just like a little bit lower. Yeah, I think oh, and also some of these random trims, and then we can, like, change the wood. Stuff like that is also quite interesting. So let's let's keep that in mind, I should say. So we got this one. 1 second. I'm just having a look. There looks to be space between them. So I want to actually I want to actually get some space in between those. So if we go for house one, I think we can repurpose House one. That's the easiest one to repurpose, yes. So let's go ahead and select Oh, actually, no, we don't even need to do that. We just need to go ahead and Contras Contra V, and that will automatically turn on this house. Oh, no, sorry, we do need to select our media children, Contras contra V, and then drag those into your duplicate. The duplicating does work if you select the media children and then select the folder and then duplicate. I just forgot to do that. But that's one way that you can do this. Now, let's go ahead and let's move this. So we are going to give it a bit of space like this, almost like a little walkway so that people can go behind it. This would also be nice because what we can then do, yeah, I know about this. What we can then do is we can give it some extra side doors and maybe even a window or something like that so that people actually do have an interesting walk. Now, knowing this, these ones you guys need to go into House 04. So what we're going to do is let's delete this trim over here. Let's select all of this stuff, I know that one of them is still located in house 01. But let's select this stuff over here. So this one, you need to go in house 04. There we go. And then what I wanted to do is I need to measure something out. So if we have this one, let's turn on my snapping. It's nice to snap it like this, and we want to get our balcony walkway short for this. And then we know, kind of, like, what would be in handy distance for us to basically space these out. So now I can go House four, select immediate children. Now, because I accidentally broken my Here we go. I accidentally broken my snapping, so I do need to go in and over here, move it by hand. But now we can see that now we have some spacing in between here. What I'm going to do is I'm going to later on also just create a piece and this piece will basically just be like a plane, and that can be placed around here to fill up these kind of spaces. I think that will be good. So we got this one now for this one, because I don't really want to make it the exact same height. What we can do is sometimes we can just go ahead and, like, move this down and see if that's enough. Uh, N, this feels too basic. So instead, what I'm going to do is, let's see, 'cause if this feels too basic, maybe if we switch this one to our ornate looking haprem B over here, Let's turn off my grid snapping. Okay, so this is like the more ornate piece. And let's see. So we can move this down up until the very end, like that. There we go. That looks a little bit better. If we just move it down, so we can, like, play around to things. And then, yes, we have our roof sitting over here, but that is no problem. Worst case scenario is we can make this roof a little bit less angled like this and just, like, make it a bit shorter. That should be no problem, but I think that this is actually fine. So having these pieces over here, let's press H to height the roof temporarily. Let's go ahead and hold V. Oh, Oh. Come on. You can do it. Hold fee, Snap. There we go. So that one is now sort of snap. Of course, it's not perfect, but we know why because I didn't really pay attention to that. So we got this one. Now, for this one, I'm going to go for a let's do, like, a large store window along with a simple door. So door B. I move the Large store window, make sure that it's all on one line because I do think that they would do that. They still do nowadays. So Okay, so we got Large store window. There we go. See, now we got, this little extra bit. You need to be moved back a little bit like that. There is some spacing going on in between here. I guess that we can just move this up a little bit, and then you won't notice. Okay, perfect. So we got this stuff over here done. That's pretty good. Now, I think at this point, I'm going to probably end my town or end. Yeah, that will be the last one. And that's mostly just to save some time. I don't know if there's anything else. Maybe we can later on, we can also create like a very generic house that we can just place. However, for now, since we do not yet have a generic house, I'm going to go ahead and I'm going to create a very simple cube over here. Move this cube down, and then this cube will basically just mimic I don't know, like a house or something like that. And the reason that I do this is mostly shadows. So I just place this cube here so that I get, some kind of shadows from it later on. But what I can do is I can go ahead and I can once again, give it a bit more spacing. And then if we ever have shadows, the shadows will kind of just cover here. I can maybe move it forward a little bit. I can go to my materials and just give it the same material. There we go, see. So that if we ever rotate our directional light around like this, Okay, now it doesn't happen to hit, but there are times where it can actually hit this house. So that's something that I kind of want to work on. Or maybe, like, make it move it a little bit closer. Okay, perfect. My directional light, since we're here anyway, just move it in, like, a location that makes it easy to just see the entire environment. Something like this. That's fine for now. So we got that one. Let's double check our work. So we got this one. We got like little step ups going on. Maybe it would be nice to also have a step duplicate, rotate 90 degrees. Maybe it would be nice to also have a step over here. Or maybe I will make it I will probably do like a plank later on because the step is a little bit too long. But now I can just do a step and maybe scale it down a little bit. But later on, what I will most likely do is just like a simple plank that will be moved across here. So, yeah, there we go. So we got that one going on. All of these windows and everything we will, of course, cut out. Then we have a flat store that will have some branding on it. Two windows and small, and then three windows. That's pretty good. Now, what I'm going to do is I'm also going to go ahead and just make this one next to it. And for this one, if we just have a quick look, yeah, it kind of feels like that one. Maybe I will make some signs on it later on. But that's pretty good. So if we do something like that with, like, another balcony, but we want to make the balcony and everything a little bit higher, that should be doable. That would be interesting. So if we go ahead and we probably want to make the building a little bit larger because as you can see here, these three windows, they have way less space than these three windows over here. So I'm going to go ahead and I'm going to duplicate my building on my house erot so right click Select Immediate Children. And this time also go ahead and select House 03, ControZ contro V. And now we'll have it as House 05. So that's what I meant that you can do. So with House 05, we can go ahead and we can move this around. I'm going to get rid of this one. And what I'm going to do is once again select it. Let's see. I'm just having a look. I think we want to move this forward, yes. So we're going to move this forward over here. At this point, I will set up a camera pretty soon, but for now, just go ahead and do a camera like this that we have a little view of our town. Let's see. Move it forward. Okay. And then we're just going to move everything up a little bit and maybe give it a little bit more height, but that's about it. So let's see. So we got this one. Let's go ahead and move these pieces down. So these are going to be low. I think that will look quite nice. Oh, I need to fix stuff like that, but that will come later. Now, over here, these pieces become higher. Then if I do I have the space, or is there some I think I have the space. If I go ahead and just select all of this. Oh, that's not a lot. Yeah, that's not a lot of, of wiggle room, basically. In that case, what we're going to do is we're going to go ahead and we're doing the same trick where we basically select these side pieces over here and also over here. And with all of that selected, we are going to move this up to the point that I feel like is correct. So let's move this up a little bit more like, okay, I guess around here. And then what we're going to do is we're going to simply select only the bottom walls over here and we're going to duplicate those, turn on my snapping and snap those down. Now, over here, we will have a door and then we'll just have a bunch of windows, but let's wait with that because first, what I'm going to do is I'm going to go ahead and I'm going to grab my entire balcony. And also set that one a little bit higher. So we have my balcony. Is there any Yeah, I can remember placing those, so let's place these over here. Okay, so we have my balcony over here. Let's go ahead and move this up quite a bit. Probably up until, let's say, to this point over here that looks quite nice. We don't need to beat exactly to the reference because we're not working from a concept art like we did last time with the other course. Okay, so we got something like this. Now, I was going to make it a little bit longer. Um, what if we just do like, two of them. So if we have these pieces over here, walkway straight. Let's have a look. So is that going to be too long? No, I don't think that will be too long. So we basically here. So we have like these small pieces over here. What we're going to do is we're basically just gonna go ahead and crab these short walls, turn them back into or extra short walls, turn them back into short walls. Then go ahead and do the same over here. So this one, you need to be an extra short, and you need to be an extra short. And then if I grab everything, including those beams over here, I should be able to just kind of, like, Come on, select, move it all at the same time. And hopefully my snapping will work. And then it nicely snaps together. Let's do. Something like this. I think. No, I feel like we need to go one more like this. Okay? So yeah, so then does mean that over here we have a little bit more that it would be nice if we just turn off our snapping and just temporarily move this into the center to make it all a little bit more even. So we got this one over here. Now, our balcony is fine. I'm going to now go ahead and actually these windows, I'm not going to change the spacing. I am going to turn these into store windows so that they are a little bit larger. And then I'm going to just simply set them into the center. And then maybe push these out a little bit more. But I assume that even in those times, they had some sort of metrics that they followed. So we got that one. Now we have the center bit which we no longer need, so we can now go ahead and just temporarily do once again, something like this because we still need to fix that stuff. But the goal is that we have something here that at least represents the building. Okay? So we got those pieces. Now let's turn on my snapping again, and I'm going to just add one extra balcony piece over here. I'm going to go ahead and I'm going to grab this piece and move it to the side. And then if I just duplicate this one piece over here, let's see. So I'm ending there. I'm not ending here, which means that I most likely just want to go ahead and I want to, let's see, select these pieces over here. So that I place it into the center a bit more so that it at least feels a little bit more logical. Yes, R, the modeling for this is going to be quite easy. I'm quite excited to really just spend my time on all of the texture work and just make sure that the texture work is spot on and just perfect. In any case, so we have these pieces over here. Now, I'm going to simply scale these up a little bit, I think. So we have this. Let's move it down. Just scaled up, and we'll see we will see if this works. And if this doesn't work, then we can, of course, just duplicate it down into the ground. So we got this balcony done. Now, for our roof, we need to start by moving these pieces further back. Over here, we have a Bwall which we no longer need. Let's go ahead and delete that. Let's grab our roof over here. Move it down or so scale it up 1.9. Ah, A chance that N that would be too much. In that case, can we do two, maybe? Let's see, two is, I think two is doable if we just turn off our snapping because at least then it will just snap properly. So I think two is doable. We moved a little bit further. And then what we're going to do is we're going to go ahead and we're going to just duplicate this, snap it over here. And I feel like that this building, because it's such a large building, it would make sense if it is also a little bit longer. So let's go for plane while extra short no Suplain while short, maybe. Also, no okay, let's u plain while extra short. And then maybe like turn on snap scaling, maybe a little bit lower, 0.1, two, five. There we go. That should sort of do the trick. Just try the same over here. This one is a bit easier because it is the other way around. So we have play while extra short. We snap it out. We quickly grab these pieces over here. I did not grab all of them, Let's try again. We quickly grab these pieces, and also let's do the same over here where we grab these ones. I think you kind of get the point for this. After we've done this house, what I will do is I will most likely just kick in the time labs, and we will just, like, have a quick look on all of the other pieces and just place them all slowly together just to get something that looks quite interesting. But don't worry any time laps that I do, I will also include in real time. I'll just not have any audio on it. So just be prepared for that. Extra short. Scale it in a little bit. There we go. Then if you want, you can also grab. These pieces, duplicate, rotate 180, and then move them a bit. There we go. Okay, so this house now works pretty well. Let's just make sure that everything's still in the same folder. Nice, it is. Okay. That is pretty good. The only thing that we need to do is our windows. So for our windows, I kind of feel like a double door would be great for this stuff. So I don't know if I can maybe make like a double door, but let's say that this door would most likely be like in the center. And then it would have these windows, and this is a store window. Yes, it is. These windows would basically be on the same level over here, as you can see also over here. And then we will have, say, let's do one window per here in the center. So one here, one here. Oh let's try the same over here roughly. So we'll have those windows. Although I don't feel like they don't yet give me the effect that I want, so I will need to, like, mess around with that a little bit more. And then there will also be a shop window sitting over here and maybe like another one over here. But that's something that we are also going to, like, work with. For example, we can also move this up and go for, like, a small window. And then over here, we have, for example, one, two, and, like, three little small windows or something like that. But, yeah, that's something that I will go ahead and in the next chapter, we will just kind of like finalize this stuff. In any case, what I want to leave off with is that we go ahead and we basically move. So let's minimize it. We basically go ahead and we set our camera roughly to where we want it to be, which is around here. And then if we go down here, we can go to create camera here and create a camera actor. Now, if you then go to your perspective and set this to be your camera actor, this way, we now have a camera, and then we can kind of match it up with something like this that we know exactly what our main angle will be. Of course, we'll have multiple angles later on, but now it's about our main angle. So when I see this, I want to set my aspect ratio down because I want to get the long feel that we have over here. Because I think that looks quite interesting if we do something like that. Now, I'm just going to go ahead and twin, sort of, like, match up my camera angle. We can also work on Pape on our field of view, which if we said is a little bit closer, will give us that more Zoomed in effect, which I think looks quite nice. So let's get started with something like this. Also, something cool. These shadows right now they are really jagged. If you want to fix this, there are two ways that you can fix this for like screenshots, for example. One of them is you go down here and you set your screen percente to 200. As you can see over here, it will increase the resolution and basically double it. The next one, if you want to even improve it on top of that, you can go here into the console at the bottom, and you can type in R dot shadow Virtual that Resolution, and then Big bias Local, I believe. And we want to go ahead and set this to like minus one, I believe. Was it directional? Maybe it was directional. Directional minus one? I think it was directional. Maybe else we already at our limits. There is, like, a limit for it. I think it was directional. But yeah, if that does not work, then we are already at our limit. In which case, we will go ahead and we will just improve that in different ways later on. In any case, what we have right now is looking pretty good. I could see a few lighting arrows over here, but that's no problem. In our next chapter, what we will do is we will go ahead and I will start by just first of all, doing some general cubes on the other side so that I know which buildings I want, general improvements to this side, and just like, try and improve a bunch of stuff. This will be done in a time laps just to save a little bit of time. So let's go ahead and continue with that in our next chapter. 10. 09 Setting Up Our Level Part2 Narrated Timelapse: Okay, so I now kicked in the time laps, and this time labs will come in two parts. One part I will narrate. The other part will just have some music under it, but everything will also, of course, still be in real time as like an extra chapter. So the reason that I'm doing this one as a narration is because a lot of the stuff that I'm doing here is visual language. It's about just getting the general shape and feel for the things. It's not so much about new techniques, but just how we place everything. So that's what I'm doing over here. I'm splitting my viewpod into two. You can do that by pressing the little 3 bars and then going down to your views and then setting into two, or you can go over at the top to window viewbod and just create a new viewpod. And I'm basically just creating cubes. The main goal for these cubes are scale, height, and position. So we are placing these cubes in order to basically get, like, a general idea of where I want everything to be. This because I wanted to get a little bit of a contrast between the two rows of buildings. Like this building over here or like right row, I mean, the right row, it has all of these buildings really close together. They are all kind of, like, linked together, and for the rest, they are all in even levels. What I wanted to do with the left row is I actually wanted to just intersect some streets into here. Almost like that the streets go to a sideways angle and stuff like that. And for the rest also have less buildings but have them a little bit bigger. So I went for, like, a saloon or something like that or, like, the corner, and then just like a general building on the side. So you see me over here just trying to get some inspiration of how everything looks. And doing that, this image I also actually used quite bit. Doing that was quite interesting. So I'm just doing that. And then what I was doing is I wanted to create some kind of a way that we have one side of our street closed off. And I did this with almost making it into, like, a corner, into, like, a bend. This is because, like, I can get away with, like, having the backside to not have wheel anything there. So that backside, we will not aim our camera to that. So for this presentation, I don't need to do anything. However, when I have a view like this, I do not just want to the environment stop dead in its twigs, and then just have some mountains in the background. That will not look very interesting. So instead, I'm trying to, like, create a bend, and this is what I often saw happening, also in my reference images, where one of the buildings is kind of, like, slightly tilted and then they kind of, like, just go into that direction. So I was trying to get roughly the same effect, and that's what you will see me doing here. So over here, I'm grabbing a building. I'm kind of moving it to the side, and I'm giving it space that we have one road that still turns left. And then over here, we have one building that is tilted, and then the other two buildings, they are straight. And doing that actually gave us quite an interesting effect. Now I just had another building that I just placed in the back, and this was just to close off my field of view so that we cannot see whatever is behind it. And this turned out to be quite an interesting look to get something like this. Now, at this point, once you have your cubes done, and this is a very handy way to just kind of, like, get the general feel for things. Of course, with our balconies and everything, it will change a little bit. But once you have your cubes done, what I'm doing over here is I'm just simply starting to duplicate some of my buildings and then turning them into the buildings that I want. So over here, for example, I do make changes, of course, as you can see over here. Just to make sure that the building looks a little bit different. And then once I'm happy with it, I can start placing it in the position. So I can move it. And for this building, I place it here. And the buildings they can look similar, but don't make them too similar. Change around the doors, change around the windows, maybe play around a little bit more with the length and stuff like that. And you will see me doing that also a little bit later on. Over here, I'm now, once again, as I said, this piece of the building, I'm just making brand new. So I'm just grabbing, like, a site because I want to have the building, and then I want to have a much smaller building sitting next to it. But I want to make it as if this building is kind of like linked to the other building. And this was quite an interesting look, and we can actually reuse this building once more later on. And yeah, just in general. So I went for, like, a wall that was one short and then one super short so that we get something like this. Rest, it's just placing around walls. It is a little bit similar to the one that we have to the site. But don't forget that our camera is also quite close to this. So a lot of this you might never really see or you might only see it in one angle. This is why it's not always that bad to have the buildings look similar. All I would recommend is that for your buildings, I would say that grab your main view. We know about our main view. Our main view will show the right side of our street. So grab your main view and just make sure that the main view will look very different. Everything just kind of looks different, and it has, like, a very interesting variation going on. We will personally do that a lot using texture work, so don't worry about that. Over here, I decided that I was going to make like a stair. For now, I'm just doing this very basic. However, I am going to later on in the second part of our or maybe it this part. I don't know yet, which one it was, but I'm just going to make like a blockout of a longer stair, which was just very basic. However, with our second part, I actually end up not doing that much of the blockout as that I was planning, because I feel like it would be much easier if we first of all, start by creating our materials. So after we've done all of the time so our blockout, we will actually leave these mesh and everything for quite a while for quite a few hours because we are just going to focus on materials because in this specific environment, doing the materials first will give us a much better overview of how we need to create everything. But don't worry about that because that stuff, I will discuss that when we actually start doing our materials, the reasoning behind it. In any case, over here, I'm just doing basic stuff. I'm adding some doors. I'm adding some windows. Just remember that, of course, these windows, they are not going to just be sitting on top. They will actually later on be embedded into the wall. But for now, it is just like a very simple basic look over here. Now, this building this building, you can even if you want, you can actually just turn it into stone. If you want to create like a stone texture, or we can go, for example, to, like, mega scans, and you can grab like a stone texture. That could be quite interesting if you just make it like a stone building. I most likely won't need to do that or won't do that because the tricky thing is that with megascan textures, I cannot actually use those. Like, I can use them, but I cannot supply them with you with these project files and to create an entire new brick texture for one small building that we will only see for, like, a tiny bit in maybe one angle. Yeah, you can guess that that's simply not worth three, 4 hours worth of work. What I can do is there is one thing I might be able to do, and that is used the stone material that often usually brick wall material that we created for a texture course that we have done fast tracked oils. So that could be one thing that I can do. I will have to think about it. It more depends on, like, the variation. So here you see me just creating balcony. That's why I don't really bother explain to you what I'm doing. So that just depends on variation. If I find that using all the wood is not enough variation within our environment, then of course, I will make it work. I will add some more variation because even though this is a tutorial, I want to get a very good polish looking scene, excuse me. And next to this polish looking scene, of course, yes, it needs to look very interesting, but it is also useful if I explain to how to create all of this variation because I could just use one mood texture if I want to throw it in there, and it would look okay, but it would not look very interesting. I'd much rather want to give you the options to explain to you how we can make this look much more interesting. So we have that building done. Now what we're going to do is I'm just going over here and I'm just moving across this building. I'm giving it some spacing in between the buildings. Once again, just to space things out a bit just because it might look interesting, depending on which angle we are going to go for. And I'm just playing around with, like, the height and just the general scale of the buildings. Now I'm as always having a quick look at my reference, also at the at the Redemption reference. So over here just to see if there's something interesting that we can use here. And once I've decided which building I already created that is the closest to the one that I need, I can duplicate the building and the folder and I can just simply move it into position, and then I can take it from there, and I can start by just improving this building to make it fit a bit better. So over here, what I end up doing is I was having a look and I quite like that this one is actually quite high. So I actually end up leaving it at this height just because that's what you also see in our reference. And for the rest, I'm just going to change the windows and the doors and everything to get a little bit more of like a different look. Yeah, you can see me over here just placing a few windows. But yeah, most this stuff is very generic. What we will do is after we've done all of our textures and all of our final models, which have the textures applied, then we will, of course, do another pass, and this pass will just make sure that every object is placed properly and nicely. I will also add some extra objects. At the very end of the tutil, you might see me doing like aT eness where I add like extra don objects, which are just very small objects that will just like, add to your scene, but it will be no new information. It will simply be me doing some extra modeling. Um, and those kind of things, they're just time consuming. They can take a couple hours, but they will not actually teach you anything that I've not taught you before. So, but we will sort it out. Over here, keep in mind about the windows. If they don't fit perfectly, you can kind of, like, get away with it, but I just yeah, I want to be careful with it, so I'm not doing it too over the top. And over here, you see me constantly flying around my scene just to see if I can also look at different angles to make sure how everything feels. Of course, there's a lot of thinking process going behind the scenes in my head on, like how everything will look. And now what I'm going to do with this one is I'm going to get started, and I'm going to create a bar, and I will actually do this one completely from scratch or mostly. So over here for the bar, I wanted to get, like, a corner bit. What I'm doing is I'm just splitting everything up into two pieces. But what I noticed is that I cannot see the center, so I did it again. And then what we can do on the side is we can rotate it 45 degrees exactly. So you can see me setting my snap rotation to 45 degrees, and then we can just have this 45 degree angle. Now, this angle, what it does mean is that we need to create some custom pieces for it later on. But that's no problem. That's once again, one of those things that I will do as an ardo. That will just be like some extra work. But I don't know. I think it looks cool and maybe we can use it in some way or another. We will see how it goes. The same goes with the buildings. Maybe I end up also just duplicating that around bit around and just placing it on the other side also. Once we have all of our pieces done and we have our buildings done, it's not that big of a deal to add some extra buildings. The most the thing that we need to pay attention to most is our terrain. So it is about that our terrain actually does look logical compared to the placement of the buildings. That's why we also have those cubes, and that's why we also place the cubes, even in locations where we will not have actual buildings because they fall outside of our camera view. So for the rest over here, this 45 degree angle will not have anything special in it. It's just to fit, to make sure that the building fits a little bit. And then for the rest, I'm just starting to duplicate some pieces from other areas and stuff like that. So over here and this is just, like, a very base. But I think, yeah, it looks quite cool. And then a nice thing what you can see slowly is when we move back to our original view boot or to our original main view is that you can see all of those balconies just slightly sticking out on the left side of our camera, and it will give us a very interesting effect, and it will give us a very cool look. Over here, I'm just temporarily placing these models. However, this is temporarily. These models, as I said before, we need to create special pieces. Currently, the reason that I'm placing them there is so that I can later on export these pieces. And inside of blender, I have the measurements so that I can make them properly. And for stay just doing some scaling and stuff like that, that kind of stuff is no problem. And then over here, I'm, for example, changing around like the pilar just to get a bit more like an interesting looking and stuff like that. And just in general, it's quite basic stuff. Same with like over here. The reason that I place a door there is that I can measure out the height that I want my overhead to be because you can see that I wanted to get it a little bit higher. And before I go scale up my pillar, I, of course, want to know the height. So that's what you see me doing here. And now I'm just nicely, like, placing these pillows on every um quarter. And it is good to often have your pillars and everything at the same length, at the same areas as that you have your beams on your building and everything, because it makes it show that all of the supports that the building has, they are all even. All of these supports, they are all supporting the same weight, which is the specific walls. Stuff like this that kind of comes into the area of knowing about architecture a little bit. So that one is always a little bit more tricky and like an actual building artist who does it professionally, they will be able to explain to you much better. But most time just look at the logics. For example, just like a few logics that you can just always keep in mind is that, for example, windows, if you have a two storey building, the windows will be on the same level. You would not have two windows down, and then all of a sudden at the top, have a window in the center because that window, it would break the support. It would make the building unstable. Over here also bit like these beams and everything that we have over here. All of these beams they are all placed in very specific locations, and I try to also then have everything just feel a little bit more logical in terms of having the overhead supported by the beams and stuff like that. You can also see it in real life. So that's like the kind of stuff that we are doing. Now, over here, I'm going to go ahead and I'm now just working on the top trim, and the top trim for now, I'm just doing some basic placement, but we will completely just create an extra variation of a top trim when we have finish this one. And that variation will just be a straight piece. So with that variation, what we can then do because it doesn't have the corner or like the angled piece, can just freely move this around for ever want. So that's what you can see me over here. And you can just see me kind of moving everything around. And then at that point, I just end up closing off because I felt like it was not worth my time to then also the trim all the way along here when I can just quickly grab one of our beams and just kind of like place it like that. Stuff like that is okay, because you will most likely never even see it. So it's more like just in case that you can see it, that it at least looks okay, that it does not feel out of place. That's the main goal for this kind of stuff. But afters here, you can see. So we have a nice little corner piece. We just need to do, like, some balancing for it, and then I'm just placing some extra windows here and there. And that's about it. So here now you can see how on the left side, we get all of this interesting look. So we get, like the height of, like, our walkways. We get the different heights of, like, a balcony and of our overhead and all of that stuff. It's just looking really interesting. And that was the general goal of getting this angle to get, like, an interesting look. So that's mostly the function of the left side. Now I will also, of course, just make some screenshots of the left side, so I still want to make it look nice in the very end. But for now, we can keep it quite basic because we need to make sure, first of all, that our right side is the best one, that our right side has all of the focused points that we want to capture for our environment. And then the left side, we can just kind of, like, do that as an extra. And at this point, it is getting pretty close to the end of this time laps. In the next time laps, we will create some very simple blockout pieces, and I will also create some more generic buildings and also do those buildings at the very end, and it will just be building that. So it will be no new stuff will be covered. So let's go ahead and continue to that in our next chapter that will be the last time lapse chapter. 11. 10 Setting Up Our Level Part3 Timelapse: I I B an B. E D. D D. 12. 11 Preparing Our Scenes For Material Creation: Okay, so what we're going to do now is we are going to jump right in into creating our materials. Now, if you've viewed past tutorials of mine, you might be thinking that this is a little bit strange because often what I do is I always try to make as many of my models completely to final before I create my materials. But this is different. In this case, I find that our environment relies so incredibly heavy on materials because all of the actual meshes are very simplistic. That was just the case in those times. In those times, they didn't really go in the middle of, like, a desert or something for, like, very ornate stuff. So so much of this stuff relies on materials. And actual geometry, for example, the actual geometry on the wood also needs to be defined by materials. And this is why I first want to go ahead and I just want to go ahead and create all of our materials. This is going to be our wood materials for which I already have all of my reference. It's going to be also the wood slate roof material, but both of these, they kind of tie into each other. And then later on, it's also going to be our train materials. So that is a plan for this. Now, what we're going to do is so for our materials, if we have a look at our scene, you can see that almost everything is wood. This is quite handy because this means that all we need to do is we need to create a very, very well done procedural plain wood material. And then what we also need to do is we will need to create a very well done wood planks material that is like the tilted slate roof materials that you can see over here. And using those two, we can basically create everything. We have our plain wood for which we can do most of, like, these pieces, and, for example, our ornate trims and everything and also our window frames probably also even our wood planks over here. Although our wood planks, I do want to then add a little mask to add some extra dirt, but that's later. And then we have our wood planks and our wood planks, we can give it control over the colors that we can have, like, painted wood. We can give it control over, like, newness to have, like, this new wood compared to, like, old wood and all that kind of stuff. And later on, we can also use our plain wood to implant its use in our actual slate roofs over here. And we can also do it for our door. Although our door will require a bit more texturing. And maybe if we do a door and we do our windows, it would maybe be cool to do a unique texture for this, even though, yeah, it's not really needed, but it would be nice if we can do something like that. So that's Genda you can see almost everything is wood and most of it's just like painted wood and stuff like that. So that's going to be our main focus on this. So for our wood, we are now going to start by creating a plain wood material, and then we'll move on to the planks, and the planks will be where everything becomes very flexible. If we have a look at this, I want my plain wood material to more in this direction, as you can see over here. Of course, these are planks, but it still gives us, like, a general feel for our material. So it's going to be a bit of, like, that direction, and we're just going to combine it a little bit more with, like, some other stuff. Over here, you can see, like, another one that is quite close by. So we can just get a nice general feel for it. We're going to start with our height map, and then we will move on from there. So let's go ahead and just dive right in. I want to do in this chapter is I just want to do setup. I'm going to set up substance designer, and I'm going to set up MmsetTolbag because we will be previewing our material in Marmo Set Tolbag as it will give us a little bit more flexibility over the lighting and rendering controls. But it will also be great for our final renders that we can display in our scene. So let's go ahead and in substance designer, this is my layout that I often have. Let's first of all, create a new scene, and then I can show you. File, New package and substance graph. This is the latest substance signer, which by this point, the name has changed to substance three D designer, just so you know, and we're going to call this plain Wood over here. Let's just do that then simply press Okay. Okay, so our layout. This is our default layout. What I always like to have is I like to have my graph as the biggest one at the very center. I always click away my TD view because I don't tend to use it since I use Momset and then we will have our base color to the view, our library next to that, and our explorer plus our parameters on the right side. So that's mostly it. Of course, all of these views, you can move them around and you can move them wherever you want, as you can see. So that's how I got to this layout. This my layout, of course, feel free to use whatever layout you want. Now, for our maps, what I tend to do is I tend to already just delete all of these maps. Although wood is not metallic, we might be creating some nails, although those nails or they would be rusty, so I'm not sure yet. So I'll leave in the output for now. But often when something is not metallic, I often just get rid of that output. So that's already it. So for this one, you just want to go to your explorer, right click and press saves. And let's go ahead and create a new folder that's called textures. And in here we will make a fool car plain under scoe boot. So our Wood is really by far, our most important material to get white. So plain wood let's go ahead and save this. Now what I also have is I have Momset. So I am using Moms Tubac four. The reason I'm saying this is because if you're still using Mom's at three, you will not have the tracing. So your scene will need some other twigs in order to get the same quality as that I have. However, in Mount took four, we have some rate racing just kind of push it. But in the end, because it ends up in unreal, it's an optional program that you can use. You don't need to use Momset. I just really prefer using it. So within Momoset, I always have a basic setup that I like to do. So I will just run you through it. First of all, we have a render. We are not yet going to turn on our rate racing, and we're just going to leave everything to default. I just quickly tick on ambient oclusion and I set the ambient strength halfway. I don't even look at the numbers anymore. It's just a feeling that I go for. This will be useful later on, so this will just add some ambient occlusion. Then if we scroll down even more over here, we have the output. So for the output, it would be nice if we just go textures and just create a folic called images. Often we do want to create a render because I'm currently working in ten ATP, but I am working on four K materials. And that always gives this little difference that it might feel a little bit blurry and not as high detail to me, but then as soon as I render out an image, and I can zoom in, then the details are actually quite well. So I'm just going to go ahead and open this up and just in these images, just call this plain underscore boot. You want to go ahead and just save it as like a JPA. We don't need anything special and just press Save. So that's why the set up that we can very quickly render out an image. For our resolution, because they are materials and they are just being displayed on a sphere, I often like to set my resolution to a square. So I just copy the 1920 and also paste it in here so that we have 1920 by 1920. This is actually important because in our main camera, we actually can add our safety frames, and the safety frames will reference your resolution. So basically, what they will do is because this is now a square, if we set our safety frames on and set this to black, it will just create these black bars which will draw in the focus to only our material and not anything else. So this will actually make a huge difference on how we preview things. So what do I do? I go ahead and I always just go ahead and press contra D on my camera, and I call this camera underscore A. In camera A, this camera will later on once we have it placed correctly, it will just be locked so that we cannot accidentally move it. For this camera, I tend to set my sharpening in the middle, set my bloom at the same level as the size of the bloom and my vignetting in the middle, something like this. Now, once we've done that, we do want to also work on our tone mapping, but let's do that a little bit later when we actually have a material to work with. Okay, so what else? Sky. I like to set my sky backdrop to color and just make it like a bit more of a darker color. See something like that. Once again, I just don't want to have any distractions. In terms of the preset, it kind of depends on, oh, it's opened up my preset on my screen. In terms of the preset, it depends on what preset we want to do. So for example, this is like a Western thing. So we might already that's like a base, go for something that's a little bit outdoor, something like that, but you never know which preset will work perfectly fine. So for example, I don't know, do like a beach or sand or something like that that just feels our door, but I don't think there's much interesting stuff in here that stands out wide away for this one, maybe, park statue. That could be the case or else we also have some outdoor preset here. And these will just be our sky. I'm going to go ahead and let's do, like, this driveway or something like that, or maybe like this one. And the reason I do that is because it has a bit of a warm feeling. And I think for scene we are going to go a little bit more for that warm feeling. Okay, one more thing that we need to do is we need to actually import our sphere. Now, don't worry. We don't even need to jump into like a tree modeling program. All we need to do is if we go to substance, click on a random noise, for example, right click and select this URL file. Now, it will then open up your scene. And the reason you want to do this is because you want to go back to resources. Three D shapes. And look at that. Over here, you have an actual sphere that is already properly UVNwrapped and everything. So if I go to Momset and just drag in that sphere to this like that, there we go. And now we have our sphere. Now, if we go ahead and go from our main camera to cameras to camera A, Prasctra F, if you have a strange look like that. So over here we have camera A. You can see that it's like a really warm color, so I'm not sure this might be a little bit too much. But what I like to do in my camera A is I like to go ahead and let's see. Set the rotation always like zero and zero and then just kind of like move this nicely into place so that we have now, like a nice view of our sphere. If you now want to just lock your movement, you can always go in here and you can just press this little lock button, although it will also lock your settings, but for now, that's fine. In my presets for my sky, I'm just going to go ahead and I don't want to have a discwarm. So just double click and get something that's a little bit less intense and else we will just temporarily use something else like a street here, like street cobblestone, for example, something like that. It does not matter right now because we don't actually have a material yet to render. Okay, lights. That's the last thing that we will be doing. For our lights, if you just right click in your viewpod, you want to the light and you want to directional light. Now, I'm going to use the three point lighting system. This is basically often three lights that you place in your scene. One of them is your main light, two of them are rim lights. Rim lights are lights that come from the back. So over here we have our light. And if we just press E to go to rotate, you can see that now you can rotate your light around. I tend to get started by always setting one of the lights over here, and they will basically be mostly covering half of our sphere, as you can see like that. Color wise, I tend to make them like a little bit of like an orange color, like very subtle. And then I just press okay. Now, this light, I don't know yet what to do with it. Most of these lights we first of all, need to create the material. Right now, it's just we are working on a blank slate. I just want to do the basics. Then you press contra D, and this light, you basically want to move to the back. And what I really make this like a very strong Yeah, see, like a strong light that comes from, let's say, like the top, and let's turn this light into a bit more like a stronger blue color. And then we can press Contra D again, and this light comes from the very bottom and in the very back. So once again, we move this down, and you will know how this will look later on. So later on, we are going to define this. For now we're just going to make it, for example, yeah, like a white color. But, for example, this is this like a material that I created, and here you can see it in action. So here you can see, like a main light coming here. Then you can see, like a slightly softer light that's sitting here, and then see like a really strong light here at the bottom. And that's the general idea for like a three point lighting system to do something like that. And by the way, let's set our color of a sky a bit darker. There we go. And that's about it for our setup right now. The rest of the setup, once we have a base material, we can just play around with that stuff. For now, what we can do is we can go ahead and we can let me just file save CNS, and let's go ahead and save it. That's two in the safe folder and just call this texture render, because we can use this for multiple different materials. So texture render, that's safe. Perfect. We are now ready to go. In the next chapter, what we will do is we will get started by creating the basis of our wood grains in our plain wood material. So let's go ahead and continue with that in our next chapter. 13. 12 Creating Our Plain Wood Material Part1: Okay, so let's go ahead and get started by creating our wood cranes. Now, I always have a specific workflow that I use to create my wood cranes. And then once that workflow, I've run through it, then I just go ahead and I like polish things up to make them look more like this. So if we have a look, for example, so this is the one that I want to use for the wood cranes, a few key focus points. There is a difference between sometimes having these willy white wood greens and sometimes having much thinner ones that you can see. So here you can see, like, Willy white, now you can see them going very thin again and back and forth, back and forth. That's something I want to capture. Another one is that wood greens warp around our knots or knots or whatever you want to call them, the ends, and, of course, that they have the ends. So the warping that we have around here, that's something that I also want to capture. And one thing that's pretty cool is that you can see that it has these little fibers over here. Now, this kind of depends on resolution. We can give it a go and see if we can make it, although it would most likely just turn into a little bit like noise from, like, a larger perspective, because from over here, it's hard to see. But that's no problem because that noise is still something to just add some extra surface detail to this. And add to that, like some deeper or thicker slashes, whatever you want to call them in here. So that's the ones that we will also add. And then on top of that, yeah, it's just going to be like some small balancing and stuff like that. Okay. So that's the plan. Now, to create my wood grains, the first thing that I need to do is we need to create a gradient map that we can turn into the grains. This gradient map, it's basically going to be long streaks. That's basically what it's going to be. So let's say that I often just start with, like, a grunge let's say Crunch map 002, for example. And now, the way that this works is, so we have crunch map zero, 02. Let's say that we set our contrast quite up, and we do want to actually get a bunch of, like, smaller streaks. So let's say we have something like this. Now, what I like to do is I always like to go for direction and I always like to go for horizontal direction when it comes to most materials. Sorry, I lost my voice there for a second. So what I'm going to do is I'm going to add the transform map. Now, sorry if I went a bit quickly for this. I should say, I do expect that you know the basics of substance designer, and the basics in this case is most time I will just press space bar and I will type in whatever I need. So if I need to transform, I will type in TRA and then press Enter to get the transform to D, or you can use your arrow keys up and down to basically navigate like that. Just keep that in mind. So for the rest, this course will not so much be about explaining how the actual program works, but more explaining how to create materials, the thought process behind them, what the tools actually do, stuff like that. So we have a transform, and then if we go down here, we want to press one of the 90s. So this will just simply rotate it to a 90 degree angle. Now, what we're going to do is we need to add a directional blur because we need this to be not sharp, but we need this to be like soft gradients. So for our directional blur, if you just type in Di and you get the directional blur, you basically want to keep the angle at zero, but set the intensity very strong to like 500 or something like that. So that's what you get then is you get these really streaky lines over here, something like this. Now, with these lines, they are now way too sharp. So these are not actually going to be our grains. So these are way too sharp. So what we need to do is we need to go ahead and we need to, for example, blur them this time a normal blur. And for that, I want to use a blur, high quality gray scale. So what this woman will do is it will just nicely, as she can see, blow my lines that we get all of these really light streaky lines that we have over here. Now, at this point, you can pretty much play around with like, for example, adding a histogram scan. And what aHcrum scan does, if you just type in HIS, the HCRm scan allows you to basically change the levels. So you have the position and the contrast. And this can sometimes be just nice to have. So see can make it stronger or less strong. What I tend to do is I tend to art this on here and just pick like a general position that I like, for example, 0.65 in the position. And then at least while it is here, I can change it later on if needed. Okay, perfect. So what we're going to do now is now these will be transformed into streaks. You cannot see it yet, but trust me, they will be turned into streaks a little bit later on. I now want to add some general warping. General warping is the stuff that you can see, not so much around the knobs, but it's just like some general here, see? You can see some general moving around. And here you can see, like some bumps and everything. It is not perfectly straight. Also over here, you can see that. The way that I tend to do this because at this point we are still quite flexible with it is by arming something called a directional warp, and a directional warp is pretty cool. So what you can do is you can input a gray scale map into this. And then what it will try to do is it will try to warp your textures around this grayscale. Now, for this warp, if we go to our patrons in our library, we can use a tile generator over here. Basically, what we want to do is we want to get a bunch of different dots, and those are the ones that will be warped around it. To get these dots, you want to scroll down to the pattern, and the tile generator is quite a big note. We will cover it more in depth later on when we create our planks. But for now, you can just go to your pattern and set this to be, I don't know, like a paraboil for example, and that will give you all of these little dots. Now we need to have some variation in this. If we scroll down to size, we can set a scale random, which will just give it some random scale. If we scroll down to position, we can give a position random over here on the X and on the Y, so that will give us some position random like this. Luminance random will basically make them darker or lighter. This will also affect how strongly that they will be affected by the directional warp. So just like a bunch of variation. You can try rotation if you want, but it won't actually do much. And for the blending mode, let's set this to Max. Setting the blending mode to Mx, as you can see, it will just decide how we intersect together. If we set this to max, they will just kind of cut each other off like this. So we got almost like this really fun looking shape, like a bubble shape. I don't know. It kind of reminds me of the ball pits that you have like McDonald's or something like that for some reason, you would eat a lot more. But basically, we plug this into our directional warp and then as soon as we move our warp angle up, you can see that we get something like this. Okay, so we have now our direction warp. The first thing that I noticed is that it is that we probably need to blur it a lot. So let's add a blur, high quality gray scale behind it so that there we goes. See that looks a bit more logical. We don't want to have it sharp, so just nicely blur it. And then in your direction warp maybe, like, move around with intensity. See, so just going to give some general random bumps into our mesh like that. Okay, so at this point, what we're going to do is now what we need to do is we need to go ahead and probably turn this already into grains. Yes, we need to do that in two ways. So first of all, we have this one over here. I'm just having to think if I should do the knobs first or later. But that's the cool thing about procedural texturing. It doesn't matter if I need to do it later. I can just add it later. So how are these grains going to work? The way that we are going to do this is we are going to use a gradient map. So if you go ahead and press space and type in gradient map, you get this map over here. Now, with this map, you can basically map colors based upon the gradients, and that's why this needs to be blurry. When this is blurry, it will have 255 different gradients. So as you can see, we can get a lot of grains out of this. Even if you look at it over here, because of the bitmap ratio, you can even see that over here almost see like grains. It kind of feels like that. So we are just going to make those more intense. I'm not going to lie. This is going to be tedious process. So basically, all we need to do is go into our grain editor, and it's a bit time consuming, but just make your gradient editor quite large to make it a bit easier for you. And you basically click on your gradient pieces like one like this. Now, you are going to click very close. So you have black. You click once again, White. Click very close next to that, Black. Click very close next to that, white. Click very close next to that, Black, and then white. Now, what you will see happening is if we do this about 100 times or something like that. So yes, as I said before, it's tedious. But you can start seeing that we are starting to slowly map out these little grains over here. And the closer we have them together, the thinner the grains are going to be. So we are just going to keep mapping this closer together like this until we get probably to around the midway point or slightly above it, and then we can see just how it looks. So over here, you can see me. Or, you can see me. You can see the grains slowly starting to appear over here. Now, if they are not large enough, we can always just try and, like, select this and try and move this a little bit closer together, just by kind of like clamping this all down. Sometimes this is needed just to get it exactly like the right spots. Here, season now we got like these thinner greens. And yeah, so this will take a while. But in the end, we only do this once, and then the grains are looking really good. And what I recommend is that you literally just save these grains. If you ever make wood again, you can just save this stuff, and then you can just apply it again. So here, if you want, you can also do it like this where you, for example, place two next to each other, and then you just move that one closer together. As you can see that can also be a solution. It just kind of depends on what you want to do. Like can see over here. And if you keep doing that many, many times, in the end, it will have filled up most of the space except for, like, some very large areas. So over here, we kind of need to get to the point where we hit just the right grayscale because often the grayscale here, sometimes it can just as you can see, see, you can see that it sometimes just takes a while before it actually here before it actually applies to grains wherever we want them to have. So that's why it is just something that takes a bit. But, yeah, so what we're actually going to do, I'll talk while doing this, and else I might just, like, pass the video and just do it off camera. But basically, what we're going to do after this is we are also going to make some grains that are very, very white, and then we are going to blend between the two. And that will create that effect that I was talking about where we have some grains that are very widely, very widely distance from each other. And then also like some grains that are very closely together, and it will just give us some nice variation. Once that's done, we can add some knobs on top of them and start warping those together nicely, and that should do the trick. Here, see, here, you already start to like Wi seed, although they are still quite far together or quite far away. But what we can also do is we can also mess around a little bit more with the blur later on. For example, if we close this, and now let's say that we go into our blur, let's see if we tone down our blur. Here see. You can see if you tone down your blur, you can basically almost, like, control how closely together the grains are. Of course, we need a bunch more grains for this, but I just wanted to show you that. So what I'm going to do is I'm just going to go ahead and I will pause the video and I will do this stuff up until there are almost no changes happening anymore. That will most likely be around this area over here. So we'll see how it goes, but it's literally just me doing this, and I don't feel like that's really worth recording half an hour of me doing this. So I'm sure that there are faster ways of doing it, but this way always just works really well for me. And I'm stubborn. I'm quite stubborn, so I like to just stick with my workflow. So let's go ahead and pass the video until this is done. Here we go. So I just went ahead and I just kept going. And then near the end, I found that yeah, the edges, they did not really have that much of an effect anymore, so I just went ahead and, like, at a bigger spacing to save some time because they didn't really do much anymore. So, now that we have this stuff, you can see that now we start to sort of get some grains. Don't worry. This is far from what we actually are going to get in the very end. But now what we want to do is we want to blend this together using a mask that has like some wider grains. For this, let's first of all, get started by creating the wider grains. They are going to be a bit easier. Don't worry. So they are basically going to be a here, let's move this over here, like a pattern. No, not a pattern. Let's do a gradient linear because these all look a little bit like gradient. So let's do gradient linear one like this, which is just like a simple gradient. But then if we set the tiling like Wi Wi high to like 25, six, for example, yeah, 256 seems about fine. You can see that it will just give us, these really long pieces over here. Now, at this point, what we're going to do is maybe use like a Hogram scan once again and just mess around a little bit more with the values to make them you're less or more strong. You can also play around with your contrast, basically. Like that. Okay. And now, what we're going to do is we are going to basically warp this all around to get like these really strong streaks. For this, we're going to art the directional warp. Then with this direction warp into the gradient, we are going to grab a pearling noise over here, which is quite a nice noise. And it's basically just like these really soft looks. So you basically can set this quite low, a bit like this. And you just kind of throw this into your direction warp and set the warp up, and then you get this effect over here. Yeah, you can see with so many little lines that your computer screen cannot really keep up. So just like twin to zoom in and just try to have a general look and see how they are kind of like warping all the way along. So let's set this to around four. There we go. That's what give us some nice warping. Now with this warp done, we can now go ahead and we can add a warp note, and the warp note will basically be from all directions. And what we can try to do is then warp it using this directional warp over here, which will hopefully get interesting look. Let's see so here. So it will also give us a little bit more of these looks over here where we get, like all of these little lines sitting in. The only thing that's new to me is that they are very sharp, but everything is 16 bits wide. Let's go up here. Output 16. Yeah, yeah, everything is 16 bits, so that's interesting that it looks so sharp. That is quite new. Hm. Maybe they change something around in this graph. It should not really be a prom. So we can basically just warp this along here. Don't make it too intense, something like that, for example. And if we then go ahead and let's now like a blur, high quality grayscale and that will hopefully get rid of the sharpness a little bit. Let's do 0.1 in our blur. There we go. So that will hopefully get rid of the sharpening a little bit. So we now have these really much larger warps. We can also still play around with our warping to get less or more strong. Maybe we actually want to go for, like, some more softer warps like this. I'm not sure yet. It all depends on how it looks in the end result. But for now, let's say that we have something like this. Okay. Now what we're going to do is we are going to blend these two together. And what I often find the easiest way to blend them together is to, yes, grab a blend node. So you just type in blend, and you blend this one and this one together over here. Into your gradient map, go ahead and convert your gradient map back into a grayscale by selecting this line and typing in GR, which is the grayscale conversion node. Because this is a height map. We don't need to have the height map to be color. In terms of the mask to decide where everything becomes, what we're going to do is we are going to add another Grady map. But don't worry. This one will not be as difficult. And for this Grady map, let's go ahead and let's, let's do like let's click ones. So we have black. Let's do white. Yeah, and I'm just kind of, like, pushing this together. And I'm white again. And I'm just going to see if I can get, like, let's see. Let's do black again. I'm just trying to get, like, an interesting mask somewhere. Let's delete this white over here. Oh, yeah, here, that works better if we delete that white. So we can basically now go ahead and we can also make this a little bit softer if we want. And we just want to see if we get, like, a mask that is, like, on an interesting location. You can kind of just move these things around to get more or less of the mask. So for me, I don't want to have too many of these really thick lines. So I think something around this area is quite nice. We still have a little bit. I'm not too happy yet about this area over here, but we'll see how it looks. I'm just guessing here, so I don't know. I go ahead and input this into my pasty, and once again, I need to add a grayscal conversion note. And now what you will see happening, although it is the one way around, I believe. So let's go ahead and just plug these in the other way around. There we go. So now what we should see, it's a bit hard to see, but now you have your green map and then you can see that we are inserting some of these Wi small bits. And coincidentally, because this one often masks the gradients, it is masking the gradients exactly in the areas that are very plain looking, and very uninteresting looking. So I basically art this stuff over here, but I still keep in a bunch of, like, these really small bits, and then I can go back into my gradient, and then I don't even need to open it. I can just go in here and I can, see if I want to, like, increase or decrease the amounts that I have over here until we get something that's a bit interesting. Like, right now, what I feel is, let's see. It is replacing a lot of stuff. That's what I feel right now. If I go ahead and I temporarily add an invert grayscal over here, just to see how it work or what it does. Yeah, so the invert grayscal is not very good. Um, Oh, one, one, I need to open up this one. So let's go ahead and let's see. So if I tone this down, it should show me a lot less of this stuff. Correct? Or should I actually move this up a lot more? I think what I need to do is I need to move it up, and then I just use my white slide or my black slide actually. Over here to get more of this masked out. It takes some time to get everything looking correct because right now I feel like it is using these really simple grains a majority of the time. But I do not want that. I want to have the complex grains, and then I'd rather just have these ones over here being replaced. So that's what I'm trying to get. So let's see, these warps are the ones over here. I'm just trying to kind maybe if I invert this just by swapping around my black and my white slider. I'm not sure of that. Nah, so we don't want to invert this. It was already correct. Yeah, it's a tricky one. Normally, oops. Normally, it's not this difficult to get the mask right. I wonder I'm honestly not sure what I'm going to do with this, which mask I want to get. There are different ways that we can do this. We can, for example, also, like a histogram scan and add this to our bi and then use the position and the contrast to basically control roughly where we want to have blending to be. So that is quite similar to what we have over here, for example. And then plug this one in, and then you can also go in here and you can also set the position and everything like that. So I don't know. Maybe that's an easier way of doing it, in this case, because normally your green map does give you a bit more control, but I feel like in this case, it does not actually work. So that stuff is fine. Let's see. This stuff I want to keep which I'm pretty much keeping in this stuff. So I think that yeah, okay, that should be fine. I think this will look quite nice. So at this point, we have some very, very basic grains. We still need to turn them into actual, like, these really fine grains, but that's what we're going to do in the next chapter. So let's go ahead and continue with this in the next chapter. 14. 13 Creating Our Plain Wood Material Part2: Okay, so now that we got our base grains over here, now what we're going to do is we're going to focus on these knots over here. So these come in two stages. The first stage is by warping our shapes over here around these knots. That's the first one that we're going to do. And the second stage is that we are going to actually create these little knobs or knots or whatever they're called. So we need to get started by just deciding where we actually are going to place those. For this, if we go to patrons, we will go ahead and use a simple tile generator once again over here. And this time this tile generator can be very basic. We are going to go ahead and set this patron to be a disk over here, see? So that's quite easy. Now, you can kind of decide how many you want. I don't want to have too many of them. So maybe ten by ten is actually fine. We'll see. Because what we're going to do is we're going to scroll down and at the scale set these a lot smaller. And then also do a scale random like this so that they become even smaller. Don't do too much, actually. Then if you also go ahead and set the random over here, what it should do. Oh, no, wait, sorry, for that, we first need to also do some scaling like this. But what we can also do is you can also scale them a little bit flatter like this, although you need to set the inter ste. I hope I say this correctly, up a little bit before we can actually do the random stuff. But now we have over here as you can see, we have some very small scale variation. Now if you just go into the position random, we can just go ahead and we can give it like a random position. If you want a random rotation, and the goal for this is that now we can go all the way down here to the color, and then we have a random mask. The nice thing about this random mask is that when you move it up, you can see that we can basically choose how many of these pieces we want to have. So just like that, we can easily just move around with this to change our random mask. So let's say 0.75 to get started. And now let's say that I don't really like the position because right now it is all in this location. Now, we can go ahead and we can set the position here or do, even a global offset. Or what you can try to do is go all the way up to your random seat, and this will just generate a random seat based upon your parameters. And for example, if it sets to number three, that looks pretty good. Okay, so we now got these pieces over here. Now, what we're going to do with these pieces is that I want to split them up. So let's go ahead. And basically, we need to turn this into, like, some noise. If we go in here and add a directional blur, we're going to make this a little bit wider. So I'm adding like a directional blur over here, as you can see, and that will just make everything like a little bit wider, so it will discover a larger surface area. Then if I go ahead and maybe add what if I then add a blur high quality gray scale to make it a little bit thicker, that we get something like this. So we get these really white looking pieces over here. And now what we're going to do is we're basically just going to generate, once again, like a gradient map. So if we, for example, have this gradient map, what would happen is it should here, see? So it will generate some of these pieces. Now, of course, this kind needs to fit in properly. So if we blend this one together, actually, blend is on the top, and blend is together using our original directional warp over here. Let's have a look. So here if we set this to maybe like art, here you can see that now we start to get that warping. So right now the blending mode set to art, you can use your scroll wheel to actually scroll through them to see if there's maybe something that blends a little bit better. For example, like soft light or Max Lighten, no, and then there's sometimes also like a soft light all the way at the bottom. That sometimes works. But no, it looks like that we want to go for art. Okay, so if I go for art, I actually want to have a check because normally I do this separately, but if I have a look at this, it feels like that we don't actually have to do this separately. So that's pretty cool if we can save that little step. So we have this one over here, okay? Well, yeah, we do have some really strong piece, but that's okay. So I'm going to set my direction blur even higher because I want to see if I can Well, I don't want to set it that high. That's a tricky one. Like, I want to set it higher, but I don't want to get like, Hey, I want to just have a round effect. I feel like that looks pretty good. So here it nicely goes around it. So if I have a look at this, it looks like that. Oh, no way, that's why I'm adding it always later on because we are overlaying this to this piece. And what might happen is when you overlay like that, that it will not show up. So that's why I tend to do the blend after it. We can give this a go, however, we can see if it. He'll see, so then we do miss some of these locations where they are placed, as you can see. So that is a tricky one. I'm not sure. Yeah, I think we'll just go like the traditional way that I always do. So the traditional way is something like this. It's a little bit more messy, but it's basically like a blend behind it. We then throw in our grad map into the top and just add a gray scale conversion to convert it. And then once we've done that, we can go ahead and we just need to create another mask, and that's basically going to be it. So for this mask, I want to go ahead and I want to grab, probably like this one, add a histogram scan to this blur to basically push it out as far as I can, like that. And then we kind of need to add another blur, high quality gray scale on top of that. But then you will kind of just blend everything out. And doing that, you can see that now if we play around bu, we can sort of, like, make them fade in and out. Don't go too much because if you go too much, you can see that it starts to show through. So just sit like this level. And at the point that when we're actually done with this, it will be so noisy that it will all just fit together. So that's one way to, like, add the extra warping on top of that. If you want, you can go ahead and also use this one over here. So using this one over here, I think that does give a nice effect because it kind of, like, continues the warping. And then what we will do is we will add the warping later on on top just for these areas over here. So that's a new technique. I will use this technique from now on. No, you cannot really see it that often, but it does give like a nice effect. Okay, so we got this over here. So now we have a pretty solid base. Now, later on, we are going to actually art our little knots, which they need to be over here. So actually could probably art those now. Let's art a blend. And let's just go ahead and grab the very original one over here and throw this at the very top and set this to be subtract. So here will be our little knots and everything like that. Now, they are not too special the knots. As you can see, over here, they kind of like just lay on the top. Most of it comes from the color. And yes, there are some over here, like some cuts in here. So what I'm going to do is I'm going to I am improvising right now, so, well, I've been improvising this entire time, but I mean, I'm not working for memory anymore. So if we have these, it would maybe be nice if we just, like, add some cuts to these pieces already in here. There's a few ways that we can do this. The first way is that we can go ahead and we can go into our patrons and grab a shape pattern over here. And with the shape pattern, if you set this to be a disc, you just have a normal disc. Now, as you can see here, the cuts, they kind of, like, just go from the center and they kind of, like, go out. There is actually a note that we can use for this, and it's called like um like a star note or star burst note, I believe it is called. No, not a star burst. Well, maybe it is a star burst or like a polygon. No, I think it is a star burst node. So the star burst node, what we can do is we can blend our shape using this and just set the mode to be subtract so that it's actually cutting out. And then in our actual star burst, you can go ahead and you can say, like, Okay, how many etches, for example, do you want? Then we have the blur amount, which can make it a bit sharper, size minimum and the size maximum. It's always nice to just give it a little bit more variation. Including the size variation. Then you can see that we start to get a little bit more of that cut look, as you can see, randomness. You can also add, that we just add some randomness. And with this one, if we now just add a very quick and it's a note I don't think I've coveted yet, it's the multidirectional warp grayscale. It's quite a name, but this note you will love this note. It's one of my favorites. If you go to your noises and you plug in the noise here, it will basically warp along this noise. So if we go for, like, clouds two is the one that I tend to use. And plug it into the intensity. Now, if you set the mode to minimum and the direction is to one, it will basically just kind of move your stars around, see, like this. Now, maybe clouds two does not work in this specific case. We can also try like a pearling noise just to see if works. And if we just make it a bit smaller because we just want to get some general warping in here. Something like this will look quite nice. So let's do like a pearl noise, and then we are basically warping this together over here. And now it's just a matter of maybe going in here and maybe setting our size minimum and our size maximum out a little bit more in order to fit it. But that's basically how we can just very quickly add some of these pieces. Now, if you go ahead and, for example, now duplicate this you can also go ahead and duplicate your starburst and your directional warp. And just for this one, I'm only going to give it like two variations. I'm just going to set my randomness different and maybe like set my branches a little bit like less, maybe four or something like that. And then artists one to the tops. Now we have these two different variations. So in your tile generator input, what you want to do is you want to go ahead and you want to set this pattern to be an image input and set the pattern image input number to two. This way, we can simply plug in over here two images, as you can see, which will give us this little knob over here, which can then later on also be added in here, but we'll work on that a little bit later on. So we got these pieces right now. That's pretty good. I just need to make sure that when I blur it, there we go. So that it does not interfere with our blurring or anything like that, but that looks totally fine. And now for this one, what I'm going to do is so let's see. It does have a little ring around it, but for the rest, it's pretty much on like the flat area over here. So what I might do is I might simply do this into the color and for now. So right now we have it set to be a tart mean input. But if we go ahead and actually use this one, this tile generator as a mask by plugging it into our paste, we can most likely just use a uniform color, and a uniform color is just like a flat color at the top. Oh, and set the blending mode to copy. And then with our uniform color, I can basically, kind of match this out. So we need to be a little bit careful that we do not go over the top because then we will be able to actually see it in our hipoly we will be able to see it moving around, and we don't really want it. So let's just set it to roughly like quite a white color. Maybe just do a simple zero point and little bit dark. Let's do 0.4 over here so they will just be overlaying on top of it like this. I guess on top of this, what we can do is we can do slope grayscale so adding a slope bl grayscal can break up our edges. I don't know. Have I done that before? Oh, no, I've not done that before. So a slope blur gray skulls also note you will really love. So with this one, if, for example, grab like Cloud sto, and plug it in here. What it will do is if you set your samples up, your mode to minimum and your intensity down, you can see that it will break up your shape, see? The mode basically just says blur means that it goes on both sides. Minimum just means that it will ignore everything that is black, and maximum means that it will ignore everything that is white. So just keep that in mind. And then what we can do is we can just give it some small like 0.1. It's very sensitive, but give it some small variations like this, which will in turn just make everything feel a little bit more organic and a little bit more realistic because it's no longer perfectly round. Yeah, you can basically just, like, mess around with the intensity, maybe like 0.12, for example, and just get something that looks quite nice out of this. Okay, so that is pretty good. At this point, what we're going to do is we're just going to add some general noise. Let's do like a multi directional warb gray scale. And I don't know if I want to go for like a clouds noise, which by the way, I just used, or if I want to go for a really small pearl in noise by setting the scale of my purlin nown. So let's see, we have this one. Now you can see that this looks very, very noisy, but if we set the modem minimum, and just set the angles down, maybe set the direction to, like, one. It's just about like adding some general waviness to our shape. So we have this one or we have our Yeah, I think I like the clouds too more in this case. So we can using this and just move your warp angle down, you can see over here that we can start like some very small waviness and just add some imperfections to our shape, see? And I think that will look quite nice, and it feels once again more organic because right now, everything is just way too perfect. So let's do something like this. You can try and play around with multiple directions, but often one direction is fine. Now, doing it this way, I do find that it has a different look compared to the directional warp, and that's why I'm using the multidirectional warp. It seems to just work a little bit better than a directional warp or like a normal warp. I know a lot of pieces are called warp. So we got this one over here. That is all looking pretty good. Now, what we're going to do now is we are going to slowly just start adding, like, a bunch of extra pieces. So we have, like, some stronger streaks. Let's do those first. So we got this one that's art and Bland, and for our stronger streaks, I'm going to go in and let's just use an anastrophic noise. Nostrophic noise has, like, all of these really long streaks, and we can basically set the Y amount by resolution, which will make them a lot thinner. And the X amount is basically going to be like how many of these or how long the lines are. So I'm going to set this to probably like three, not too long, not too small. Ah, yeah, okay. That looks pretty good. So now that we have this, we are going to start with the histogram scan. Come on, histogram scan. And this one can just basically push out and just give me a few lines, as you can see over here. So having these few lines, I'm now going to do a multidirectional warp gray scale. Or maybe like a normal warp. Let's try them both out just to see which one works best. And we are going to warp this once again using our very original just use this one, our original noise. Okay, so this one does push it around quite well, but we don't want to push it as much. And this one, if we set you to minimum in a direction of one and down, I'm going to go for the multi direction warp as always. So as you can see over here, I'm just warping it a little bit in the direction of how everything looks just to make everything feel a little bit more interesting. But I'm not doing it too much. I then add another multidirection warp, and this one will be more for, like, random noise. So if we just set the mode to minimum, directions to one, I'm going to use, for example, let's start with just trying like a Cloud two. Cloud two is pretty good, but I think I want to have something a bit bigger, maybe like a purlin noise. Honestly, I kind of want to have both of them. Let's duplicate our multi direction wb. Wow, I don't often have so many in a row. So number three and number three, I want to just here, add like some of this noise. Like that. That looks pretty good. And now just to kind of, like, break it up. I think at this point, it might actually be nice if I just add, like some clean up. So let's just do that first. So here, clean up if you just select your notes that you want to have organized, you can right click and you can press art frame. This is quite nice because you can give the frame a name so we can say nots. Then we can go ahead and go in here and we can say over here, we can say like frame and this will be grain generation. And then over here, this will just be like the combining that we will have. Grain and not combine. There we go. And then we kind of move it from there. And then this one will become strong cuts, for example, something like that, for example. Okay, so we have a multi direction wp. The last thing that I'm going to do is I'm going to go ahead and blend it using a grunge map, and this will just kind of make sure that it's not all over the place, that it's yeah, a little bit less. For our grunge map, I'm going to want something a bit more directional. So didn't we use Oh, but we use the contrast a lot. Hmm. What we can try to do. So if this is the effect that we need to get, just to save some space or to save some memory because you can see that these are very expensive. The way that milliseconds works is, whenever you change something in your graph, it needs to run through all of these notes. All of these notes are the few milliseconds to generate it, so you want to try and keep your milliseconds down. 92 is quite expensive. These grunches are always quite expensive. So that's why I am trying to always keep everything into the green. One way that we can do this to get this effect is we can go ahead and grab this grinch map and set the balance back to, like, something like this, so a little bit less. And then ter CAM scan, which we'll sort of do the same thing and use that to kind of, like, push the balance back in. So I'm just now trying to get Yeah, it's not completely the same. So if we now go in here and maybe like set our contrast down a little bit, because I need to get it very similar. There we go. See? So it looks very similar now. Maybe like tone down the position a little bit over here. So the reason I'm doing this is because I can now just plug this one in here, so that should not have changed anything, really. It has created this one tick line, of course, see how small changes can even make a big difference. You can go ahead and go into your position. It in contrast and just trying to get it a little bit better. That's annoying that we have that exact one line. Is that one in here? It is. Can I maybe just like art then some extra? Oh, yeah, here. See, I just need to art like some extra grains. It just happens to have pushed out exactly that last little bit of gray scale. So over here, I'm just adding, like, a few extra grains. And the reason that I'm doing all of this is because now this one we can throw away, but this one I can now use. So I can now add the transform to D to this. I rotated 90 degrees, and this is just that it is going along with our greens. And then I can throw this in here. I can add a histogram scan on top of this set the position up, throw this into the top, and then finally set this to be a subtract. And now what you can see is now with this simple slider, we can control how much or how little of our grains were actually want to have showing up. That's it. We can now go ahead and we can plug this here into the top, set the mode be subtract because we want to have it going down. And now you can see that we got, these stronger lines, and we can take it from here. So we can go ahead and we can like in anastopic noise, if you want, you can set the imunt By resolution off, and then you can mess around with over here, like like ten, 24, to basically give it more thickness and all that kind of stuff. Length, you can also go ahead and set the length to, for example, two, to give it like longer lengths and just make it run across and all that kind of fancy stuff to just get it all looking perfect. For now, I'm going to leave it off here. I'm going to save my scene. And what we will be doing in the next chapter is we will just be probably completing, actually, yeah, we will probably be completing our main grains and actually preview them inside of Marmoset. But this is already starting to look quite well. I'm going to end up with just doing if it allows me to. Come on, there we go. G to start by end up doing this, and that's about it. So let's continue to next chapter. 15. 14 Creating Our Plain Wood Material Part3: Okay, so let's go ahead and continue with our wood grains. We are getting pretty close. Although over here, those overlays that we did is maybe a bit too strong, so you can always just tone down the opaste a little bit if needed. So now that we have this stuff, I just want to make the wood grains feel a little bit more grainy, I guess. And the way that I'm going to do that is I'm going to add a slope blur gray scale after this. And for this one, I want to get, like, sort of like a combo. So let's grab a moisture noise with, like, quite a low scale this time because these are very small grains. And because I'm going to not so much like these little what do you call them? Chips or whatever they are called. And the reason that I'm not doing that is because we just don't have the resolution for it. But I am going to kind of, like, fake the unevenness that we get from these. Yeah. You can see like we just wouldn't have the resolution to do something like this when we are looking at, like, multiple different planks. So the way that I have that in mind is I grab is noise. I then go to patterns and I grab like a tile generator. And I want this tile generator to be a gradient. Where are you? Gradiation. Oh, yeah, gradiation. Then what I'm going to do is I'm going to go ahead and I'm going to set my rotation random up so that we have a bunch of different rotations. It's also thrown the symmetry random. Let's set our mounts way up. So now we have all of these little squares over here. Now if we go ahead and I don't know, for my scale, let's set our scale maybe up. But then if we scroll all the way down, set our blending mode to max. Etc all the way up again. You know what? No. Maybe it's not nice to have the scaling up. Let's see. Um, I kind of want to have them not square, so I don't know which one I need to move for that. It doesn't actually matter which one I need to move because we have all of these random rotations. There we go. So now it's not as square. Let's tone down our scale randoms, that we do keep these quite close together. Position random. Um, yeah, you know what this might actually work. If we do position random and then boost up our scaling quite a bit and then set the mode. So what else do we have? We have max. Art. Yeah, so we will need to go for max. So we just get this mess, basically. But that's fine that's kind of what I'm going for. Maybe set the interstine scale and random and everything up. So that we basically just get like a bunch of different variation in here. And it's just that we get something like this. It doesn't really need to be precise. It's just to get some kind of squariness in our noise. Because then if we blend our moisture noise using this style generation and do like a multiply, tone this down a little bit like this and throw this into our noise. This might actually be I might actually need to do a safe transform. Let's add a safe transform grayscale. It's very similar to the normal transform. Only this time for tiling, we have a simple slider. So I'm going to make this a lot smaller like that. There we go. And now we get these really squares pieces. And then in your slope blow gray scale, you want to set the samples up, mod the minimum, and just tone down. And now, if we go ahead and very carefully move our intense Whoa, move our intensity to like 0.01. Here, see, you can now see that we get like these squariness looking shapes. One thing that I want to make sure is if I go to my safe transform and set my rotation to 90 degrees to see if that works better or not. Yeah, I do feel like that works a tiny bit better, just because they now go like, with the grain. And as you can see that instantly just makes all of our moods and everything feel a lot less perfect and more organic. Let's do 0.003, probably. And just like that, we now have, like, some nice uneven woods going on over here. I would say that at this point, I'm quite happy with it. So what I'm going to do is I'm going to actually throw this into yeah, I'm going to go ahead and throw this into a norm map and then go into MomsaTolbg. So for the norm map, we want to go ahead and add a normal node over here, and this normal nodes will just convert your height map, which is our grade scale to a norm map. We are working in OpenGL, even though nal engine is direct X. I feel like reading norm maps in open GL is much easier because, for example, if you now tone down the intensity, Yeah, you can see that now it does feel a little bit more like wood grains. So that is pretty good. So we got this stuff over here. The only thing that I'm not sure about is that sometimes our really thick lines are running through our knots, but that's something that we can kind of just see. So what I'm going to do is let's tone this down because we want to have this very soft. 0.1 is probably still too much, but let's just try it out. Let's go ahead and set these ticker or the stronger lines down a little bit more to make them a bit more intense. So now we have like these cutting lines sitting through here. Which can sometimes be quite nice. And we can just throw this into our ambient occlusion. Now, as for our height, we technically don't really have a height. For now, I will just input this height that we have over here, but we won't be using it. So for this wood, the height will only come when we do our actual planks and everything. Ambient occlusion. There are two types of ambient occlusion. If you type it in, we have HBAO and RT AO. I forgot what HB stands for. Horizon based ambient occlusion, and the other one stands for atrace ambient occlusion. I quite am in love with the tres and be inclusion. It is more expensive, but it does give us a better effect. Just plug this in here. We probably won't be using a lot of it. But with this one, you can just like your height scale down. To 0.001, for example, or 02, and just give it a little bit of that occlusion, and we can actually control the intensity of this inside of marmoset. But as you can see, it is quite expensive. The other one, the HBAO if we do that one, you can see that that's one if we turn on GPU optimization, it is a little bit cheaper, but it does also look different as you can see. 0.002, for example, here, see, you can see that it is not as good in capturing those really, really small details, but I want to capture those small details because it is wood, and I need to have every inch of resolution I can get when it comes to tin grains. So we got these pieces over here. That's looking pretty good. Let's say arsine and let's actually preview this inside of Mamosat. Let's go to our textures, plain Wood and create a folder called final. This will be the folder in which we will be exporting our textures. The way that you can export inside of substance designer is you can go to your plain Wood. Right click Export Outputs as Bitmap. And then in here, you just want to navigate to your final folder. Selected. I always export as a TGA. One thing to keep in mind is that TGA is great, although sometimes if you have very, very strong height maps that you need to have displacement on, you might want to export as PNG. PNG will be much slower, but it does give you better result because of the Bitmap rate or the bitmap depth, I should say, within PNGs. Now next this, we turn on automatic exports when outputs change. This is very important. T because we want to preview our material inside of Mamaset. Setting the setting will basically mean that whenever we make a change, it will automatically export so that we can just switch to Maset and we can see our changes. So at this point, we can go ahead and we can now go into Momset create a new material by pressing a little plus sign and call this Wood un score plane. Now in here, we now have our maps exported, so we are just going to dragon our nom map over here. Here we go. And then what we also want to do is you want to go down here to our ambu occlusion and take occlusion and just pot in our occlusion map. Now, when we throw this on here, you can see that now we get our grains. Let's set the ambient occlusion quite a bit lower. And there's two things I want to do. First of all, I want to go to my texture and set my tiling up here to two. I always tend to do that, so we can see the grades a little bit more intense. The next thing is I'm going to set my roughness a little bit down so that it is not as strong. Okay, so this is what we got right now. Now, I'm not really happy about it just yet. There's a few things that I do need to work on. Let's see. So yeah, yeah, there's a few things I need to work on. So now it's time for, like, some balancing. So if we have this stuff, what do I see here? These strong cuts, I want to warp them a little bit stronger. Some of these warps feel a little bit too even, so I want to, like, randomize that. And I want to make these warps over here a little bit less strong. And yeah, I think that's a good start. So we're going to get started by going in here. And where we are warping these strong cuts, maybe we need to use a warp anyway. The reason why I say that is because the warp does technically warp in all directions, which in this case, might Oh, sorry, we need to do that. All the way over here, actually. I believe. No. Oh Oh, wait. I'm warping it not with the correct noise. That's why. So let's hold control and just plug this in here. There we go. So m, I don't know. It does not give as noise of an effect. What if we set our directions to two? No, two just also breaks it. That's a tricky one. In that case, I'm going to use my warp. I'm just using this one, but I need to be a bit careful about it. So let's delete our multi directional and use this warp and we'll see how it goes. So here it does start to warp a little bit better around things, as you can see. So hopefully that will work a bit better. Now, the next thing that I'm going to do is I was actually, first of all, going to my sloper making this a bit stronger to like 0.005. And I was going to make over here, these bumps that we have. I was going to make them a little bit more uneven. Ways that we can do that is we can go into a tile generator, set our scaling up, and then set a scale random up so that we have these larger areas over here. The second one is to go into our directional warp and just not make them as intense, something like this. Here, see now we got these different types of scaling that should be fine over here. So we got this one but I'm adding on top of this, and that is giving me quite strong warping. So the warping is great over here. I really don't like it in here. I'm just going to temporarily turn it off just to see if it makes a big difference. So if you now switch back to Mumset it should have outloaded and you can see that it has now outloaded. So that does make actually a big difference if we just have those knobs not as intense in some of those areas. Let's see. One way that we could maybe do that is Okay, so we have the warping over here. So I'm using this one for that. What if I duplicate this blend and I'm just making this, it's also like duplicate this blur high quality grisco? What if I just make it like a lot less? It probably won't give me, like, a very nice look, but maybe it will be better than what we have right now. No, that will not be better. What if I make it way more? Like that so that it just like, adds some type of warping in there that might actually work a bit better, yes. Yeah, I think that works a little bit better. Let's have, yeah, yeah, I think that works. Especially once we have our actual how you say it, our actual base color on it. Our base color will kind of hide some of these pieces. Okay, so that's already looking like a little bit better. So we got this wood green going on over here. So that's pretty good. If I have a quick look at some of my reference. So we got this wood grain. I am still missing some of these pieces over here where it's kind of like warping together like pinching, like you can see over here. Oh, no, yeah, I sort of got those not as many of them. I wonder if we now, let's say, mess around over here. So, what if I scale this up so that we have a few more of those pieces that should kind of, like, layer those in, and maybe we need to set our gradient linear tiling to like 350 or something like that to make it a little bit smaller. I think that might work in our favor. Yeah, here, so that does look a little bit more interesting. So we already start to get quite a nice looking grain. I think at this point, so we will need to do a little bit more balancing. But I think at this point, what would be nice if we just start with working on our base colors, especially like if we set the tiling back to one, you can see that the grain does actually have a lot of fidelity sitting in here. We just kind of need to balance out the tiling on how big or small we are going to make everything. And based upon that, we kind of like, know what we want to do. That's the thing with this type of grain. Cannot really that easily control the scale. I would say the easiest way for us to control the scale would be if we would go in here. We would like, add a transform to D, and then we can, set the scaling one up over here. But that might be too much, or you can hold control shift, and you can move this down and you can set the scaling like that. But then the thing the problem is that if you press space, you can see that it is no longer tilable as you can see over here. And a way to fix that would be to maybe add a note that is called make it tile Photo grayscale. And this note will make a tile. Sometimes, oh, in this case, it does a really good job. Doesn't always. So you can see, like, a very soft line that you can see it over here. You can play around with your mask precision, let's say, on the Vxs. Yeah. See, and then you can let's see. Yeah, you can just mess around with your mask position to get sort of. Yeah, let's not set the mask size too high to kind of, like, get some more variation in here. It's a little bit tricky to see. But if it's tricky to see, that means that it will hopefully also just work fine in here. Here see in our nomp, now this is working a little bit better. The good thing about this is basically that it will give us He see some control. So if I now set this to two, you can see that now even on a tiling of two, our grains are a little bit bigger, and that is quite nice. Only problem with doing it this way is that whenever we add knobs or knots or anything, then it will not look as good. I guess what we can try to do for that because I need to use the mask of my knots. Over here, you see, because I'm already adding this all the way back here, it doesn't matter. Then it just means that we would also need to use this technique later on for whenever we do something in our base colors. Just keep that in mind. For now, let's go ahead and go in here. Add a frame. Call this damage ardon and add a frame over here. Call this one scale correct, and then add one more frame over here and call this one outputs. There we go. Let's say I see in the next chapter, we will move on to our base color and we will move on to our roughness. And once those things are done, then we already have a pretty solid base with them, we can just continue on from there. 16. 15 Creating Our Plain Wood Material Part4: Okay, so now that we have our base greens over here, let me just move this. What we're going to do is we are now going to go ahead and start working on our base color. So our base color is going to be a bit of a tricky one to choose which base color we get. So we kind of want to give control over having different types of base colors because over here, so we have the painted one. But I think what will be quite cool, as you can see over here, this looks not like painted. This looks like a plain called like this is newer wood. And then this is like a little bit older wood. And then this feels like very, very old wood, and then some of the other ones are a bit painted as you can see over here. But they also have this type of wood. So it's a bit tricky for us to know exactly which woods we are going to pick. Because of that, let's just do a few variations. Let's get started with, like, newer wood, and then I will move on to probably something more in direction of this stuff. This stuff over here also looks quite interesting, but I'm not This is a very specific base color. I do not want to spend too much time on the different base colors. I want to be able to with a single switch, switch around different base colors. In any case, let's just get started with this and not waste any more time. So over here, let's move our outputs. Let's have a look. I'm going to go ahead. And we most likely will be using the gradient map technique. The gradient map technique is basically this. You grab a grading map, and just like we can map colors to gradients, we can also do this with base colors with actual normal colors. The way that this works is you grab, I think it is this one over here. Yeah, we can just grab the final height map for our grains that looks about fine. Then if you go to the gradient editor, you can pack pig gradient. What will happen when you do pick gradient? Let me just try and do this all on one screen. You know, let's say that this is quite a nice neutral color. I can press big gradient and I can then click and drag over here. And then what it'll try to do is it will try to map these colors to your mesh. And like this, you can see that it will do this with different colors. And if you have if you only drag a tiny bit like this, you can see that you will not get as many colors as when you do really high density or really erratic like this over here, then you get noise. So knowing that, we're just going to go ahead and, like, oh, I was going to say we're going to go ahead and try a few different colors, but this one actually looks quite cool. What you can also do is so you can go over here. You can also give it a few different twice, where you just duplicate your graded map and you just grab like a few different colors. And then later on, you kind of like know, Okay, which one will be the nicest one. So we got these, and now if I go ahead and maybe over here. See like that, you can also get lighter wood and dark wood and all that kind of stuff. So that stuff is not too difficult to do. These ones are way too intense, so we're not going to go ahead and do that, but we can, of course, try doing like this one and over here, see? So you can see this actually is also quite a nice one over here. This one I also quite like. So that's basically the general idea for doing the gray M technique. And then what we want to do is we just basically want to lay your stuff on top. Um, actually, I think I like this one more. Do I? Yeah, I think I like this one more. Let's just go ahead and start with this one and leave these ones in the back. Now, on top of this one, what I tend to do is I want to sometimes just give a slightly color differences or slightly balance out the colors. I can do this by adding a replace color range node. With this node, the way that it works is you grab your source color, which is just going to be one of these colors over here, and then you set your source range all the way up. Now, as you can see, it will try to replace those colors into your target colors. Over here, I have my source color. If I go to my targets color, select the little picker and click on my source color again, what you can see it is now exactly the same. However, if I then go in my target color, and, for example, make slight changes, you can see that I can very easily change the entire color of my texture while still keeping in all of those really nice details. And it's just very handy to do stuff like that. So if we let's go ahead and just do this one first. So we have this one. I quite like the pattern distribution of, like, the color distribution, I should say. So what I'm going to do is I'm going to go to my target color, and I'm going to make it a little bit more, like the orange direction like this so that it kind of matches here. Okay, as you can see, so what would be the next thing that you want to do? We want to go ahead and we now go get started with some of these darken areas over here. And for those darkened areas, we can do those in a few different ways. One of them is by adding a blend. And then we grab, for example, like a let me quickly check. Yeah, I think it's just like an overlay. So we grab, for example, like a uniform color, and this uniform color we set this to be like a dark brownish color. I think something like that will work quite well. Yeah, something like this, for example. Now what we need is so we plug this in, but now we need a mask for this. For the mask, we can often grab a bunch of different masks from this part. What I'm going to start with is doing a shadow mask. Shadow mask can sometimes be nice to just give us some very specific directional shapes. So here we have a shadow mask, and the cool thing about shadow mask is so you can basically set the angle, and you want to look at the black area. So over here, if I set my angle up, the shadow will go downwards. And here you can see that I can also have control over how much of it I want to have. And if you want, I can set up my samples, but let's leave those to eight, for example. Now with your Shao mask, if you then go ahead and do an invert gray scale so that we can actually select these areas. And then we can do his gram scan and set the position for this 2.5 to leave it at default and plug this in. Now what you can see is here. If we switch back and forth, see, we now already have some extra dark lines that we can work with. Now on top of this, we can now just start layering on top more and more details. Let's add another blend, and let's grab a uniform color and make this uniform color black. For this uniform color, what I'm going to do is we have over here these really strong lines. Now, this is also where the scale correct comes in and it is a little bit tricky. So sometimes, if you do this, you just want to go ahead and copy this. Luckily, they are not too expensive. But, um, it is a little bit easier, but yeah, you do need to make sure that everything matches up together. Now, what you can, of course, do is you can mess around a lot more with these areas, although it's a bit more of a pain to get larger scale grains. However, in terms of this tutorial, I'm just going to use this scale method. The reason why I say it is because it's slightly more expensive as it would be when we would just reuse these notes over here. But of course, it's also easier. So other than this, we now get over here like these darker areas. We can use our opacity to basically, you see, to basically increase or decrease the amount that you want. So let's do 0.4 maybe. There we go. And then we get, like, some of these darker bits. Okay, what else do we want to have? I want to have some more darker areas, but I need to be very careful with this. And the reason I need to be careful with this is because if those are too obvious, you will see the tiling. And because we need to repeat this texture over and over and over again quite often, we really do not want to see tiling. So let's go ahead and add another blend. And I think we can just reuse our brownish color that we have over here. And let's see. So what shall we do with this one? I don't really think that we have a good crunch map, so we might just want to remake one. Now, I have my own grunch maps that I sometimes want to take a look at. These crunch maps, you can also get them you can get all of them for a very cheap price on my channel. But if I ever use one of these crunch maps, I will, of course, go ahead and provide them with this tutorial. So the reason I say this is because this one is one of my favorites because it has this really grainy look. And with this one, what I can do is, let's say, I can move the seed around. So I will go ahead and I will supply this one for you guys. This is as easy as me just opening it up like this. And what I will do is I will just copy it, and then I will place it for you in the textis plain wood. Here, I'll just place it over here so that you know where it is. Okay, so we have this one ter transform to rotate it 90 degrees. Maybe also just have another look at the scale until we get something interesting. Yeah, let's do this one artist. Yeah, see? So, this has this really sharp looking dirt. That's a little bit grainy, and I just like it. I think it will fit well if we then, tone it down a bit more, and it will not be too obvious in terms of tiling, hopefully. And else we can always mess around with our seat here, like this seat actually. Yeah, this might actually be a bit harder to see in tilling. You can test this out by pressing space and here. So now, okay, so with space, we can see that it's a little bit strong. So let's do 0.4, and 0.5 for now. We'll see how it goes. And then we can, art a few of those details. Now, the next few details that we will probably need to do is the knot over here. And then I also can see some whitish stuff sometimes gathering around our grains so that's something that we can also add. So for our knots, what we're going to do is, I think, if I go ahead and I grab, so it looks like it comes in two stages. We have a dark outline, and then we have our actual color in here. If I do a gradient or a gradip, yes. I don't think we have a lot of detail in here, do we? Yeah, it's just white. The thing is that when it is white, the Gray map just will not work as well. And I don't think, let's see. Do I even does it even art ERC, so it just becomes a plain colour. But I do not want plain colour. I, of course, want to get something a bit more interesting. When we have those type of cases, it's sometimes better to simply go ahead and go to our noises and then just grab an actual noise like B&W spots too and just plug in the noise and then map your colors to this. So if we go to our gradient editor, we can pick gradients and we can grab, for example, over here. I think I want to have it a little bit more noisy. Let me just I messed up. Let me just really do this a lot of times that I get, hopefully a bit more noisy. Yeah, I think that will work. Okay, so we got this one. Now, on top of this, I want to add those dark cuts that we have. And we can do those by adding a black color at the top, using a blend. And then all I need to do is I just need to duplicate once again these notes over here. And I'm going to grab and yeah, that should be fine. I'm going to grab this one, and I want to invert it. And then the rest is black, don't worry about that, so I want to invert it. The reason that you should not worry about it because we will cut it out. So now we have those dark outlines sitting over here. Finally, I want to have one last blend, and this blend will basically have a dark ring around it. We can do this using an HSL node. And if you plug in your green map in the HL node, it's a very easy way to just very quickly make your texture a bit darker. And then all we need to do is we need to create oops, a mask and this mask that we create. Sorry, I actually forgot that I need to do this. There we go. It's a bit better. So this mask that we create, we can go ahead and we can what Oh, yeah. I keep losing my train of thought. We are going to art and Edge detect over here. Set the edge width all the way down and the edge roundness, and as you can see if you then press invert. It will give us a dark edge. Now, unfortunately, let's move this up a little bit. It looks like the edgetect in this case, can actually register those small edges. Maybe we can try to play around with our tolerance to see if we can tone it up and down, but that does not look like the case. Because of that, it's sometimes easier to just duplicate or transform. And we also created like a mask for this white somewhere. Oh, I can remember creating also strong mask. In that case, just do an HSL node or a Hcrum scan node, I mean. And if we just plug in this into our Hcrum scan and set the position all the way up, there we go. Does the trick. So we can now go ahead and we can use this one over here. And throw this into our edge detect. See now we have these thin rings around it, and now we can just go into our edge width. And if we move this up, we can get these stronger rings. The only thing that I don't understand is why these don't have a look. That's interesting. Like why doesn't this one detect? That's correct. We then scale it up. I think that the make it tile photo gray scale, in this case, for some reason, it is making our mask have a gradient. That's probably that it happens to twy and blend exactly on the areas where we have these masks, which I do not want. I think if we add in his come scan after this and pushes up again. Set your contrast also up. There we go. That should bring it out. Let's mess around a little bit more with our position over here. Yeah, there we go. It does not need to be on every single one, but I do, of course, want to have this looking a bit decent. So we can push this out. There we go. Now we have a dark ring. Let's just give this a twi for now before we do anything else. Let's add a blend. And what we're going to do is we're going to just plug this into the top and we want to pretty much plug in. Actually, I think this one, this one we want to plug into the bottom over here. So that we have these dark bits. Oh, wow. Yeah, give me a second. It is also doing the same, I believe, over here, where it is just, you see, it's just breaking the k, which is a little bit unfortunate. In that case, let's have a think. In that case, for now, let's get rid of this one. And let's see. So now we have, so now we do actually have all of our bits just sitting here. We can tone down the intensity a little bit more. And what we can also do is we can also add an HSL note before it goes into the blend, and this HL note is handy for us to basically move around our lightness to make it lighter or darker because I don't want to have these pieces to be too obvious. Okay, now, yeah, like the cuts, I wonder maybe the ambient occlusion will take care of those. They will not. Okay, fair enough. In that case, maybe it's easier if we just add the cuts later on. So if we go ahead and we add like a blend on top of this. And for this blend, if we grab a black color over here, so we're just going to make a mask for these cuts. Means that this one over here, we can pretty much delete. So let's see. So over here, we have our tile sampler. You know what? Let's just do this a bit easier. Let's literally just duplicate our tile generator because they are so cheap, anyway, here, they're literally 3 seconds three milliseconds. And now that we duplicate it, these will only show our cuts so that now if we go ahead and we grab our transform, and we just grab those cuts. That is probably a better way. So there we go. So now they are in the right location. The fine. I thought I was going to do like an easier way, but it turns out that this was the easier way. Okay, so we got, some of those pieces also done. Finally, what we need to do is we need to have one last blend. And for this blend, I'm going to add a uniform color. And this time, I'm going to make the color white. Let's plug this in and let's just go ahead and let's re grab our grunge control over here. But this time, first of all, change the seat. That's sorry, change the seat. That's quite important, like this. And then set the balance quite down. And let's just plug this in here. So this will just give us some of these white areas like this, which will just give us some nice color variation. I do see that it is warping around our layers. I wonder if it is as easy as just adding a warp around here and grabbing our Scale correct, kind of, like, do some warping. Yeah, it does actually kind of work. It does kind of, like, go around the layers. Yeah, see here, so that does actually work. I'm just wondering if I grab the warping before we add all of those really grainy details, if that will give me a little bit of, like, a better result. Okay, it seems like it does that. So let's warp it around it quite strongly like this. Now, don't forget that we do need to go ahead and we need to in this warp, once again, use our scaling. So it might be a little bit inefficient. Now I think of it to do the scaling like this. But at this point, we're already done, so that's okay. And then tone down our opacity a little bit to not make it as strong. And there we go. Oh, it turned out to be a bigger graft than expected. But as you can see, now we have a nice little base color going on. So let's go ahead and just select the stuff. Right, click out of frame and call this base color. And then the cool thing that we can do later on is we can simply change the color around because if you look at it from the end over here, here, this does look very much like wood. And then if we go ahead and switch it around, you can see that we can just add different colors wood just like that. And it will be very easy. What we're going to do is we are actually going to then, like, expose some of these values that would like a simple slider. All in one place, we can increase or decrease the white staff and all that kind of stuff. And it will be very flexible. But that's something we will go over in the next chapter. Let's set this to 0.2 in those dark extra lines that we have over here, and I think that that's the trick. So we can plug this into our base color. We can save our scene. I'm not yet going to preview it inside of marmoset, and the reason I'm not going to do that is because I first want to create a roughness. So that's what we're going to do in the next chapter. In the next chapter, we will create our roughness and we will hopefully finalize our plain wood material. And then what we can do is we can start focusing. Let's do first on the planks and then on the painted wood variation. Oh, and also on some colors. So let's continue with that. 17. 16 Creating Our Plain Wood Material Part5: Okay, so we have our base color done now. Now, what we're going to do is we are just going to generate a simple roughness. Wood doesn't really often need a very specific roughness, so it can be quite simple. The way that we're going to do this is by adding a gray scale conversion node. And what I always like to do is I always like to grab my very base over here, like the color. Convert it into a gray scale. And then I like to add histogram range note after this. Hiscm range note is just easy because if we set the range all the way up, we can basically use the position to control it. Lighter means that it looks very dull, darker means that it looks very shiny. So we want to go ahead and go for something like it's wood, so, oh, actually, you know what 0.5 might actually be fine. So I do want to give it a little bit of a shine. Then on top of this, we are basically going to layer masks, which will give us the variation that we need. Let's do a few blends. Here, like three, so you can just do three in a row, for example. And then the first one is going to be this blend, which is going to be a bit more dirt. I like to set my blending mode to art, which will basically mean white, and then it will just art this dirt on top of it, which can be quite cool that this just looks a little bit duller. Then we have this dirt over here, which is our brownish dirt. Let's once again also set this to art, but let's not make this one too intense. And then finally, we will have our whitish dirt, mostly, yes, because this one is just are not. So our whitish dirt over here. Let's go ahead and set this to be subtract to just give it Oops, that's multiply here to make it black, and that will just give it a little bit more shine. So as you can see, super, super easy to just create a base roughness. We can right click and add a frame to it. Call it roughness, and there we go. So base color normal. Seems like everything is done. We can save our scene. And let's go ahead and try this out, shall we? So if we go over here, I just need to go ahead and I need to open up my folder. No way, that's the images, plain wood, final. There we go. So everything is in here. So if we now go ahead and we can just arts to our wood plain. We have our albino map. Strike that in. We have our roughness map. Strike that in also. Okay, so that's already looking pretty damn good, if I say so myself. Let's see. What is the problem that we have over here? If I have a look at this, you can hold Shift and right mouse button to rotate your sky around. And I feel like that the wood color is pretty good. Maybe my roughness is a bit too shiny. So let's go ahead and go into our histogram range. Let's make this a little bit lighter to 0.6, for example. There we go see now that looks a bit duller. The next thing I'm going to do is I'm just going to adjust my lights a little bit. So here we have this light. Let's make this a little bit brighter. And this is like our main light, the light coming from over here. Yeah, let's set this halfway so that we get this. Now, cool thing that you can do. If you want to have this shadow to be softer, you can go into your area and shape, and if you set your diameter bigger, your shadow will basically become a little bit softer. Second light is light over here. This light I'm going to have not as intense, but I'm going to just move it still from the top. I don't know. Maybe we actually want to make this light a little bit more like orange or yellow, like a bit more intense, something like this. So like a yellow, orange color, something like that. You can also mess around a little bit more with the brightness, and then you can, of course, mess around with the diameter to make this a harsh or a soft cut. And finally, we have this light over here at the bottom. Let's make that one a little bit brighter. Let's see. That one is xy already pretty good. Let's set the intensity to 6.4, and the color is also pretty good. So as you can see over here, we already have quite a nice looking wood. The knots over here, they are a little bit too obvious. In my case. The wood itself is looking really nice. I quite like that. So I'm going to go ahead and I'm going to let's go ahead and go back into our base color. So now we're just going to balance some stuff out. Let's see. So here I are these knots. I'm going to make them a little bit more desaturated and maybe a tiny bit lighter. Yeah, so let's set down the saturation a little bit to 0.47 and maybe set the lightness to 0.54. And then if we switch back, you can see that now it has changed. It's maybe a little bit too light. So let's do 0.52. There we go, see, and now they blend in a little bit nicer. Another thing is, let's go into our camera A, turn off our lock, and there's two things that we can do. So to sharpen, you can always play around with that. Although you need to be careful with this if you are working in ten ATP. And the reason for this is because in ten ATP, it will always look a little bit less sharp as it would normally look like when we are, of course, working on four K. Now what we can also do is we can actually turn on our rate racing, which will actually make not that big of a difference for models like this, but still some difference. Let's turn on our rate racing, and then you can see that the lighting specifically makes a difference. Now, what you can see here is you can see some jaggedness. This is because in rate racing, the lighting will often use your actual geometry in order to define where the shadows need to be. The way that we can increase the geometry of a sphere is by going into a sphere, turning on subdivide, and you can instantly see it working better and just set it like three subdivisions or maybe four or something like that. The more intense you have your height map, the more subdivisions you might need. So we are now already at 6 million, but that's fine. And maybe go in light tree and just make it a little bit softer. Now you can especially see how the light looks softer like this. And there we go. That already, as you can see, gives a nicer look. So tracing is turned on. That's all fine. Camera A. If you want, a cool thing that you can do is you can give it some blur, so you can give some depth of field. If you just turn on the depth of field, set the near blur all the way down, and then set the far blur a little bit down, and then just work on your focal distance. You can basically make it that you have only some slight blurring the outer edges, see. So here you can see width, without. So it just gives you a tiny bit of like a blurring on the outer edges to make everything feel a little bit softer. But that's actually looking pretty cool. That's like a base wood, don't you think? So what we can do now is we can probably just generate an image and see up close if it is actually working well. So I'm quite surprised how little I need to actually change on my base color. Of course, this one is a little bit more colorful, but that's mostly just, that's mostly just the light and everything. I want to actually go a little bit duller because we are in a desert or in, like, a really warm place with, like, the western town, so I don't want to make it too perfect. One thing I actually forgot is let's go into our camera A, and let's play around with our tone mapping. I often set my tone mapping to HJL, which is like a more intense tone mapping, but it gives me some nicer reflections. And then I often just go ahead and, like, work a little bit more like my exposure, set this to 1.2, for example, and also just work in my sky and just play around with the brightness of your sky. Like this, actually, 1.4. Let's do that. And then you can also hold shift, and you can rotate your sky around to basically mess around with things. And I quite like this that we have one area that is quite dark, maybe even that we want to, like, rotate one of these lights to be a little bit more down near the bottom, like that. And that always just gives a nice contrast if you want to make, like, a nice material render. Okay, so that is all pretty good. See, we've done that stuff. I'm just checking that I did not forget anything that we can start by making our render. Now, I think we can save our scene and think. I think that we can start with our render. So over here, did we already give it the right location? No, we did not. I just need to give it the right location where we save our images. So images, and there's going to be plain boot. Be whenever you set this in a different scene, it sometimes also changes it in here or like your location. But this should be fine. So right now it's 1920 by 1920. Let's set this a bit higher to higher, sorry, bit higher to 3840 by 3840. I like Fouquet. And it doesn't take too long to render. So we got 3840 by 3840 at a JPEG, samples 25, six, honestly, at that point, you cannot really see that much anyway. So what you can do now is you can just press render image. And then what it will do is it will render a nice image for us. But now I'm quite excited how easily the base color went. We just happened to hit that green map that is just right, which is always nice when stuff happens like that. Maybe we can make the darkening under some of our edge a little bit darker, for example. But let's go ahead and open up our image. Oh, whoops, I made a mistake. The image is accidentally looking at the main camera. You need to go down here. And in the render cameras, just go ahead and get rid of the O, let's add our camera A and then get rid of the main camera just by turning it off. And now it will actually render our camera A. So let's go ahead and try that once more by rendering our image. And let's see. So after we've done this, so our roughness is done, we got this stuff done. So I think then what we can do is we can start by first of all, creating our variations of our wood. Let's do that first, like some color variations. And after that, we can probably continue on with our plans. Maybe do some exposing. Yeah, let's do some exposing. That would also be handy. And we will still do that in this chapter. So I just want to create a quick render, which for some reason is taking longer than normal, but that should be the fine once we've done that. In the meantime, we can already go in here and just have a quick look. First of all, what we can do is we can work on the exposing. So is the render done? No, it's not done yet. With the exposing, what I mean is that we are able to basically expose things like the opacite and we can give it very specific names. I will show you how this works. Let's say we have over here our white dirt. What I can do is next to my opacity, I can drop this little button down here and I can press expose as new graph input. Now in here, I can call this white dirt amount. And I want to copy the identifier also in the label. The identifier is for the system to know what it is. The label is for us to know what it is. And in the group, you can give the group like base color, and then it will be placed in its own little group. And why am I doing this? Later on we are going to create our planks. However, we will not actually be using this graph. We will be exporting this graph and then building upon it. When we export, we do not really have access to all of these notes anymore. However, when we expose the values of these nodes, it will give us access to it. So let's say I press Okay now. The way that you can see this, now you can see that I can no longer change it in here, but I can now go in my plain wood. And then what you can see here is you can see a parameter. What this parameter will look like is if you go to BriviewT is how it will look like Base color. And then here you can see that I can change it and you have a click on this one. You can see that I can now increase and decrease this value very easily. And that's the entire goal of this. So just like that, I can, for example, run through this. I can say replace color range. Let's expose the new graph input and call this one base or let's say main color, for example, copy in layer. An artist to your base color or you can just press the drop down and select base color and then press Okay. Now, what are we doing here? We are adding some dirt over here. For this dirt, you can expose this if you want. I don't think for this one, what I'm going to do is I'm going to make my dirt a little bit darker, and I'm just going to expose your passage so that we can increase or decrease the dirt amount. So we can go in here and we can say, this is going to be grain underscored dirt. Copy this into your label and call an artist to our base color group. Press Okay. Then we add some of these streaks. That's fine. Then this one is quite important. So this is going to be dark dirt overlay. And we can then go ahead and copy and paste this into our label, and we can set this to be our base scholar. And we can once again just press Okay. So dark dirt overlay check. Now we add our knots over here. Those are our knots. That is a good one, actually. So if we change the color of our wood, we would most likely also want to change the color of our knots. Now, for now, we can try doing it in here. So I don't know, that gives us a lot of extra. Let's go ahead and just add a replace color range like this. Set the source color to be like one of these colors, and set your target color to be your source color. And source range all the way out. Doing it this way, I only need to expose my target color. So that way I can control all of the colors with this. Knots underscore. Color, see? And also, you go into the base color. And let's press okay. Tara. Easy does it. So we got this stuff done. What's this one? This one is okay, like the cuts. That's fine. So that's all pretty good. We can go into our Htum range, and in our position, we can expose this and call this, for example, wood roughness. Artists to a label and artists to a group called roughness. And just like that, we also now have control over this. We can also do the same with DRT over here. We can expose this and call this DT roughness. And in the roughness. And just like that, we can have all of this control in here, which is really nice. This one we call we can expose and call this normal strength. And now because we don't have a height map, we can just add this to normal, but also anything that we do in our height map, we can also add to our normal. So let's say what would be something that we can add in our height map? Maybe like edge damage amount. Let's expose this one and call this edge damage amount. Artists to our group normal because this will just be translated into normal and no pretty cool thing. So over here, you can see that the intensity is very, very low. However, the minimum and the maximum over here is 0-16. But we don't need that. We can be 0-0 0.5, for example. And that's why it will make it easier for us to move our slide around because at 0.5, it will just stop instead of at 16. That means that we no longer have the issue that we need to very specifically enter our values. We can just drag a slider and it will all just look a little bit better. Now here we have some wood warping. That's fine. I'm just going to leave that stuff. And I think I'm quite happy with what we get what we got over here. Maybe I can do something like a knots amount. So here we have, like, did we use our random scale, by any chance? Yes, we did. Random mask. Let's expose this and call this nots underscore amount. Then I'm going to show you another cult into the group, normal. Now the cool thing for this is that we have a second type generator that needs to stay exactly the same as the first one. We can simply go to the second type generator, go to the random mask and we can say nots amount, which means that it will reference the first one. So it will always stay the exact same value. And that's all perfect. At this point, we can save scene. And now if we go ahead and go into Mm set, you can see that nothing has really changed, although I might have increased accidentally my dirt a bit more, but we can also open up our image and tada. Here is our first wood, which is looking nice and realistic. I'm quite happy with that. Now with this done, we can go ahead and start by just setting my base, so I accidentally increase the dirt. So I'm just going to go into my plain wood. And now, if we go to parameters, we can go to our dark dirt overlay and tone this down a little bit more. To 0.3 as a default. So what I'm going to show you now is preset. These presets are handy if we want to just quickly change the color and the look over our boots without needing to change all of these settings non stop. We can do this by going into presets and we can first of all, get started and add a label and just call this Wood underscore 01. Once that is done, just press new. What it will now have done is it will have created a Wood 01. Now we are not actually going to change Wood 01. What we're going to do is we're going to press Wood 02 and press new again. Now, what you can see is that now we have a Wood 01 and a wood 02. So we can go into the wood 02, and now we can start just changing. So let's say we go into our base color and we want to make our main color to be a bit more like the Wi brown stuff. We can go over here. We can grab our color picker and we can actually just make this like a brown color. Looks like that we need to do this. I think it's not able to really pick the image exactly the way I wanted to. Yeah, here, it's not so we kind of need to just do it by hand. But we are able I feel like it's more like a red, purplish, no. So we are able to just very easily change the color of our wood. Um, I don't know. Maybe let's actually have a look over here that might be better. I want to have it so this is like the one that we have now. I want to have it like a bit more of like a brownish color. Maybe I can pick maybe I can pick from this area. Oh, wow. I was literally super, super close with it. Okay, so now, for example, we have our main wood. Now that we created our main wood, we noticed that our white dirt mount is a little bit too much, so we tone that down. We know it's our dark dirt mount can be a little bit more because it is harder to see. And we can see that our not color can be a little bit darker to kind of fit in. So just like that, we have changed all of these areas. Now we can also change the roughness, for example. So let's say that now this roughness, if we look at our thumbnail, because we have made it darker, that will also make our roughness darker. So I can now go into my wood roughness and I can just make it a little bit lighter again to compensate for the darker color that we have. And then, of course, you have a normal, but we don't really need to do anything with that. I can then press Update. This is very important. If you forget to do this, it will not save because update just means saving. And now, see the magic happen, wood 01, tick it becomes wood 01, wood 02, and it instantly becomes Wood 02. If I leave this on wood 02 and I go into Momset, you can see that it has instantly changed the wood. And that's the power of substance, how easily that we can change this. I will do one more, which is going to be like this very just old looking wood, and it's very dull. So let's say wood 03, and press new. In our wood 03, I'm going to go ahead and I'm going to set my main color to be this very dull looking color. I'm going to set my knots color. Then, of course, the same way to kind of compensate for it. And then I'm going to set my dark dirt overlay or maybe my white dirt overlay. Let's increase my white dirt overlay and my dark dirt to make it a little bit more like a stronger color. Okay? So we got that. Now let's have a look at our roughness. Roughness looks Let's make it a little bit duller. So this roughness is just like it's a very boring looking wood, maybe 0.75. And maybe in our normal, we can now also go ahead and we can double click on our normal map and zoom in. And if we go back to our plain wood, we can go to set the normal edge damage. And now you can see what I mean that I can just very carefully, change this around like that. It might have even been a little bit less. Let's do 0.01. So we make a little bit of a stronger effect, and maybe just maybe we can also go ahead and we can also go in our plain wood and set the knots amount. To be a bit more over here, so you see. And that we'll just automatically change everything by just adding a few more. Let's do 0.65. There we go. Let's see how that looks. Press update, go in here. And there we go. And just like that, we have multiple different boots. Maybe make our knots a little bit lighter, but that's about it. So that is the power of this. We can now go ahead and we can just make a lot of different changes for this. Let's make this a bit darker, see how that looks. Here, see, so that blends in nicely. So what we will be doing in the next chapter is we will start by actually creating our planks. And our planks is going to be an interesting one. It's going to be like not this one. It's going to really be like this outer layer. I have an idea of what I want to do. I can sort see it here, but I know, I'll see which kind of planks. We can have multiple different planks, so that does not really matter. So let's go ahead and continue with that in our next chapter. 18. 17 Creating Our Wood Planks Part1: Okay, so now that we have our plain wood, now what we're going to do is we are going to create our planks. And we're going to do a few of them. One of them. The first one is going to be this type of layering, as you can see where they are just, like, slightly overlaid on top of each other. And after that, we are going to transition to more like the stuff that we see in here. So I want to do well, actually, this is the one with like the layering. But I think over here, it was extra good to see. Where are you? Over here, I wanted to do one of these where it is, like, just like a really uneven plankiness whatever you want to call it. So that's one that I want to do. Let's see, that's still overlaying. Yeah, this one is also still like the uneven one. Maybe like, of course, just like a more even one. We can also do stuff like that. But just in general, because what I'm planning to do is do the actual geometry, not just a parallax map, but I want to do the actual geometry inside of Maya inside of Blender. So I want to just get the actual geometry there. Maybe one of these where it is, like, a little bit shorter. That would also be like a nice one. And then we can kind of take it from there. Like these planks, they will be all jom try planks, as you can see over here. So I'm not too worried about that stuff. It's not very expensive to do these kind of cubes because we're not going to add any weight normals, which means we're not going to add any very bevels or very soft edges. Yeah, I think for the rest, that should be fine. So for that one over here, let's have a look. So first of all, I need to make sure that I have all the control that I want within this wood texture, which I think I do because we gave everything in the last chapter. So if we go ahead and go to, like, a preview, yeah, so we should have more than enough. Okay, perfect. What we're going to do is we're going to right click on this on the plain Wood, dot SPs, and we're going to publish at SPSAR file over here. Now, this SPSER file, if you go ahead and set the file part for it, what this file is, I'm sure that many of you already know, but this file is basically just like a compressed file that will have all of those settings in it, but it will not just have the entire graph. This file you can also often be used as a SMAT material inside of substance painter. So we're going to go plain Wood and then in here, we're going to call this, just plain wood. And I will show you what it is. So let's save. Fresh, you can just go ahead and p publish and give this second. Now, actually, one thing that I want to do before we move on is I want to do some optimizations. So right now, I actually did this on purpose. Don't worry, even though it might not sound like that. If I drag in my dad SPSR file, what you can see is that it is 930 milliseconds. This is what I meant earlier that we need to keep things optimized because over here, it needs to run through this entire graph to basically generate this. Now, 930 milliseconds, it's not that bad yet, but it can be so much better. So what we're going to do is we're just going to ask some small changes to generally optimize everything. What kind of changes can we do? One that impacts a lot is often a resolution. So right now we are working on four K, which is fine for us. What we can do is, for example, over here, we have a plain color. This plain color is four k in resolution, but that's not needed because it's a plain color. It can just be like 16 bits. So what you can do is you can change the base parameters over here, and then you can change the output size and set it down until it becomes, for example, 32 by 32 bits. Now, as long as it's not your base, so this is your background. As long as it is something that you add on top, like you add it on the foreground, it will not change your base resolution. If you would go ahead and change this resolution, it would change the resolution of the entire graph because this is a parent of it. So we can go ahead and we can go in here. And we can set all of these to this resolution. Here we have another one. Here we go. 32 by 32. That's fine. Okay, so that's one way that we can do this kind of stuff. Now, let's just go ahead and go to the very font, and let's have a look at what we have over here. We have a grunge map. Grunge maps are often very expensive, so I always try to, like, reduce those. And if I have a look, I can see that over here. This grunge map, it does not really do that much. Se see, because it kind of, like, just asks that. So what I can do is I can go ahead and I can reduce my grunge map and then what you will most likely see happening. So if I got to set this one to two K, I'm just having a look over here and make sure maybe I can go even lower. Maybe I can even go to one K. Though I'm not 100% sure. And what you can see now is that everything has turned into one K, which is, of course, not what we want. Now there's a few things that we can do or we can go ahead in our Ht gram scan and set this back to fork like this, or you can just like a transform nose in between and set that one to Fok. It's like a little buffer. So we can do that one and this one doesn't matter because it is two K. So now that these are reduced, I do want to of course, double check because they sometimes do tend to change our material slightly, but let's have a look. It looks pretty decent. Yeah, here, see, you can see that it changed a tiny bit, but not enough. But that already saves us quite a bit of space here. We went from 100 milliseconds to 50 milliseconds. So then we can go over here. Like these one milliseconds, they are not too much. If you have a blur high quality gray scale, just leave the quality off because else it becomes more expensive, and let's have a look over here. These are all very cheap notes, so I'm not too worried about that. Over here, we have also, once again, let's right click and press compute Noetumbnails. Zero milliseconds. That does not feel logical, but okay. The dose are zero milliseconds. I think that's not completely correct. But still, it's still fine. Over here, we have another uniform color that we can go ahead and just tone down. We have a cloud. Sometimes you just need to open it. If you have this, it can sometimes just be case that we need to reopen some stuff. Yeah, yeah, see, it's completely messed up. What I'm going to do, so it probably just needs to recalculate. Let's say clear node thumbnails. I sometimes try this and then compute node thumbnails. And if this does not work, we can also try going right click in here and press Compute outputs, see? And there we go. Now it has updated. Yeah, okay, so it is back. 40 milliseconds for a cloud stool that we use quite often. I want to leave that. However, this moisture noise over here. Let's see what am I using this for? I am using this. Oh, okay, so I am actually I need a detail. The reason I need the detail is because that really small detail over here. So I cannot just go ahead and reduce that amount. And these ones are not worth reducing for the quality that we lose. So that's fine. Then yeah, okay, over here, we have like a make it tile, but that's also not too expensive. So we are already starting to get quite a bit more optimized graph. B&W spots, we need to leave at high resolution because we need that crispiness of it. This one, we might be able to just set this down one more because it is quite a sharp, this is quite a sharp measure. We might be able to set it down one more. And then over here we have the crunch control also. Yeah, let's set this one lcodon down one more. It should not make too big of a difference. So we've done that one. Over here, we can just look and if it's green, it's often fine. Then over here you have your ambient occlusion, but this is the atras embilen seclusion. The reason I'm not too worried about this one is because it is at the very end, meaning that it does not need to run through the entire graph. It will just run through it at the very end. And yeah, for that one, it is a tricky one. So it will still cost time, of course. I can have a look and see if the normal ambient occlusion over here. If it is good enough, I think it is. I think we might want to just go ahead and use this one after all, because if I go ahead and set it is very, very low, set the radius down. It's at 0.005 or something like that. Okay, less 0.02. Yeah, there we go. I don't think we will be able to see much of a difference. So let's use this one. And then Col one, use GPU optimization, and this will make everything a lot cheaper. So we went from 230 milliseconds now to 51 with, like, a cheap note. But of course, you can see that there is a quality difference in this. But I think for the ambient occlusion, for this one, it doesn't matter too much because it's quite a flat ambient eclusion. Okay, I'm quite happy with that. Let's go ahead and save scene. And now what we can do is we can republish, right click and republish the dot SPSAR file. So once we've done that, it will go ahead and it will have it at two here. And now if we it again. So we had 900 before, and now we will have Hello. Oh, wait, sorry, that's the SBS, 900 before, and now we have 650. See? So we optimize quite a bit while without sacrificing pretty much any quality within our wood. See? Lo still like the same. Okay, perfect. So we've done that. Now all that we need to do is we need to save our scene, and we're going to now create a new scene for our planks to keep everything nice and organized. If we go to file new package and create a new substance, we will call this Wood underscore, plank underscore. Let's use the wood planks. Normally, I say underscore generator, for example, but in this case, I don't really need it. It's not that much of a generator. So here we go. I think in this case, we need all of our notes because we are going to have nails and everything, so it would be nice to just keep the metallic there. And we can just drag in our plain wood to get started with. Cs we have immediately our plain wood with all of our inputs, so that's perfect. Let's get started with the first one, which is going to be these type of planks over here. So these planks, there are two things, although I don't have too much reference. One of them is that I do want to have this transition piece in between them just to make them look a little bit more interesting. And then, of course, we just want to have the simple overlaying that you often see. These planks over here, they are pretty cool, but they are to ornate for something that we want. However, these planks are great. Just have a look at, like, how we are going to do the paint. So for these planks, let's see. Let's go to patterns, and let's grab a I think we can do this with, like, a tile generator. Let's grab a tile generator. Now in a star generator, if we set our pattern from brick to our not gasian gradiation over here, you can always see that it kind of does what I want. The only thing that I want to make sure is that over here, it has a nice transition going from one plane to another. So we have the gradiation over here. Let's go ahead and set the patron specific all the way down, and we want to go ahead and set the I kind of want to flip this around. It's 90 degrees over here, that's better. So 90 degrees, and this is a height map. This time we are actually going to use our full height. So just remember that black means down, white means up. So having this, I can go ahead and I can set the X amount all the way down because we don't really need it. Although, no, wait. Yeah, we might need it. We get for a transition. Let's set the X amount to, like, four, and let's set our scaling. Here we go, see. We can set our scaling this time, it's just to preview. Let's set our X amount to maybe one or two. Yeah, let's set it to two. No, wait. Let's set this to one. Sorry, I'm still deciding. Let's set this to one, and then for our size, let's go ahead and set we need an offset. Let's do like an offset random like that. There we go. So now we got an offset random, and we also have an offset random seat so we can have this, for example, a little bit more scattered because right now it feels like it's there we go. That's more what I wanted. I would just want to have it like a bit all over the place to have it nice and sloppy. And then if we go ahead and go back in here, we can set our interstines to 0.002. And you can even, play around with some randomness to this, if you want. There we go, just to get that really thin line in between. Okay, so we've done those pieces, that's fine. Now, I am tempted to also go into my scale and set my Inter stance. Why? I don't think I can go minus, can I? Oh yeah, yeah, wait, I can go minus. To said it's a little bit minus in order to overlap things a little bit more. However, then I do need to go in here, and I need to see if let's say art, let's do max. Yeah, if we set this to max, it will at least overlap a little bit less. So now at least it will not feel as tilted and they will just slightly give that overlapping effect hopefully that we have over here. And I say hopefully because I'm still guessing over here. So we got this one. That's pretty good. Of course, it is really, really sharp right now, but at least it is like a begin. So having this, for the sharpening, I guess we can just give it a blur. I guess we can just do a blur high quality rascal. And if that doesn't work, we can use a non uniform blur rascal. And it's slightly different. But I think this one is already fine. 0.1. Yeah, lets do X 0.2. I want to give a bit of softness to it. And now we already have some very basic planks. We are going to test these out. For now, let's go ahead and let's first of all, add some general deformity, like directional warp. And with this direction warp, if we throw in, like, a parlis, for example, at, like, quite a high level, throw this into the intensity. We have already been over this. We can go ahead and actually set the Pearlie even bigger here see. Throw down your intensiy and just give it a little bit of like this type of warping. And then maybe do another multidirectional warp. And for this one, we're going to go for maybe like a clouds too. Throw this one in here, set the mode to minimum, directions to probably like one, move it up. Oh, yeah, I need to be very careful with this because we have a gradient. It can be very sensitive. So this is just going to be like some very small edges like that. Tiny bit more, but I need to be very careful with this because CD will show up in normal. If I make this really strong, I can just double check and set this to like a normal map of 20. You can see it already showing up like a tiny bit. I don't think it's that bad yet, but just keep it in mind. Okay, so we got this stuff over here done. Press space to just double check that everything is still nice and tilable which it is. And then we can go ahead and we can start by adding this. So let's go ahead and temporarily just for testing out, already add this to our outputs. So over here, we have our height, and then we want to do an ambit seclusion. And you know what, in this case, because this note will not be included into again as another S SAR, I'm going to go for like a rate race ambient seclusion. And here you can see, my warping going a little bit strong, but I don't think it's too strong yet. Set to 0.04, and there we go. Now we have already, like, a very basic stuff going on. Cool. Let's go ahead and save sin. And that is the won location. There we go. Textis. Let's make another one called wood planks. And in here, we can just go ahead and save it. And now we also want to export it. So right click Export. And for this one in the wood planks, we want to create a folder called final. Now, I need to see if I can get away with TJ. I hope so because TJ is much easier and much faster to work with. But else I might need to go ahead and export my height as a PNG at the end. This is because TJ exporting form substance designer only goes in eight bit, but height maps are often needed as 16 bits, but it kind of depends. Not always. It just depends on how complicated the height is. These are gradients, so I do expect that they are probably complicated, but we'll see. Okay, in marmoset. This time we want to go ahead and just right click and duplicate our wood plane and go ahead and call this wood planks. For this one, I'm going to get rid of my albedo map and my roughness map. I'm going to art a displacement over here, so arch your height. And then if we navigate to our maps, we have our height map over here. We have our normal map over here, and we have our ambient seclusion map over here. Now, what will happen is if I drag this in it will probably be very strong as expected. So you just kind of want to tone down your height. And now you can see that now it looks like a nice slate roof C, exactly what I was hoping for. Having this stuff, I can see that over here, my damages are a little bit too intense, so I'm going to go ahead and go in here and just tone down this intensity, and then it will just out or export. The thing with marmoset is that the height does not always properly update. So whenever you export, I recommend just quickly turning on and off your height. You do need a fast PC to do that. Another thing that you can do that's a little bit quicker if you have a slower PC is to turn on and off the rate raising or to first turn off the rate raising, then turn this on and off, and then turn it back on. It depends what you want to do. That one is a bit faster. Let's go into our sphere tiles, and let's just add one extra subdivision to this, just to make sure that we have more than enough resolution because I feel like it's cutting a little bit in a way that I do not like it. It might take a second at this point because we're probably going to go to like 24 million. But as you can see, that does look a bit better. Don't worry. Of course, we will make this different inside of unwel. But as you can see, it is working. We got, like, these separations over here. What I would say is, I'm just going to go ahead and add some extra warping to just those separations. So if we let's see. Let's do another directional warp because direction warp is a little bit more precise, I should say, turn on the pearl noise, set our direction warp yet to the side, set our scaling down until we get a little bit more like this kind of warping over here, and then tone down your intensity a little bit so that it just has a little bit of this unevenness in our edges, which will then also go ahead and translate over here into, like, having some unevenness. It can even go a little bit stronger. And maybe I want to go in my tile generator and set my Inter stints. Geez. Why is that so difficult to say? It sets to 0.0 015, so a little bit down. And I think that looks quite nice. Okay. Cool. So at this point, what we're going to do in the next chapter. So we now have a pretty decent base is we're just going to, like, add some screws to this, for, like, the bear versions. Like here, you can see them over here like the nails. I mean, add some nails. And then we are just going to, like, also implant our actual wood on top of that. So let's go ahead and continue with that in the next chapter. 19. 18 Creating Our Wood Planks Part2: Okay, so let's go ahead and continue with our planks. So this is what we got right now, which now that I look at it, let's have a look. What do I need to change? Maybe, give it a little bit more warping in, like, the very first one. So let's make this, like, a little bit more intense like that. But then fresh like it should be pretty fine. As far as I know, let's have a look at, like, this one over here. Okay, so one thing that we can see is that there is a little bit of variation with like how angled they are, and also how far they are sticking out. This is something that we need to create these masks anyway, so this will be actually good to just do that now. So if we go ahead and for the sticking out, what we can do is we can actually use something called the flood fill which I think I already showed. We'll see if I already showed it. The only thing is that over here, I need to let's see, I need to then duplicate my tile generator, which luckily is very, very cheap. And then if we go ahead and we need to set our pattern probably to just simply be like a square. And then if we set our luminans random, m, yeah, I guess that should work. The flood fill is a bit tricky. So the flood fill needs to be surrounded by black lines in order to reach the shape. And that's why I'm having like a tink over here. So what I was thinking is, so I have this. Now, I can go ahead and, like, maybe do some scaling in here, I guess. But then if I would change the scaling, that would be annoying. Another thing that I can do is add an edge detect over here, which will be able to detect these edges. And then if I set my edge roundness all the way down, and then just set this very close. So this does seem to detect all of the edges just fine, as far as I can see. Okay. Yes, that's fine. Now, we are adding all of these directional warps here. That's why it might be super helpful if I happen to be able to detect the edges already over here. Sort of. Yeah, that sort of work. They are a little bit wider, but I can always go in my dgetect and see if I can lower this. I can lower this down to one. So that does work surprisingly well. I did not expect that to work, but it will save us needing to also duplicate these nodes. So having this edge detect, if we now go ahead and add a flood fill node, the flood fill note will basically convert these edge detects to position data, which will allow us to add a bunch of different types of generators. For example, we have a flood filter red in the gray scale. And this one is quite cool because we can use this one in order to basically have a different heights within our planks. And then we also have, for example, a flood fill to gradient over here. And this one you might recognize it will kind of turn stuff into gradients, where if we set our angle variation up and down or our angle variation up, you can see that everything just kind of goes up and down, and it just has different angle variations over here. And this can actually be very interesting also to just art very softly on top. Now we have one problem. And that problem is that over here, you can see that we don't actually have edges in between this while over here, we now have these withick edges. For that's what I recommend is using a distance node. A distance node, what it can do is it can basically push out the shapes. So what we want to do is we want to go ahead and in the source input, use our flood fill. And then in the mask input, we want to use our mask over here, and then set the maximum distance all the way up. Let's go ahead and see, so our mask, was it invert? No, no, it was not invent. I think we just need to then blur it. This sometimes happens. I just forgot it most likely happens because of these pieces, you see. So these pieces over here are being the issue. Um, I don't know which one I honestly don't know which one I need to blur. If it was the mask that I need to blur in order to kind of, like, fix this? Yeah, that's it. So I had to blur the mask. Yes and no. Doesn't work everywhere. Another thing that we can do is we can go in here, and we can basically try, get rid of these pieces. And the way that you can get rid of these is it's actually a bit more tricky because we have gradients. So we can normally, if it was a mask, you would blur it a tiny bit, like a little bit, just like 0.1. And then what you would do is you would use like levels or like a histagram scan. As you can see over here, basically, push everything out until you get those shapes. The problem over here is that we have gradients, and with those gradients, this becomes a little bit more tricky. It's tier levels. Levels can give me sometimes a little bit more control that I can, like, push this stuff out, but I can then, like, push back in. My gradient is a little bit do not make them too intense, but honestly, I don't think Yeah, here's. I'm just not happy with that effect or with how it looks. So let's not do that. Let's not do the blur because we are not able to do that. In that case, this might just be fine. We might just leave it like this, and else we would need to go ahead and Oh, wait. We can probably use our adj tact actually. Yeah, we can use the chitact Here, if we are blur. Sorry, I completely forgot that we, of course, have a mask that we divert this from. If we are blur and then a scam scan, what we can do is we can just blur out these small bits and then use the HcaM scan, see? And then use the contrast on the HCAM scan to basically make it sharper. There we go. I was thinking way too difficult about this stuff. And that will give us, like, a proper push, as you can see. After we've done this push, it's just a matter of adding a very quick blue high quality griskle just to give it a little bit of, like, that softening around the edges just to make it not as intense. 0.15, for example, and we can now use the same technique. That's perfect. We, of course, just have a simple mask here C. So now we have done the same over here where it will just push it out. And it looks like that it is not able to generate per plank in this case. It's not the best one, the random gray scale, but it still works quite well, so I'm fine with that. To artists, let's go to our multidirectional warp and arts blend. Let's art in the beginning this one over here. So we often want to just set this to multiply and then let's set this like 0.5 to get started with. And then maybe let's add like another blend and do the stop one, and also set this one to be multiply. But this is all overlay, so everything becomes a little bit darker, so we do need to be careful that we don't do it too much. But this is just general variation. If I now go in here, let's go ahead and turn on and off my displacement. See? You can now see that there's general variation between our lengths. This one is a bit higher than this one, etc et cta. Everything has become a bit darker, so we might want to just set our displacement up a little bit. But that's quite good. I don't want to have it too intense. I want to just have it like this nice little balance, and I'm quite happy with this. I think, even if we like tile this a lot of times. So imagine that this is going to be tiled a lot of times. Here, see. You can just see, like, the small bits of bans over here, and that is quite nice. I'm happy with that. Okay, perfect. Now, let's go ahead and let's do, like, probably some damage. Yeah, I feel like we can probably just a little bit more damage just because it's quite old and worn. Doing the damage around only the edges, what we can do is we can actually use that mask that we generated. So if we go ahead and go in here, we can add a slope blur gray scale. And for our slope, I guess we can use the clouds too, or else I want to use a moisture noise, but I guess I can do clouds to that is much more intense. Here, see. So it is much more intense, so that it really has these little cracks. I think what I'm going to do is in my Clouds two, add a transform node and set this one to X two. So when the Cloud two becomes bigger, these damages also become a little bit bigger. Now, what it does to it, it breaks the tiling, so you just need to add a make a tile photo greyscal behind it, and that will just instantly fix that. Okay, so we have this one. Now what we're going to do is if we add another blend in here, use your old blend for like the blur. And then in the top, we have a blur high quality grayscale. In the bottom, we have the one without. Now, as you can guess, all we need to do now is we just need to grab a quick mask and we can use that mask to basically, like the text where that we want to have our edges. Let's go ahead and just duplicate this because I need to have my edges a little bit wider. And then I'm just going to nicely blur this so that it is very soft. And if I go into my edge tact, let's turn on invert like that. See? So now because we are blurring it, you can see over here that if I make the sharp, it has a sharp cut off, but because I'm blurring it, it just transitions nicely into it, but it will only be around the edges, which is perfect because we do not want to have all of this really weird detail in our actual gradient. We got this one done. Et's turn on nova displacement. See? Now we have some small edges. Maybe they are a little bit too intense, so we can go ahead and go into our slope gray scale. Maybe set 0.1, for example, but that's looking pretty good. So over here, we have a plank generation. We can go frame plank generator. And then you can guess that what we can do later on is we can literally just grab this tile generator and we can just simply generate different type of planks and just use a switch to basically switch between them. And that's going to basically be it because all of these variations, they can just be added on top. So that's why I love procedural workflows, because it is just so handy and so fast. Having this stuff, let's go into our normal. And what I'm going to do in my normal map, set Whoa, set it to OpenGL. That might make a big difference. I forgot that I didn't do that. We were still in that stage where it didn't make such a massive difference, but you can see that things are a little bit more defined now, so that's good. Let's set this to, like, three. I want to have this nice nice and strong. And then what I'm going to do is I'm going to go ahead and I'm going to add a normal combine. Over here, set it to high quality, and you guessed it, we are now going to start implanting our normals. So this norm map, if I would just do this, it does not feel very logical, because that would almost make it look like all of these planks are perfectly just aligned and they're all just like perfectly from the same slate because everything transitions. So we want to give it some variation. We can do this simply by adding a directional warp to this. And in this direction warp, guess what we have, we happen to have exactly our random gradients over here, that's pretty nice. Although it's not as perfect as I was hoping it to be, it is still totally fine. Plugging in these random gradients, it will basically warp around the gradients, but because they are entire blocks of gradients, if I move this down and set this to like 500 in my intensity, it will, as you can see, it's a bit difficult to see, but you can see that it no longer transitions. It cuts it off, which once we have our Wood, will actually look a lot more logical that just cuts it off. This stuff I can live with. It's not perfect. We can try, get rid of it in some ways, but I don't really think that it will be worth it, so we'll see how it goes. So we got over here our Wood, so that's pretty good. Now, oh, yeah, I was going to art some nails. That's also something that I want to art. So that's what we're going to do after this one. First of all, let's have a look. See? We now got our nice little wood normal sitting on top of that. And then what we can later on do is transition to, like, bainted wood and everything like that. So that's starting to look pretty good. Let's save my scene. And let's go ahead and finish this chapter off by just adding some nails. So for the nails, we are using a tile generator. It's just always a little bit tricky because we kind of need to sync up all of these tiles perfectly. So for that, right now, I'm doing it here, but we are actually going to art the nails at the very end. So if we have our tile generator, I'm going to go ahead and I'm going to actually do a fresh start. Um, tile generator over here. And for this one, in the pattern, we're gonna go, these are nails, so we want to go for like disc. If you want bolts, you could use paraboil, but for nails, we just want to go for like disc. And now for the disc, let's say, where's my reference? Oh, here it is. Uh, let's see. One per. Let's try two. Let's try doing just two pop plank, and we're just going to do them. And then the tricky thing is that I also want to have those nails sitting like over here on the end of these planks. But that is often a little bit tricky to do, especially if we want to keep everything procedural for the next planks. So if we have these, if we would say two pop plank, the first thing that we're going to do scroll down and in scale, just go ahead and set this like nice and low. Now, if we go ahead and art a blend note, we can art our planks with our nails and just set this to art so that I can actually see what I'm doing. Then I can get started by, for example, setting the Y amount until we hit Tupa plank like this. So over here, we now are hitting twopaplank. Although, as you can see, it is kind of like it never really lines up perfectly, which is always a little bit annoying. Now on the wire mount, if you want to have this round, we could go in here and do this, or we can just mess around with the scale. Let's go ahead and set our scale a little bit larger now. So let's say that we now have those nails. So with the offset over here, so it's starting to look like here, it's starting to completely break the offset, which is a bit of a shame. Just going to go ahead and go in here and just quickly copy my offset random sheet. So 0.17 one Go here, 0.17 one, and then the seed copy over here. That will just like transition that out. Oh, now, see, that doesn't work. We can't use that technique because we have two lines over here, which is a bit of a shame. In that case, turn off your offset like this. Yeah, maybe a little bit of offset random just to give it some small variation. But this offset, it is always a little bit tricky to get this right. So these nails, I'm not too confident that these will work exactly the way that I wanted to. So if we go to our planks, our planks are exactly so we need to keep the numbers even because LC offset doesn't work. The planks are exactly ten. So if we go into my tile generator and temporarily set this back to ten, that will have created Okay, so that will have created one. Would it be easy enough to say that 20 exactly creates two? Sort of. Yeah, actually, you know what? That works surprisingly well. Okay, so doing two over here, that creates two planks in that direction. That's good. So we can use this. And then over here, if we just set this to 20 so that they are nice and round, that should be fine. Scale. Let's do a small scale random, just to give a little bit of randoms to it. Yeah, so we had our offset random over here. Which I am going to just keep not as strong because over here you can see like that, it goes quite intense. So 0.015 for offset random. Okay, so we have these nails over here. That is fine. I guess that we could also try and detect nails around these areas because what we're going to do now is we're going to use like a mask. So for this, if we go ahead and we have over here a tile generator, we can start by adding a blend. Now, with our mask, the first one is very easy because the first one is just going to be because we only want to have them on the outer sides. It is going to be like a shape over here. And then if we just go ahead and push down the X size like this and then add an invert note, you can see that we instantly have created a mask that's just on the sides. Now, adding this to our blend if we set this to be like art subtractor No, sorry. Let's see. There we go. Multiply sets to multiply. You can see that now we only have the screws left over here. The next thing would be to detect these edges over here, which is a little bit trickier than you might think. So let's have a think about to keep it non destructive. It's easy. Of course, if I want, I can just literally just grab my tile generator, push them out, done. However, I want to try and keep this as non destructive as possible so that we actually can use these nails with different types of planks even no matter how we generate them. So there is an interesting one. Et's try using the push method. So let's go ahead and we have our, actually, no, you know what? Let's try this. So we are able to detect this. If we add a histogram scan, if we can isolate our black lines. Good enough that only day show up. Okay. So we have that one. We can maybe use the same technique as that we do for our boot. So we have a black lines. Now, if we go ahead and add a directional blur to this, it becomes a box. Now, if we've done that, if we now add a histogram scan again, set contrast all the way up and just give it like I know, maybe not set contrast all the way up. Do something like this. That's like the initial HT gram scan. And once we've done that, we can do another histogram scan, and this one is just to, like, really push out the values. I've never used this technique before, but that works surprisingly well. I'm actually kind of impressed by myself. So we got this one. And now if we go ahead and go in here and we just like a blend, art is on top. So let's set this to well, let's first of all, invert gray scale this. And let's set this to art. Does that work? It does. Yeah. Good enough. Over here. That's a little bit of, like, a cut off. But for the rest and like here, there's a little nail. But these nails over here, those are leftover because we do an offset random. So maybe set it even lower. Maybe you set it off. Oh, no, they are just very, very close together. That's interesting. In that case, we might actually want to set our offset random a little bit higher to zero point. No, let's not do that. Let's use just zero point. It's not completely perfect. It has, like, some cuts here and there, and it's like cutting some pieces off. I guess what we can do is we can set our blur a little bit lower so that it basically just becomes in, like, a smaller area around our shapes. In order to basically does mean that sometimes we don't have them. But that way we are basically eliminating the ones that are not completely perfect, except for over here like a tiny bit. But let's say that this is a solid base. We got this stuff over here, ready to go. We do dd our warping, but we should be able. If I move this over here, we should be able to do the same technique after we've done our warping or not. Sort of, yes, I guess that that sort of works, yes. Okay, so we got those pieces done. That is fine. Now, if we go ahead and add a blend to this one, throw in our nails, else, we might need to do the nails at the very beginning. Throw in my nails, and we can set them to art and then if I said it very low, it should blend the nails a little bit with, like, the gradients so that they blend with the gradients along with it. Yeah, see? So we got, these nails sitting there kind of like on top. And now what we can do is we can kind of change nails. So for these ones, I kind of want to be honest. I don't think I need to have a fine adjitect. The fine adjitect is a note that you need to download. Uh, maybe, maybe that works. So the reason why I'm going for, like, this little ring around it is because it will make it feel like, well, if I need to probably invert it, there we go. It would make it feel like the pieces are like inverted into it. It does look like that over here. We seem to have Okay, so let's not invert it. So we have this one now inverted over here. I think that should do. Here. So it makes it feel like the nails are kind of, like, embedded into our wood, and then we can just make this ring around it wood. But then this stuff over here, we can make it into, like, nails. Overhe then I'm not too happy about that stuff, but I guess you can go in and, like, do some very small balancing. And just try to get the best thing you can get. And once we've done that, we can also add like a tiny blur, high quality gray scale, like a very, very small one because these are very small pixels. So like the smallest here, see, the smallest thing will destroy it already. Let's do 0.1, and let's add this here. Okay, 0.1 is too much, 0.050 0.07, maybe. 0.06. Okay, open 06. There we go. So we got some nails over here. That's looking pretty good. And now it's just a matter of going with our paste and, like, toning them down because I don't want to have them that obvious. And if we go here, we have our nails. Um, I don't know why they're over. Oh, wait, they are here because of the ends. That is tricky. I think we are running out of time, so I will have to think about it. So we are now placing them at the end. However, the end does not always mean that it is the end somewhere else, which means that we most likely just want to place the nails randomly? Yeah, we can place them, like, or randomly or just around these areas. But the system is in place. All we need to do now is we just need to work on our mask. So let's save a scene. And in the next chapter, we are going to work on our mask, and then we immediately going to, like, do a base color and our roughness and just get everything done. And then in one instance, we will have our first planks done. So let's continue with that in the next chapter. 20. 19 Creating Our Wood Planks Part3: Okay, so we left off with our screws or nails over here, not being very good. So I want to change that around. What I'm going to do instead is, instead of having it at very specific locations, I am going to then just have it like in like a separation. I think that will also be a bit easier. I say separation. That's because I can't think of the word even even distance. That is it, yes, even distance. Sorry, as I said before, I'm not a native English speaker, so sometimes it's still lacking a bit. So doing an even distance, that just means that we need to change up our mask. And we can still keep this one to have the nails, especially in these areas. First of all, to change up a mask. So over here, it means that every other one, every other row we want to get rid of. Now, hopefully, because this is a tile generator, we can use one of these masks. So horizontal, I think it literally exactly grabs the one that I do not want to get. And as far as I know, well, yeah, as far as I know, for horizontal masks, you cannot actually flip it around. Oh, wait, maybe reverse. Yeah, there we go. Reverse rendering order. Wow, I never used that button before. I never had to do this specifically in this way, so that is, again, a new thing for me too. Okay, so we have over here a shape. What we can do is instead of using our shape, we can use stripes, which should hopefully give us a bit of an easier option. So if we set our shift to zero, and if we then go ahead and add a transform to the behind it and just rotate it is 90 degrees. So now we kind of like, with our stripes, now we can basically just say, how often we want to have our bolts or nails to be here. So I kind of just need to check. So if we go in here, what does that do? Okay, so it does At some. It's not completely even, which is a bit strange. Let's go into our stripes and just, like, mess around with it until we get like an even number. I think we need to actually go a lot lower. Oh, wait. It's a width. That's what's causing it not to be even There we go. So four looks pretty decent, actually. So we got these four over here. Now, if I now go in my tile generator and now I can actually do a little bit of offset random, where are you? So here, offset random. To make them a little bit more interesting in terms of their placement. Let's see how that works. Okay, so they are there. I think I want to have them a little bit lower. If we go back into our tile generator, we should be able to just very carefully set the position. You like the global Osset on the Y axis. Oh, that's very sensitive. 0.01. There we go. So that now should have been pushed a bit low everywhere. I'm just a bit worried that, Oh, no, wait, that's all looking fine. Okay, so we got that one. That's pretty good. Now, another thing is that right now, it has actual wood, as you can see, shining through, which is something that I do not want. For that, it might be easier if we do this in our norm map instead of trying to get everything balanced based upon this map. So if we go over here, we have our normap Oh, no, wait. Sorry. Yeah, that's actually exactly what we need to do because we are adding the wood after it. So here we have our wood. Let's add a blend to this wood to this norm map, and then add a normal color node. So this normal color, you guess what I'm going to do. I'm just going to grab a mask, and I should be able to pretty much just grab this mask over here. Add it in here. There we go, see. And now it will no longer show the wood wherever we have our nails. So let's have a look at that. Let's go in here. Actually, it's looking pretty good, especially out here, it's like, at the sites also. Yeah, that is looking quite nice. Yeah, yeah, you know what? I'm fine with that with the distance. You can go a little bit lower if you want. But I think for us, it's quite an interesting look if we just go for a distance like this. Although double check if I do we might maybe we can get rid of one of them. Let's just go ahead and render it at three tiles that we know how it looks. Um, now, you know, though, I think it will make sense if they make these things that they just really nail them shut because you often have really heavy winds and everything in these environments. So I'm guessing that that's pretty good. So we got those things also done. That's pretty good. I think we are ready for a base color. Yeah, you know what? I think we are ready for a base color. Perfect. Okay, so we got our planks over here. Now, if we go ahead, go in here before we do our base color, we just going to go ahead and leave this one here. So this one is going to be art frame nails. This one art frame, normal combine. And this one art frame, and this one is going to be outputs. If you ever have over here that you don't like these lines, just run straight through, you can right click and you can add the dot note. This dot notes handy to basically here. So you select line, right click dot node and it's very handy kind of just move your lines down like this. I do not tend to use myself quite often just because it takes long to just add those things, although I'm sure there's a shortcut for it, and I just forgot which one it was. But for now, this is looking pretty good. So we got these pieces over here. Now, we are going to go ahead and do more plans later on. However, for now, I just want to focus on our base color. For a base color, it should be quite easy. That's art to blend. And we have over here a base color, but remember how we did our directional warp. Now for this directional warp, I want to just copy it. And also artist to my base color like this so that even my base color, as you can see, is being shifted around exactly in the same way because else, they no longer line up. Now that that is done, what we're going to do is we are going to add some actual dirt or something because we need to have something to actually, just kind of like enhance the feeling for this. At this point, I think it is good if we go more in this that we go and have a look at like this image over here while doing this. So we got our directional warp that is fine. Now, I'm going to simply add a uniform color at the top and make it like a dark brown color or something like this. So it's like dirt or something. Maybe that's too dark, but we can always use our past. Now, for our generation, we can use a dirt note. It's a bit expensive. So if you go over here, you have a dirt note over here, as you can see, so it's a little bit expensive, but it's like quite a good dirt generator. If we grab that one and we go ahead and just grab our ambient occlusion, throw it in here, and then add a curvature map, which we can grab just a planks, not on noise because curvature shows up in noise very clearly. So where you plug these to in here? Oh, and by the way, for your position map, we might be able to just use our flood fill over here to position data. Here, see, we get this effect. And it does show our dirt a little bit more than like the tops. So we now can control our dirt level. And sometimes it's just in handy weight. Just very quickly add some dirt. So we can like dirt level to a dirt contrast, play around with your grunge amount to reduce it or increase it, stuff like that, so that's pretty good. We can use a custom grunge for which we can try and oh, I used it in this one, not in this one. In that case, just go to noises. Or, sorry, I just want to try that imported crunch that I had. This one I've imported. We can go into grunge maps. Oh, you know what? No, I don't like that. Let's not do that. Let's then go into grunch. So we can use a custom grunch which often quite nice. Let's do grunge 013. And then what we can do is if we are to transfer node and rotate is 90 degrees. Hmm. It does look a little bit softer, I do like that it's softer. Maybe play around with our balance a little bit more. So I do like that it's softer. It's just not yet perfect. Cool thing that you can also do is you can actually just add a directional warp to this grunge and you can simply grab the same mask. And then even this grunge you can just set to, like, an intensity of 500 to swap it around. And then in here, as you can see, there we go. Then the dt will feel a little bit more localized to this area. The only thing is that over here, oh, no, no, wait, that should be fine. So we got these pieces over here. Let's just add this to our blend. And here you can see that now we are starting to get some of this dirt in here. Let's tone down the intensity a little bit so that we don't have it like two intense. Let's do zero point actually, let's do 0.9. There we go. So now, way we can see much clearer that these are actual plagues, so that's quite nice. Now, let's go ahead and add another blend. And for this one, let's have a lighter color. And I'm going to show you how to create like some leaks effect. So let's go for, like, maybe, like, a whitish color. You never know if that looks cool. So for our leaks, for leaks, you basically need like a mask, which we can pretty much just generate from something that we have over here like ambient seclusion. We can generate it from an ambient eclusion. I don't know unless we can reuse this one. Maybe we might be able to reuse this one if we are the Hcam scan and play around with your contrast. So you basically want to generate sort of like a mask effect like this. And then once we've done this, it doesn't need to be super clean. So we have a mask. Let's invert grayscale so that this is white. And now, the way that we are doing this is we are using Oh, God. I have a brain freeze moot What was it again? Non uniform blur, grayscale. Oh, multidirectional warp grayscale. One of the two. I think it was a non uniform blur. Nah, that does not look correct. And the reason doesn't look correct is because I vote in different won one, non uniform. I'm so used to using this one that I automatically just go down there, non uniform blur gray scale. Okay, what you want to do is in the gray scale. So the nice thing about this is that we can give it an angle. So in the grayscale, we basically go ahead and just plug in our mask, and then we plug in an inverted version for which I just realized we can just use this one in here, set our samples up, and then if we go ahead and Oh, maybe this is too soft. No way. That's not it. I think the invert function works slightly different in here. Ah, let's see. No, maybe it was this one that we need to invert. Okay, it's not working the way I should I should work. Let me just quickly check. So I checked, and the thing that we forgot to do is I forgot to set the anastrophe up, which will basically create the leaks effect. And the next de I also think that our masters isn't good enough. Asymmetry, you can also use asymmetry, you can basically Oh, that's a bit annoying. That goes in the wrong direction. Let's set our angle down. Asymmetry, you can use to give it like a cut off in the direction. So let's set this to 270 degrees over here. So now we get, like, some more of those leaks. So that was the problem. We can then go ahead and we get reduced leaks. And now, with this, what I want to do is so we have this mask over here. And yeah, okay, so it is working. We even get some leaks from our actual rings. I'm going to now add a blend because I want to add the noise in between. When I add the noise in between this, what it will do is it will break up this mask. So we are going to go ahead and just grab like a noise, and I don't know. This noise is probably, this is way too soft. Let me just try out my own noise again. I just like this one. It's one of my favorites. And then if we set this to subtract, what it should do is it should here, see? I should break up the leaks. Now, having the subtract maybe if we then add like a histogram scan in between, because it feels like that this mask here. Now we have full control over, like, how many leaks want because this mask is so messy. But as you can see that now we can kind of, like, generate these type of leaks. And that's kind of like what I was going for. So we got this stuff. We can pretty much use our intensity to control how many or how little we have of them. And once we've done that, yeah, you can just basically also mess around with the seed in your mask to generate where exactly you want the leaks to be. So that's pretty good. Now, what I do not like so much is that over here, can you like the it's that everything is in an even number. So I'm just having a quick think about the best way that I can control that. Just playing around to the position here. Okay, so yeah, I think the best way that we can control that is, what if we duplicate this uniform, this non uniform blur. We set the length a lot lower, and then we simply blend these two together. I'm going way too advanced in these leaks, but leaks are always quite cool to make. So we are basically blending these two together, and we are blending them using a mask. What if we grab, for example, this mask? Okay, that mask sort of works, but I think we need to have a his scrum scan in between, and this one is just here so that we can control how sharp the mask is. And that way, my idea was that maybe, like, mess around with contras, is that it will, kind of, like, blend together. Hmm, that's not a mask that I like. Let's go ahead and go in here. What if we do like a simple clouds too? We boost up the scaling, and then we art here come scanned in between this one. Maybe that gives me a better effect. And maybe we can even start with, like, setting the contrast all the way up. Okay, maybe setting the contrast up is not a good idea. Sit down. Yeah, there we go. So that does already, like, break it up. It just kind of, like, depends on exactly where our levels are and where our cloud is. But here you can see that now we have, quite a bit of a difference. And honestly, I think for what we are going to see, this should be fine. So we basically add to the top, and now we have some leaking. I already have immediately decided that I'm not going to use white. Instead, I want to just add my brownness to these leaks also so that they kind because it looks like the leaks are longer. So if we just temporarily move this up over here, that seems to give me a better effect so that now it is kind of like dirt and then the leaks are kind of like continuing with this dirt. What we can do is we can make one of these a lot longer also like this so that we get really like that leaking effect. Okay, perfect. So we got that stuff done. Now what we can do is we can go ahead and we can add some nails to this. So we grab over here a base color. And honestly, for the nails, we often shall we go for, like, rust or shall we go for just like an old metal? I think we just want to go for, like, old metal or something like that, and not so much rust. You like this kind of metal over here. Although the rust actually does look nice, but it's a lot more work. Let's go for, like, some old metal. Let's add a gradient map. Actually, let's throw in our clouds, too, since we have this one anyway. And in our gradient editor, just pick gradients and let's just see if we can pick from this area over here. Okay, so that does sort of work. The only thing is that, of course, it is very, very blue. And yeah, the noise I don't like, I think the noise that I want to use, what's this one? Oh, that's just the old shape. I think the noise that I want to use is our B&W spots, too, because it's always very sharp, as you can see here, and just gets like a sharp feeling. And what I'm done going to do is, let's just do a clear and let's just do this a little bit manually. Let's just add a bunch of notes. And most of these I want to just have it's like over here, like, pretty much gray scales. And then what I can do is I can now go in here and I can start by adding some variation like this. There we go. So I think that will work a little bit better. So we got that one. Now for nails. Most of it's going to be in our roughness, and maybe add an HSL note bind it just so that we can easily, change the darkness of them. And then for our mask, I think we can just use this mask over here. So I have. Yeah, that looks that looks pretty good. Maybe the mask is a little bit too strong, and, of course, oh, hey, I forgot to do that. We need to use the mask after our blending. Let's just go ahead and duplicate this blend. Do this over here so that we are now blending it together. And let's do the same over here in our normal map. Where am I over here and Also then over here. Completely forgot about that. Although I would have noticed it quite quickly. There we go. So that looks a little bit better. So we got this one. I can see that I want my HL quite a bit darker. So I don't want this to really be that noticeable. And let's just go ahead and plug this into our base color. Now, for our roughness, so our metallic, um, I don't think that these nails are metallic. They are so corroded and they have so much dirt and everything on them that they probably would not really be metallic anymore. So for now, let's leave that black. For my roughness, however, I'm going to duplicate this note and just plug in my roughness in here. It's moved over here. So this is already our roughness. And then with our roughness, we can just add two blends, and one of the blend is going to be a combination. Here, let's add another blend. One of the blend is going to be a combination between my dirt and my leaks. So we basically add both of these and set them to max lighten so that they are or maybe even art. So that they get arded. So this is the first one. So this will just look a little bit duller. So we can go into our blend mode and says the art. You see? So we can make our dart a bit duller. And then we will have our nails for which I can just go ahead and use this mask. And our nails are going to be subtract, a little bit of, like, a lower level so that they become a little bit more shiny. And that is our base roughness over here. Okay, perfect. Let's go ahead and save our scene. Let's close that one. And now if we go ahead and go in here, we can I just need to navigate to my textures. So we have our displacement. We have our normal map. So let's go ahead and drag in our albino map. And our roughness map. And there we go. Okay, so when I have a look at this, the first thing I'm going to do is I think I'm going to make my wood crane smaller because over here you can see the difference. So I'm going to just tie them by twice, but that should be an easy one. So if we go over here, just add a transform in between all of them, and just at the transform to minus two. That's often the easiest way. Or what we actually, you know what a better practice is to art a safe transform over here. That's a bad practice because then you can remember what you set it to. So we can go here, also safe transform Grayscal too, and here. And then the nice thing what you can, of course, also do is in the safe transform Griskl, you can actually expose the tiling, and then we can just go ahead and we can full control over it. So making this a little bit smaller, I think that will do a good trick over here, also with, like, the knots and everything. Yeah, I see here. That does work better. I'm going to make my nails a little bit lighter because they are a little bit too dark right now. Make them a little bit lighter, 0.4 or something. You can see like the little shine coming off them, so that's quite nice. Okay, so my nails are also looking pretty good. We got those things. We got, like, the damage going on. I'm going to make my nails a little bit darker. 0.35 maybe. And what I'm going to do is I'm going to go into my planks, and I'm just going to give them a bit stronger warping. Oh, wai, that's a sideways warping. Let's go ahead and do two. Let's duplicate. Not that one. Let's duplicate this direction warp over here. And let's duplicate our pearl noise, and this one, we are going to set a scale just like a little bit bigger. So this one will control and maybe set a random seed of the Pearlie to make sure that the directional warp does not go in the exact same direction. There we go. So I want to have these planks looking like really organic and, like, really old and worn down sometimes. So now I have control over that. So if I go in here, of course, reset your displacement. Let's see how that looks. Set the tiling to three, just to double check. Yeah, see, okay. So now we have larger tiling, we can see that we get, all of these small planks. Okay, this is great. So we've got this stuff done. What we'll be doing in the next chapter is we can go ahead and we can start by adding multiple different variations of planks and everything. But the general system is here. What I will do one last thing is I will go ahead and I will let me just double check, okay, this is the right location. I will render an image. Here we go. So plain wood, check. Wood planks one, check. Awesome. Okay, let's go ahead and continue to next chapter. 21. 20 Creating Our Wood Planks Part4: Okay, so we now got a pretty good base for this. We're going to create a few different planks. Let's go ahead, and so we already now like this layering. I now want to go for the one that I saw over here where it's just like the planks are simply in, like, a different position, and they are far longer. Let's go for that one. Now this stuff it's super easy. So we got this one over here. So what we can say is this one is the layering, then we can go ahead and we can just duplicate the style generator. And for this tile generator, what we can do is, let me just make this bigger. Let's go ahead and set the patron to square. And then if we go ahead and set the I think they are white on top of each other, so we don't really want to give it any spacing. Let's turn on a luminous random. And then what we need to do is we just need to go ahead and just set the spacing down. So for this one, we did like this spacing over here that it needs to be back to zero. There we go. So the spacing is white on top of each other. We don't need any spacing for that because we're actually going to push this in and out. So we got this stuff over here. Now, if we go up, okay, so we already have an amount of one. That is a tricky one. We already have an amount of one. If I want to make this larger, because if I pre space here, there isn't a lot. Basically, what I'm thinking about now, I think that we just need to reduce them because what I cannot do here, if I just have one line here, then I can make them larger. However, I cannot have one on every single line because if I do that, we will get the same effects that we've had before that they just look a lot smaller. So if I reduce them, look, what am I? Let's see. So we have our offset over here. No, we can't really do that size mode. And that is actually a tricky one. That is a tricky one. Oh, no, wait. I know what I can do. I can go ahead and where's my offset. I can go to my offset over here and my offset random. So let's see. So right now it is all one line. And then if I go ahead and now set my offset random, actually, just my offset over here up a little bit to only have one or two of them. Maybe I need an offset random. Basically, the goal is that I set a few of these a little bit further out. And then I add a transform. And because these are one lines, if I hold control shift on my transform, I basically push them out. And what that will do is it should. Oh, wait, not control shift. What was it? Alt? Oh, God. I always forget. Shift. Shift Alt W a bet? No. Okay, never mind. Then I'm just gonna do shift. Doesn't really matter. I am a bit annoyed because what was that? Now, wait, Control shift is correct, then why is it not lining up? Now it is lining up. Okay. Fair enough. So Control Shift was correct. I must have accidentally, I don't know, like, pressed the wrong button. But basically, if I can just push it out, over here now we have few less. So now we have a press space, you can see that we only have two over there, and then some of these planks just go on infinitely. And even though they go on infinitely, what I then kind of expect is that they are so long that by the time that it starts to look strange, the wall will have already stopped, so we don't really need to worry about that. So we got this one over here. Now, another thing that might be nice if I just have a quick look, is the thickness. Maybe we can make this one you know what? No, I'm going to leave the thickness. If I stop messing with the thickness now, I would need to also do all of the nails and everything like that. It's not worth it to get one extra plank. But basically, having this stuff, if we add a multi switch gray scale over here, what you can do is you can add inputs. So we can say input one and input two and plug this into your blend. Now with the multi switch gray scale, we can then, of course, go over here, we can expose this. So input selection zero input selection one. Now it now that this is set to one, sorry, we can go ahead and now you can see over here. So, okay, so it seems like the only problem that we have is most likely our flood fill, because we are using a flood fill to basically add here. So we are using our flood film and then let's see, how does it behave? Okay, so our flood fill is not able to differentiate between these pieces. And the reason that it's not able to do that is because these are infinite, and it does not really like infinite pieces. What do we use our flood fill exactly for again? Oh, yeah, we use it for angle variations. Hm, I do want angle variations. That would be nice. If I use those. I guess one way that we can do this is so over here we have our flat fill or our edge dett. I don't know if it's going to work, we'll see, but we can add the blend. And then later on we'll just use a switch for this, and then we can add a shape. I'm going to fake it. I have no idea how it will look because I rarely do this stuff, at least this specific thing. So I'm going to basically, here we go, give it the tiniest line I can get artist to our blend and set this to be she multiply over here. I think we need to go a little bit bigger. 0.095 maybe 99. Give it just to the point that the flood fill is able to differentiate between the two. So 0.0. Oh, wait. We can actually not go lower than this. So now we do have these positions, which means that we have this one, and it means that we have this one. So that does work. The only thing is of course, that when we press space, it will not transition correctly over here, and that is of course, then the tricky thing. The question is, will we notice? That's mostly the question. So if we have a look over here, And then maybe for the gradients, we can turn off the gradients. So let's see. So over here, we can see that there's different distances between the two. The nails are broken a little bit, so we'll need to fix that. But this can all be solved with like a switch later on. And we got these pieces. So if we, for example, now have look to unlove our gray scale. Okay, so what do we have over here? So they are being pushed out. I think what I'm going to do is I'm going to go ahead and start adding my switches. So we have this switch expose as new graph input, and this will be plank underscore selection. Art is over here. Actually, let's leave the group for now. Let's press Okay. So we have a plank selection. Now we just need to run through it. So over here, we have this one and we have this one. These two are obsolete. So what I can do is this I can now expose, and let's just call this a gradient art amount because then I can just turn them off whenever we have this second plank. Gradient art amount and height, art amount. There's do height score variation amount over here. So those two, I can turn off then they run in my settings. These are all fine over here, so I'm adding my nails, and my nails are, for some reason, broken, and they are broken because of this histogram scan over here. However, this Hgram scan, as far as I can remember, it wasn't very useful in the beginning anyway with the new technique that we do. So it might be more flexible if we simply remove that. So let's see, we are. So we have our norm map. We our stuff on top of here. Then we still are using this one to basically swap around between the normals, which is fine. You won't be able to really notice, I think, this small transition over here. Yeah, I see. Then we do have a problem over here where we use this dirt, and that is because we are using our position map. Now, I want to see if I remove my position. Okay, so that's not the one. Is it the planks? Okay, so it is the planks. That is interesting. So where is this line coming from? So all we need to do is we need to see a way to cut that one out. So right now with our planks, if we ever look so, I feel like that over here, there is a pixel mismatch going on, and it seems that that is probably causing, yeah, see, that's probably causing the problem, this Pixel mismatch, which is interesting. So if we go ahead and let's get rid of this transform to D, maybe if we do like a Save Oops, safe transform gray scale over here. And then in my safe transforms gray scale. Oh, no, wait, of course, that wouldn't work. Sorry, I mean, do a transform, but we're going to use values instead of numbers. So if we go in here and we set our width to be, for example, 110%, that means that it will scale up by 10%. So if I press apply, over here, you can see that that is scaled up, and I think that's more precise. I don't know why maybe by hand, for some reason, I managed like, move it this one pixel, and that is causing the problem. Let's see if this is now still a problem once I've done this. Okay, so that is still a problem. That's most likely actually coming from our aztect. So if we actually go ahead and save scene, go to our wood normal, and now if we go into our presets, what we can do is we can say this one is overlapping planks and just press new. And then the overlapping planks will be like a plank number one. And then we will go ahead and we will do like flat planks, new, and that one will be number two. But then the gradient and the height variation is turned off. And the reason that this is turned off is because we already have that stuff now handling over here, and we don't really need that many gradient variations on something like this. So that seems to do the trick. So if we now go ahead and have look down on off my displacement. Okay, so there we go. So that looks pretty good. Now as you can see how displacement is quite strong, but that's just a matter of going in here and, like, slightly changing around the displacement. That should not really be a problem. So, we got these pieces over here. Now, over here, you can see that the wood is also quite a bit rougher. That would be nice if we just like arding this extra bit that can just make it look extra rough. For the rest, that looks pretty straightforward. Like, most of this is extruded out. So that's something that we also need to keep in mind that this is actual geometry, and this is not just like a displacement most likely. Or it must be the best parallax I've ever seen, but I don't think so. So, for our wood, one thing that we can do is we can go ahead and we can, of course, have control in here over our normal strength and edge damage amount. If we go ahead and go back into our normal, we can go in here, and I believe that you can actually expose and then expose again. We have a norm strength. So we can expose this again and just call this normal strength. Let's do this grain underscore normal strength, just to differentiate. Press okay. And then the edge damage amount, expose this. Grain underscore. And also grains edge damage amount over here, so that now I should be able to go back into my wood planks. And here we have a flat planks, just press update. And then, like I said, for the flat planks, I want to, for example, set my grain a bit stronger and my amount As a bit stronger, just for the damages over here. And then if I on top of this, also expose some values like over here, for example, the warping is fine. I think it's this one that we want to probably expose. It's very difficult for me to see. Let me just quickly. Here we go in here. Oh, no, that's not the one. Where is that one? I think it's this one over here. Yeah, that's the one. So, this one over here, we can go ahead and expose this one and just call this Edge damage. And that's a plank, sorry, plank underscore edge damage over here. And let's just throw this also into the normal group and just press okay. So we can also have control over that, so we can just go in here. Let's pass updates on our flat planks and then in our plank edge damage, we can go ahead and we can set is a bit stronger. It's maybe a bit too much. Let's do 0.4. So we got those ones also done, so that's quite nice. Let's have a look. Yeah, so now we get, like this really much more rough looking planks and everything. Okay, maybe our edge damage is a little bit too strong, so let's go ahead and just tone that down back to 0.25, for example, over here just to tone it down. And I think at this point, that should be pretty good. So let's right click the frame. And this one we will call base color. And then, wow, I really can type today. Base color. And I still didn't type it right. Base Color. Thank you. Okay. So we got those ones done. So if we now have a, we got two plank variations over here. What I'm going to do is because I think these are pretty much for now, the only ones that we need because our plain mood will dictate a lot of the other planks, also. So that's why we need to keep that in mind. But this is looking pretty good. I'm going to go ahead. Yeah. He'll see. So another one is maybe like a plank variation where it's actually where it has a lot of planks. So that's like the next one that we can do, and we will finish it off there for this one. So we got this one, if we don't just grab a tile generator, and for this tile generator, we set our let's see, offset random and our offset here a lot closer so that now all of these planks are, of course, a lot smaller. And then we can go into our multi switch, set the input number to three. And then we can add this third input over here. So having this done, let's go ahead and set up a preset. So we're going to set up a bunch of different presets. First of all, Axe, one that we need to expose is in our base color. We need to go ahead and we kind of, like, also need to expose this stuff. So if we go ahead and expose value, just say main column you can just keep this. So that one is important. The dark dirt overlay is important. Yeah, I guess we can also just re expose the white dirt, and we can just press okay because it has all the same settings as before. For now, this is fine. So we got those. Actually, yeah, yeah. So we got those. That is fine. So now if we go into our wood planks, I'm going to press update on the flat planks, but let's start with the overlapping planks over here. So overlapping planks. If I just double click on this, are all the settings still correct? Does look like it. If we now go ahead and just quickly double check, No, the settings are not yet correct. So if I do this one out a lot more Too much. Okay, so the settings are broken. That sometimes happens. Sorry about that. So that the settings are broken, that sometimes happens. So that means that we just need to quickly go into settings. Plank selection, grain amount, height variation amount that is fine. Let's go ahead and just also turn these on. So a plank edge damage. Set this one back to 0.1. And I'm sure that I probably have accidentally added a blend in between here or something like that. I forgot where it was. Oh, this one we can get rid of. Ah, where did I do this? I completely forgot. I can remember that I added like a blend. Oh, yeah, here I did that. So I added a blend over here, I believe. I don't know what this blend is doing because it doesn't seem like it does anything, so that should actually be fine. So let's see, planks. Oh, wait, that shape but for later on, that was it. So that shape we can just get rid of because we no longer need it. So now, these planks are correct. White? Still breaks. Let me just do like a fresh export. Maybe that works because I can't remember changing anything like that. Sometimes it can just use a fresh export. There we go, see? So that was the trick. So fresh export, and there we go. So that sometimes happens. I don't know exactly why it happens. You can also go in here and, like, reload. Your texture maps used to be 100% sure. But, okay, so we got our planks over here. That's fine. And we set that to, like, a height of around 0.02. Then what we have is we can go ahead and save this, and then the next one would so update. Next one will be our flat planks and our flat planks over here. Let's have a look at how they look, except for, of course, the height, but that's something that we'll do later. Okay, so nails are there and everything else is there. That is fine. There is still some cutting over here, which I actually do not like, and that cutting comes from these bits. Over here where they cut, and that's because they are cutting a broken version. However, what we can do is for this one, if we go ahead and add a switch grayscale, and then we can say, actually, let's set this into falls. And then we can say, flat planks let's do default falls, expose flat planks. So if flat planks is true, then what it will do is it will not use that one, but instead it will use this version over here, which already has all of the gradients dded. Let's see. That should do the trick. Or not. Let's have a look. Oh, yeah, wait, it would be nice if I actually set this to true in our plank. So flat planks if let's see flat planks is equal to true. There we go. That should fix that. Perfect. Okay, so flat lnk is also done, and then the next one would simply be that here, let's update. And then if we say flat planks, underscore short. And the only thing that we need to do for flat plank short is just press new and please set our plank selection to three. And that will give us a better here. So that will give us this effect. Now, all I wonder is that if for this one, here, let's just press update, if we go ahead and set this back to false, if it will give us some gradient variation. So if we set this to falls and then add some gradient and well, you don't need to do a height map, but let's add some gradient map variation that could give us maybe like a more interesting look. Yeah, Cesar, that gives us quite an interesting look. If we just give it like a slight bits of gradients, that should be fine. So maybe, like, a little bit more even. And then, of course, for these ones, what you can do is you can go ahead and you can duplicate this material, call it flat lengths. Well, yeah, it's called flat planks. And then for this one, you can go ahead and you can set your displacement low so that we don't need to constantly mess around with that. So we got this one over here. So these are flat planks, and they now also have some gradients going on only over here that I feel like they can actually use a tiny bit of space. So I think for both of them, but let's first of all, do them here. If we set our interstins to 0.02, maybe a little bit less. 0.01. Just waiting for it to export. There we go. I think that will look a little bit better. So 0.01, then over here, we probably need to do the same. 0.01. There we go. Okay, we already way overdue with this chapter. So let's just go ahead. And the next chapter, we will do some polishing. We will work on some of the colors. And then once all of that is done and everything is looking great for all of our default boots, and we got all of our variations done, then what we're going to do is we are going to use our paint layer mask, and we are going to create that one. So let's continue with that in our next chapter. 22. 21 Creating Our Wood Planks Part5: Okay, so we finished off these planks over here, so that's looking pretty good. So we already got, like, that balance going on. Um, the only thing that I feel like I feel like that this distance over here is a little bit too much, but I want to make sure that it's not just my ambient occlusion messing with my head. So let's just go down to our rando settings and tone that down. Yeah, it does kind of feel like, C here. So it does feel like it is not the ambient occlusion. So let's see if we can just push that in a little bit more, especially in these areas. Here we go. So if we go down to interstineY, I believe this 00 zop Oh, no, wait, sorry. This one. Let's actually let's the random amount lower. 0.001. There we go. Let's just try and really push it down as far as we can before it starts breaking. And also like this one over here. Same thing. There we go. So that should still be fine if we do something like this. Hmm. It works a little. And what you can also do is just switch to your main camera and then you can have a closer look. And maybe it might also just be our dirt that is causing this effect. If we just temporarily turn off our bidoO, ambient occlusion? Oh, it's our ambient occlusion that is I thought I turned it off. I think it's a bit of everything. It looks like that it's part our ambient occlusion and parts the rest. So what we're going to do is we're just going to go ahead and tone this one down a little bit more. Oh, yeah, see, here, it's pitch black. So let's set this to 0.02, so we don't need that strong of an image seclusion. Now, we can balance out our height. I'm just a bit worried to sometimes do that. So what we can do is we can go ahead and go in here. We'll just need to see how it works. If we add a histogram range over here, you can see that it balances out your height. You can set your range basically up to basically increase or decrease the height. So if we set this a little bit lower and actually do the same on this one, the only thing that I'm always worried about is that it then detects my edges just like a little bit different. And because it detects them different, it ends up like breaking something. And that's why I always need to be very careful about this. But what this does over here, it also does reduce our height, just in general, so that it's a little bit less. So if we do this one, and then for the rest, I'm just going to finish it off by maybe toning down my AO to 0.01 as a lasting and also going in here. And I want to just, let's see. So here we have our dirt. Well, you know what? I'm going to set my dirt a little bit stronger. But then what I'm going to do is we can actually implant a mask over here. So with this dirt, if we do, like, do I have a mask for this one somewhere? I think I have this one over here. Let's go ahead and grab this one, and let's just move it over here in empty space and add a histogram range so that we can kind of, like, set a range up, but then I can Uh, sorry, let's set the position up, kind of just balance it out. It's not working the way I want it to. Let's instead alter levels. I don't often use the levels anymore, but it can sometimes still be handy. So if we go here, and the reason I want to then the levels is because it's just a bit easier for me to move my black slider down over here and then just tone down that intensity. If we are this, it should. Yeah, we should be able to now mask this out, and based upon this, we can set it completely off, or we can still have it shine through a little bit, like you can see over here, and that should, as you can see, compensate in not having, like, as strong edges. So having that done, it's looking pretty good. Let's have a look. Here, see now that's already toned down a lot more, so that's a bit better. Okay, last thing that we need to do. I can see some weird looking streaks. See, this stuff. I don't know what it is. I want to fix that. And once we've finally fixed that, then what we're going to do is we're going to work on colors and just prepare everything to create our painted variation. So if we have a look over here, where are the streaks? Alright, don't see them here. Maybe if I do a fresh export, maybe that already fixes it. I can see them. So to a fresh new export. See, I don't know. Sometimes, yeah, it just bugs a little bit. But perfect. So we got all of this stuff done. Now that we've done that, what we can do is we can work on our colors. Let's save a scene. Let's add a frame, and this one is going to be called roughness. And now that we have these pieces over here for our colors, what would be nice is so we actually give it full control over our main color in here. But what might be nice instead of us needing to, like, create a bunch of different presets, we can actually go back into our original plain color. So if we good plain wood over here, Okay. So in here, what we can do is we can so this one we have exposed, perfect. And we can just duplicate this and already give almost like a preset within a preset. So we have this ringe color and we can give it like a few different colours for like our wood. Did I I think I actually got these colors also in here. Yes, I got these colors in here. Now I think of it. Already. Yeah. So actually, I completely forgot about that. So we should be able to just go into our wood planks. You can just double click on the name to open it up. And if I go in here, it should still have Oh, it should still have a preset. So technically, I don't even need to do that. I wanted to do it in a different way, but this is actually I think a fine way because so we do the preset. It looks like that it does remove our exposing, as you can see. Oh, no, wait, no, wait. It does not remove our exposing. It looks like sort of. Whatever changes it tends to remove the exposing that we did. But that should be fine because even on the old wood, I actually already increased this kind of stuff. So we got that one. So that's actually pretty good. Now, the only thing is that I do not think I can actually expose. Yeah, I don't think I can actually expose the preset itself. So that's something that kind of depends what you want to do. You can try and duplicate it and everything, but honestly, we really want to go through all that effort when over here, we can just have it, like, done. Ready to go. So I'm actually quite happy with that. I think what we can do is at this point, we can start by working on our paint. And for our paint, we're going to go ahead and we are going to have a very plain version, like, very thin paint. And then maybe it would also be nice. So if we have a look over here, yeah, most of this is actually very thin paint. So let's go ahead and do that. However, just for good measure, I will also show you a little bit of, like, the peeling technique that you see here because I'm sure that many people would like to know how to do like this type of peeling. So this is actually tin paint, so we'll see. Um, oh, we are only at 8 minutes, so we can just as well do that over here. Let's already get started paint. So we have our wood planks. I'm going to actually pass update in our flat planks and then go back to our overlapping planks. So that's the one that we will mostly be using. Perfect. So if we now have a look, and open it. Here, see? That looks really cool. Maybe that our sky is now a little bit too dark, so we can just in general, mess around a little bit more like our sky and just made to like brightness of tree like that, and then you can also rotate your sky around. Okay, for our paint, for our paint, most of this is just going to be mask generation. So we just need to create a really interesting, nice looking mask. Now, what do we see over here? If you have a look over here, we basically want to go ahead and we want to control that paint is not on every single plank, or at least in large areas of the planks, they are not there. However, when there is paint, it kind of just has like this type of a look. That's kind of what I want to go for. So it's like this little wavy look. Now, the paint does over here go across the grains. However, doing stuff like that is quite tricky, and that would be more something if we really want to, like, dive into this, it would almost be its own little tutorial of a couple hours because I cannot spend 5 hours just, like, making the perfect paint when I have so much other stuff to do. So we got that one yeah, that should be fine. So let's just go Oh, and also by the way, I like this kind of stuff. So we'll see how it goes. We'll see if we can get like those tweaks in here and stuff like that. So for our paint, let's go to designer. Let's go ahead and just let's make the mask over here, and then we can just go ahead and art that. So we basically add a blend. And for now, this blend will just have like a uniform color. And just set the color to be like white, and this is just so that we can later on test out our mask and just have it overlaying white on top of this. If I have a look at this, what am I going to do? I'm going to get started. But let's say, let's see what we can use from this. Okay, so we are using the wood cranes over here. Maybe we can use the ambient occlusion from our wood cranes and do something interesting with that. So what if we add a histogram? So I am going to try a little bit of those tweaks. So what if we add a histogram scan, so it can be useful to have this anyway to our ambient occlusion for our grains. And now as you can see, so if we set up a contrast all the way up here, basically, we can kind of, like, already generate some of these grains. Now, if I need to have a tin, let's make white to be where there is paint where so white is paint, basically. So now we already get like some of these grains, okay. Let's add a slop gray scale, and scrub like Cloud two over here. Oh, that's an interesting noise. I need to keep that in mind, because I can sometimes use just like a noise like that. But basically, if we just set our intensity to zero point that tilt my 0.05 over here. And now I first want to have a look at some of my crunches. So the ones that I created because they are a lot easier. So over here, I wear like a quick look which painted crunch I have. I have this one, and I have this one. If I end up using it, I will, of course, include it. And then F let's see. Yeah, this one is not wearing noise. This one also not. So actually, I'm, actually, that one was also actually quite interesting, but I'm mostly interested probably in this one because it's like a longer streak. If we go ahead and let's delete this, now, these SPSR files, they come with a dual overlay function. If I press through, you can see that it will just overlay it twice. And now my idea was that I transformed this and I rotate this 90 degrees. You know what? Let's do Save transform to make it easier. Save transform rotated 90 degrees. Tie it twice, and then maybe also in my grunge control, duplicate it and give it a different sat over here and do the same thing. So we get, like, a bunch of these type of I can just mess around with my seat. Until I get something nice. And then if we blend them together. So I'm just trying to get a lot more of like this kind of painty effect. So if I blend this together using a max lighten, I then need to mess around a bit more with my seed to make sure that it's interesting locations. And let's say that I then blend this on top. I still have no idea if this is going to work, by the way. It's just me trying some stuff out. Okay? So if I blend this on top, it will not show enough let's see if I just add this one on top to get started with. I add this one on top. I I will add the other one later on because I'm not sure yet about that one. I add the directional warp and I just copy the same intensity that I have over here once again to just kind of like to 500, just to mess around with your position. So now that we have these positions, that does give me this effect a little bit here and there. So that is quite good. And then if I would go ahead and I can mess around with my balance. So I said that white was going to be where there is paint. I'm not sure about it now anymore. Maybe we will go for like black is where there is paint. You can kind of, like, play out at your contest. Wow, maybe one of them is enough. Why not? Nah, maybe not. It's a trick you want people. I just need to get a nice balance to see if I can maybe, like, boost up my contuest, tone this down. There's only so much I can do with this one. Let's try to here, we have our save transform. Let's twice just do like a transform to D, and let's see if we can just really clamp it down. So let's go in here, hold Shift and simply clamp this down. I want to see if I can make this like smaller. Okay, so that does give me an interesting effect. Of course, I know that the tiling is probably broken, although, actually, it doesn't even matter if the tiling is broken because we are literally swapping it around anyway. So in the end, the tiling should be well, broken anyway, but in a good way. So we got this stuff. Now, if on top of that, I then add a blend. And for this blend, I like grab this sloplo gray scale, and I don't know. I maybe like let's see if I do art what if I do an art, but I like add another blend in between here and I just mask it out with something. So I add another blend in between here. I need to if I add white, I'm going to add a uniform color. No wait, I'm going to add black. So I'm going to add a uniform color that is white to this. And then do I happen to already have a grunge map? Actually, over here, this one I can use. Let's do a histogram scan. Let's use this one, and we're just going to use this grunge map basically in order to let's give it a bit more space. See now you can see how I work when I really just need to play around with things because this stuff it's doing this paint. I wanted to get it better than what I normally do because normally I do it way too basic, so I really want to give you guys, like, a better material. But does mean that we just need to play around with things a bit more. Here we see, so we got, like, some of those streaks. And if I art inst subtract, let's do art subtract. No, maybe if I invert this, then it works a bit better if I do art. There we go. See? Okay, so now we get those streaks in there, which means that now they kind of like, they should kind of like paint in here. Let's see. So I want to actually duplicate this direction warp and make it exactly the same, because else I feel like there's going to be a mismatch. There we go. So that now? Okay, so now we get some of those streaks and it's like a faded paint effect. So that's also pretty good. So we got that stuff done. Now that we have this stuff done, what we can do is we can now just go ahead and we can control how much paint that we want. So for this one, if we play around with the balance, it should increase the pain, but it will have a limit. So if I have a look at this, it always feels like that we kind need to invert this what we have right now, that the pain peeling is the other way around. So if I do an invert grayscale over here, Mmm. Let's see. So the invert grace carl does not look very nice over there. What if we do it at the very beginning? So if we go to this crunch control, there is an invert button. Let's try and do that. Yeah, see, that's why. Okay, fair enough. It changes the balance around. That's why I tend to not use this one. Instead, let's do an invert Grace car over here. And let's see. So then we continue this on, and then this one, instead of an art, needs to be subtracted. Ah, it's always so confusing to get everything right. And then we have this one, and now if we add one last histogram scan, we will clean this up a little bit more later on. And this histogram scan is here basically so that we can mess around a little bit more with, like, the final position, as you can see over here, so we can get, like, some of this harsh looking stuff. Let's make my uniform color a little bit down, darker, I mean, and let's just see how this actually looks. Okay, so this is what we got right now. So most of the paint is now, so it is also located around the edges and just in general around other areas. That is pretty good. But if I now add one last mask on top of this. And then this one over here, I can kind of use to just increase or decrease the amount of paint also. So for now, let's just leave that one. So let's see. So we got this stuff over here. Now, if I have my directional warp, see my Hcrum scan. Let's add one extra blend. And we had this one over here, which I think is quite interesting. And then if we just play around with our seed, maybe do like a dual overlay. Here, something like this, to transform and rotate this 90 degrees. Let's see if I now add this stuff on top as like a lasting. See that most of the paint is still located. There we go. So now we got, that paint fading over there. So that is looking pretty good. Yeah, I'm quite happy with that. I am going to give, like, a tiny bit of, like, a height. But I quite like this. And I think also it's not too bad that we have, like, some of these really thin looking areas over here because I think they will actually render quite well. And else what you can do is you can do this before or before your histograb scan. Like this. And that will also clamp everything down a little bit more. Okay, so just as a recap, we grab the noise. We ordered a safe transform. We tied it flat. Then we have this blend. Now we can just go ahead and get rid of it. We invert this stuff. Then we add some of these little streaks that we have generated from an ambient oclusion on top of it. Once all of that is done, we add a directional warp to kind of mess around with the deposition of a paint, and then we add one extra grunge map on top of it to kind of fade out some of the paint. And this crunch map, maybe if I just set my contrast a bit higher and like, mess up with my balance a little bit more, and then finally some finer balancing with our hisgam scan, which gives us something like this. Okay, wow, that's quite a bit. Now to add a norm map to this, we can just go ahead and we can overhear grab a normal combine. Oh. That's annoying. It's very annoying. Come on. There we go. Okay, so we have our non map combine. Now what we can do is we can add a normal blend node. And this normal blend node, it will basically, yeah, just add these norm maps on top based upon a mask. And for that, we need to have this mask. So if we grab this mask over here, throw it into the bottom. And then into the top, we are going to add a normal, and this normal will also be generated from a mask. As an open gel, but it will be very, very, very soft like this and throw this on top. So what that will do is now it will just replace it pretty much with like a flat normal over here. You probably cannot even see this normal because technically, it gets cut out. You can see the tiny bit. I just now need to make sure that the stuff that is being cut out is the correct stuff. So let's double check simply by looking at this area and then double clicking here. Okay, so see. So yeah, that is being correctly. And now what we can do is in the next chapter, we can start by actually creating a paint, base color and a norm map. And then I will also show you how to do some peeling. Uh, I think I also want to go ahead and I would improve my mask a little bit more, but you know what I will do is I will off camera, I will just have a quick extra loop. This is already looking pretty good. I just want to get, like, a little bit more stuff around these edges and everything. So let's continue with that in our next chapter. 23. 22 Creating Our Wood Planks Part6: Okay, so we left off with this thin looking paint over here, which is pretty good. But I just wanted to first of all, increase or improve my mask a little bit. So I need to give this more space because right now it's getting a little bit cramped. So what I wanted to do is I wanted to basically just add like some edge detecting, which will basically just give us, like, some nice little edges over here. We can do this using a blend. And honestly, I think there are probably, like, good edge detect notes here. Edge lect Hmm. Yeah, it's been a while since I've used that one, but that could work. And let's add the curvature node because it needs a curvature input. Set is to be open GL, and then we just want to grab this one. So just like the planks, not with all the grains because else it will not work very well. And let's have a look and see if this works. So we can use this one, maybe. Let's see, convex edge width. If you increase that, that often just adds a bit more. It's very, very sensitive. Let's see if I set my levels down here. So you also have the concave edge width, which will make everything like a little bit blurry. So, to be honest, this pretty much looks like the normal edge detective. I look at it like this. I was thinking like, Oh, maybe it'll give me an interesting effect, but I guess not. We can, however, go ahead and just, like, add a mask to this. Let's see. So that mask I don't really like. No, I don't like this. Let's see if there's a different type of edge. Edge damages, maybe. Most of these do always just need a curvature or like an ambient eclusion. However, compared to painter, these notes are not always very good to here, like, that's still not what I want. Let's instead go for, like, an edge were. Alright, here, see that one looks already a bit better. Let's tone down my levels. Yeah, there we go. So this one already looks like a little bit better. So having this now, of course, we do want to once again just grab an interesting looking mask which will basically just mask out in many areas that we have those edges so that we don't have this damage everywhere. So let's try out do a histogram scan, and let's try out this mask over here. I think we actually did a histogram scan also over here, but let's just do another one, just to make sure I full control over everything. There we go. See? That looks a little bit better. Let's go ahead and blend this, and we are going to subtract this one most likely. Yeah, we're going to subtract it, which should now also give us some extra edges over here. Now, sometimes we kind of need to move these up a little bit, so I don't know if that happened. Yeah, you see, that's what happened over here. So just, because of the placement, we sometimes need to move it up a tiny bit. And for this, what you can do is honestly, what I tend to do in these cases is I just go in here, and I first of all, try just like a simple transform, and I just simply move this transform up a tiny bit. Like this to make sure that that is working. Uh, it's interesting that it does not show up that obvious. Let's go ahead and go into our main camera. Yeah, okay, I guess it is showing up. Yeah, here, see, so it is actually showing up. It's just not as much. So maybe we can just increase the damage amount a little bit. So if we go into our edge I don't even know if the transform is needed, so let's have a look at that later on. Let's set our edge wear amount up. Yeah, let's let's actually gets rid of that one. Let's in our mask. Give it a bit more edge wear over here, just by playing around to the position of a historumscan. And let's then do a slope blur gray scale finally to just give it like that last little push. Here, let's pick like our clouds two over here. And just a last little damage push, I should say. Here, see? And I'm just leaving it to blur probably because I don't think a minimum now I think blur looks quite cool in this case. So let's do blur at 0.1, maybe. Yeah, so here, I can see it a little bit. Let's make it even thicker. Didn't expect that it had to go this big, Buto. So even more. There we go. Now we start to really get it. Okay, perfect. So now we start to get some of these edge damages also over here. I think we can even push it more. Feels like a lot, but I guess that let's just do a full export. Just make sure that I'm not accidentally, exporting something that I forgot. But yeah, this is our applied, so that should all work just fine. Yeah, here, so we get it. So basically, just go for, like, how tick you want. Right now, this is what I wanted, like the small little edges around here, so that's pretty good. Okay, now that we have this, let's get started with, first of all, just going over a base color method. So, for our base color of our paint, um, here we go. So here we have a pretty good look for like a base color. It comes in two ways. We can see tiny bits of the grains still in it, and then for the rest, it is a pretty clean looking base color. I think what we want to do is we want to grab a gradient map, and maybe just like a simple clouds to, we'll do the twig or maybe like a grunge map zero, three, maybe. Actually, you know what? Let's grab it on the sideways over here. And now if we go in here and do like a gradient editor, we can pick gradient and just kind of, like, do this. Perfect. See exactly what I wanted. Okay, great. So we got this stuff. Now we want to kind of like blents with some very, very soft grains. And I don't know if we can just probably like use our ambient occlusion over here. So our ambient occlusion is going into this histogram scan. Let's duplicate this histogram scan, and let's just set the position up a bit and maybe like set our contrast down a bit. Until we got, these really soft grains. And let's add these to the top and add the grain map in between to convert it from a greyscal to a color. And it set this to be like a multiply. Yeah, see? So we can see like these really thin looking grains in between here. So that should already make quite a nice looking wood texture. Now one thing to, of course, remember, is these very specific diesels over here. We are not actually going to include those because we need to tie this so many times that that would not look very good. But over here, here, you can also see like a little bit more. This paint, it is chipping a little bit different. So it is something that we can see if we can maybe, like, reduce some of these really small specs, but it kind of is just like a preference thing. Right now, I think this is like a pretty good basics and that we can just work with this. So we got now a pretty good color going on. Now let's also go ahead and do the same with our roughness over here. So we have our roughness. Let's blend this roughness, and we are going to pretty much blend it using a Griskal conversion and a histogram range node. The Griskal conversion will have our actual color over here. The Hgram range node is pretty good, but it will mostly just be for the position. So let's make this a little bit darker so that it's more shiny. And for the mask, we use the same mask that we are using over here and plug it in here. Do I need to No, wait, this is correct, I believe. Yeah, here, see, so now we get some shine in there. Yeah, that works. So we get now like some nice shining in there, so that's looking pretty good also. So now that we've got those things done and we've got, like, this clipping over here, that's all fine. Maybe I want to, like, increase the pain peeling on my small etches a little bit more. So over here, we have these etches. Let's go ahead and mess around with this histrum scan to give a few more of them, get a bit more pain peeling because I quite like the look of that. And one thing that I quickly wanted to show you that we will most likely not be using, but that is how to get, like, the peeling effect that is flipping over. Basically, the way that you can do something like this is you grab a non uniform blur gray scale like this. You then grab your paint mask and throw it in both of these. And then what you tend to do is you tend to like your samples all the way up. Then you go into your direction. And what this will do as you can see over here, it will already create like this little soft look over here. Now, if I add a normal to this, this is how it will basically look like. Well, okay, if we invert it for now, I will just do a direct X. So this is basically how it will look like. And then if you would grab this and you would blend it together with once again your mask and set the blending mode. I always need to look at my norm map for this. Set the blending mode to There we go to divide, I think it is. Then it will kind of cut out, and then what you can see is it will just give you like this effect. Samples are up. I was expecting a better resolution maybe because we just need to set this to 16 bit. Let's go absolute 16 bits. There we go. That's better. So that's why, of course, for this version, it's not the best method. And the reason it's not the best method is because we are not going to go for, like, large chunks, but more for smaller ones. But now you can add a normal combined to this. And if you would then go in and add over here like this layering effect at a very low level, I am going to set to open GL and just do like an invert. Maybe we can add like this or keep this in like a tiny bit here. But you can basically see that if I set this, of course, like a bit higher, you can see that it looks like pain peeling. And that's also what it will do in here, see. So it will give us that pain peeling effect. It does look quite nice. So maybe we will give it like a little bit. Here, I don't have my height map on, you can see it a little bit better. So let's artist like a little bit. I was not actually planning to do that, but let's artist like a little bit over here. Also, quite a cool thing that you could see happening. Another thing that non newfonbluGray scale is quite good at is it is quite good at getting rid of, like, these really small details. So if I, for example, grab my non unfmbluGray sku like this, and set my samples all the way up here. See, you can see that it will try and like some of these details, it will make them a little bit softer. At which point, if you would art a hist cram scan, for example, you should be able to sort of, do something like this where the paint is a lot more fluid, and then you can play around with your intensity, and you can make it like stronger or less strong. Now, the heavy thinging for this so that if you want, we can, for example, literally swap this around. I won't do this, but just for examples. We can swap this around, and then we can say, like, Okay, see? Now we instantly have a different looking paint. So this paint is really like it's not so much it's more for ticker paint that you want to have something like this. So I just wanted to show you that because I know that when it comes to paint, there are so many different ways that you can do this. I will leave this one just sitting here, if I don't extent, remove it later on. But for now, we have a pretty good looking paint going on over here. See? So I'm going to go for this one. Let's go ahead, and as always, let's save our scene, and let's do a quick render image so that we can have a better look at it. Here we go. So Plainwood check. Bre wood planks, check painted wood planks, check. And if you zoom in, you can see, all the detail in it, and that's looking pretty good. Of course, we still need quite so here this, also the reflections good. We still need some balancing here and there to make it all fit with unreal. But for now, we have a pretty good base. The only thing I would say is that if we go to the top, I just want to make my grains a little bit less intense, but that's about it. So we got our paint wood. Now, one thing that we're going to do is we're going to space and add a switch color. And we can go ahead and we can expose this wide away and call this has paint. This way, we can turn it on and off. So we will have the has paint. Let's just press Okay. And then if a paint is true, it does this one. And if it is false, actually, you know what? No, I know even better way. Let's actually delete it. Let's do it over here. Let's do here a switch gray card this time. If has paint is true, and if it is false, it will become a simple black uniform color. And then a paint by default, I want to set to false. And then I want to expose this to the has paints. We already created it, so we can already, use this one. And then we go, save. And let's say that we go in our wood planks, I just need to double check. So here we have our overlapping wood, has paint. Let's set this off. No, this is not completely correct. Let's reset this one. Maybe I did expose it incorrectly. Has paint. White? Okay, so now it works, I think. So now we can just double check. So our wood seems to be looking fine. So this was like the previous one. So our wood is fine, our normal. Also now just gets ignored. Our roughness map gets ignored because it uses a mask. Everything gets ignored now, so that's good. So we got that stuff done. The only thing that I can remember is that my ambient occlusion most likely does not have the paint included. So if we now save this Okay, see? Only things like these trees. I can't remember them looking like this, which is a bit strange. Oh, that's why. So, for some reason, this one is Oh, it's because of a switch gray scale. So we need to go into our overlapping and we need to set the Oh, God, this is confusing. So what is this one? If you can go ahead and you can edit the function graph. Okay, so this is flat planks. So what we need to do is we need to go in here. Flat planks is eager to false. In our overlapping, that's fine. But now we have two has pins and I feel like one of them just doesn't do anything. So if we go into our parameters, let's see, we have the has paint and we have the has paint underscore one. Let's delete this one. You know what? Let's delete both of them. Let's delete both of them. Let's go a reset our switch. Falls by default, expose, has paint. Twy that again. There we go. Fresh start. So our wood is now almost crack. I think it still breaks a little bit because of this, and it most likely breaks because we had to do, like, a mask generation over here that we removed. However, I feel like it's more because we don't have the preset turned on. That's it. It's because we didn't have the preset turn on. So flood planks and he paint is false. So now that's all looking fine. Then if I turn on he paint, so now it is true. This is just testing. So now we have paint here, our nor map details are here, our roughness is here. And then the last thing that we need to do is we have our ambient occlusion, and for our ambient occlusion, we are going to go ahead and add a blend. And this blend will include you guessed it, our mask on top of this. And we are going to set this one m probably to arts that just, like, yeah, just maps it out. Okay, perfect. Finally. So that stuff should do the trick. So if we now save scene, it should still there we go. So that's all looking fine. But now we have done our switch, and now we can just easily turn it on and off just like that. So just press update, and then we can go ahead and we can, like, turn it off whenever we want, and it should still also look correct. I know it can be a little bit of, like, a hassle to go back and forth. Here you can see that there is now also still some strange warping going on that was not here before. So it's all that kind of stuff that we kind of, like, need to look at and make sure exactly why it is doing all of that stuff. So the warping Oh, no way, the warping was going on. It's probably just more intense because we look at it like over here. Maybe what else we can do is, that is interesting. So I think it just cuts it out in, like, some strange areas. So that stuff that we can, of course, we can just balance it out. In any case, just to finish this stuff off, what I want to do is I actually want to give control over my painted wood color, and I want to give that control inside of unreal engine. So that's something that's good to remember. So we now got a good enough base so that we can start by using this base on all of our models. So in the next chapter, what we will do is we will actually start by turning our models into final, and then we can start by also mapping on our wood, and then based upon that, art improvements. Doing environment art is very fluent. You can just keep improving upon things because it's hard to know wide the way if everything is completely perfect. In any case, as I was saying, what I want to do is I want to create one extra output. So press space and type in output, and call this paint underscore mask. Copy the identifier into the label and set the group into material. Now, this paint mask will basically have this mask over here because what we can then do is we can use this paint mask inside of Unreal engine, and inside of reel engine, we can basically just overlay a color on top of it just like we would do it over here. So that's about it. Now, having this done, you can do quite a bit of cleanup on this. However, because this chapter is already a little bit overdue, what we will do is later on when we have done all of our materials because we still need to create our twain materials and everything. Then I will just run through everything and I will do general optimizations. So let's go ahead and continue by actually turning our models finally into final models in next chapter, mapping our texts on it, and it's going to look really cool. So let's continue with that. 24. 23 Creating Our Final Assets Part1: Okay, so what we're going to do in this chapter is we are going to get start with our finer models. However, we are going to take a tiny little bit of like a det, sort of. So what I want to do, because we are going to use a brand new system for adding like our windows and everything, I wanted to go ahead and I already wanted to complete one of our walls, and I wanted to complete one of our windows so that we can basically make sure that the system works in Unle engine five. This is always good practice also so that you know about the workflow that we're going to do, but also for me because even though I've done my testing, the tools are brand new, so they have not yet been tested that extensively. So we just need to make sure that it works. And if it doesn't work for some reason or another, try to find a solution and else, of course, just find different options. So what I'm going to do is, first of all, going to go ahead and I'm going to start by exporting my textures that we at least got like something in here. I will go ahead and for these textures, although we will have multiple different variations, let's start with Wood zero, which is just going to be our bright wood over here. Then you can see it like this. This is going to be our first one that we're going to use. If we go to our wood planks, we want to right click on our wood planks, Export outputs as Bitmap, and you just want to go ahead and turn off the automatic export. Now, this will not save until we press Export once more. But basically, the reason that we're going to do this is because we are going to go into our wood planks. And what I find the easiest way, although it does keep the naming the same, although you can easily just change those names later on in the engine. I like to go in my wood planks and then in final, create a new folder. And for every texture variation, I just create a folder so that we can export it. So for example, this one is going to be layered, boot Bar, for example, I can then select this folder and I can press Export like that. And just like that, having this one, I can also go ahead and do that now with if, for example, I go to the wood planks, I can well, actually, let's update the overlapping planks, and then let's go ahead and just turn on the has paint over here. So now with this stuff, I can go ahead and I can export it again. And this time, I can go like layered, wood painted. Now, one thing that's quite nice, we will not do all of the exporting yet, is because these planks have roughly the same amount of planks that are like the same heights from them, like the same amount on one texture. So because of that, for Maya to preview everything, we kind of like only need these two variations. And then if we also go into our plain wood, we can once again press export. Oh, I pressed export already. I meant to say turning off automatic export when outputs change, and then pressing export so that it saves. And then if we go ahead and go in here, we have plain wood final, and then we can say plain wood underscore A because they don't have as many. And later on we will also ask painted variations. But now what we can do is we can also export this. So now we have exported enough so that we can go inside of wel engine and we can actually test this stuff out. Maybe one of them that would be nice to make sure that it is correct is to go into our wood planks and just so overlapping planks, go ahead and grab your flat planks over here and also turn off the has painted. There we go. We can also just go ahead and maybe export this one just so that we have some difference. This is going to be flat planks bare, for example. Select folder, and then we can go ahead and we can export this, just so that we also have these ones. And then like painted versions, we can export those when we get to Umil. So having this done, now, if we go into blender, the way that we're going to do this, we want to go ahead and we want to have actual geometry as our wood blanks. You can often over here in real life, you can very clearly see it. But if we, for example, take inspiration from games, you can also see that often there's actual geometry here that they push out, and I think that they did it by hand. I do not have the feeling that they used parallax or some kind of other type of geometry because it would be very expensive to use that. Now, of course, sure, you could use Nant for this, and that's where you can kind of, like, get rid of that. But we will not be teaching those techniques in this tutorial. I want to teach you the techniques that you would use for any other type of game engine, and over here you can clearly see how that all works. So, the first thing that we need to do is we over here have our plain well shot. That's a good one. Let's do that. Go down to your material properties and create a new material, and let's call this um layered wood planks bare, for example. Now, all we need to do is we just need to input the base color so that we can see what we are doing. For our base color over here, if we just click the little yellow button and go to a image texture over here, we can now open up a texture. So the one that we want to open up is if we go down textures and we want to go wood planks, final layered woods bare. And I think you can also press a little arrow button. Oh, no, sorry. I thought that would show a preview. Oh, no, wait, that's Maya. Never mind. Sorry. We basically need to get one that we can clearly see how everything is defined, and that might actually be better if we use a height map for this or maybe like a normal map because then we can see it a bit clear. Let's try a norm map over here. So we got our wood planks sitting here all ready to go. If you want to preview your texture inside of blended, just go ahead and go to your viewbod shading, and now over here we can see our preview. It's not looking very good, but that's something that we will work on, of course, right now. So the first thing that we need to do is we need to start by doing some UV unwrapping on this to make sure that we can properly map everything together. It is very important that we get the UV unwrapping white, so we want to go to UV editing. And now to make our life easier, there is an don that we want to install. It's called SRUV. I've outed it into the blender folder and you install it the same way as your Maxivs tools. So you just go once you get to file or so into edit preferences, and then in here, you just want to enter this. So this is the Shu UV. Now, this tool is very handy because it will save us a lot of time and does the unwrapping pretty much for us and makes everything perfectly tillable. So with this tool, what we can do is it will be down here in the RUVtap and you basically select over here your model and you simply press UV box Map. Now, when you do that, what it will do is it if we go to added mode, what you can see is that it has unwrapped our model. Now, I think we can also if we just select everything like this, we should be able to also see it happening. As soon as you do that, you get down here this drop down and you can basically set the size. So we have right now five. So we can do like two, three, four, five, doesn't really matter. So based upon this, we can basically decide how many planks I want. So if I do four or three, I think four. I do keep it even numbers. It's best if we keep it even numbers. And now everything should still be tilable if the tool works. So we got this stuff. First of all, over here, yeah, that does look all nicely repetitive. If we now Okay, so we still have our snapping turn on. If we now go ahead and just hold Shift, no. Let's duplicate this and I don't know why this. Am I snap Oh, I'm snapping to vertex. That's why it's acting strange. Snap to increments. So we do this, and then we just double check. I don't see. Oh, wait. So if I need to look here, it looks like that it perfectly transition. See how easy that was. So just like that, we can just make this all perfectly transition. So now that we know that this one is fine, of course, you can also do this with the other pieces. But for now, let's just temporarily go back into our layout mode. And now what we're going to do is we are actually going to go ahead and we are going to add some extra geometry here so that we can push this out. Now, this geometry doesn't need to be perfect because as you can see, we do have some waviness over here that we might want to reduce later on. But for now, if you just go to Addit mode, just go ahead and press CtraR I should do that here. Contour R. I'll have snapping on. Third time is the harm, contour R. And I'm basically over here. I'm just going to go ahead and I'm going to art. My segments here. It might seem like a lot, but compared to the expense of using or parallax or doing actual displacement mapping and everything, this will still be quite cheap because remember, it's a very large asset. When you have a very large asset, it's not that bad just add a bunch of extra geometry to it. Sometimes you even need it for vertex painting. Like we will most likely need it for vertex painting anyway. So what we're going to do is we are going to add this stuff over here to get started with. Then what you want to do is we want to just give it like a small bevel because these ones actually, yeah, it kind of depends. If we are going to go for the flat planks, then we cannot give the bevel, but if we are not going to go for the flat planks, then we do want to give the barrel. So we most likely end up with a few variations. Just keep that in mind. So let's go ahead and let's go in and I'll shift. And let's just go ahead and select all of this over here. And we can just re unwrap it later on, or you can use the tool, or we can just go ahead and now do like Contra BEC, and then it will not actually change the UVs, but we just need to have this a little bit like that. So that's what we can then do is we can basically I'll shift and just click on this one. Oh, try it again. Click on this one. And then we can basically move this one forward. See? And then it will basically just give that same effect. So if we go ahead and just do that for all of them, so we are basically just moving them forward. So it's always a bit annoying for me to select, but it kind of depends. And this way, we can also give it more variation. So what we're going to do is we are going to get started by moving it forward like this, and then later on also in those intersections, we can just add like a few extra edges just to make it more interesting. And because we are going to most likely do vertex painting where we can paint between, for example, like our painted wood and our bear wood and everything, because we are most likely also going to do that. We want to add some extra geometry to this anyway. So like this, I can just go ahead and I can add some more variation. And then the cool thing is, so after this, what we will do is we will turn our window to vinyl, and then you can kind of get a sense for what I was talking about all this time with like having the windows just sitting on top and everything. Uh see, am I still going while? Yeah, I am. So we do this stuff. And then, yeah, you can imagine that when we do our other planks, we kind of need to have a different version. But that's something that's just details. That's a variation that we can add. That kind of variation, I can just do as a time laps because it's just very repetitive. So we got that stuff over here. That's all pretty good. Now what we can do is we can decide on some of them, for example, over here to also place a contre and let's say that we do another one down here. I'm not going to do this everywhere, so most of them will just be fine. But let's go ahead and give it like a few of them. And then if we go in and I believe that for this one, we can pretty much just select all of them and already at the bevel. It does mean that we add like a bit of extra geometry because technically, you can also just add like a bevel over here. But when you do that, well, I guess if you do this. If you just add this, you can add the bevel, and then you can see that it does add over here like this effect down here, which should not be too bad, but just keep that in mind because it does break your topology flow. While if you're adding a bevel everywhere, it will not actually break your topology flow. Having this one done, what we can do is for this one, we can, for example, let's go ahead and I don't know, maybe, like, move it down and then maybe in a little bit more. And maybe also over here, move it in. So that we basically get this effect. Maybe we need to place our edges a little bit closer. Let's try that. Let's, let's try this one. I think I went a little bit too far. So let's just do contra B like a really small one. And then for this one, if we go ahead and just move this in and then down and you don't have to move it in completely, just needs to be sort of in. Here we go. S. So then we get some small differences. And then what we can later on also do is we can even in geometry, we can even over here, add some small variations where our wood is even warping which geometry itself. You see? And that can also give us an interesting effect over here. But first of all, so we had one over here. Contro B. Nice and small. Let's grab this one. Actually, no. Let's grab the other one for change. Let's move this in over here. There we go. So we got that one. Let's see. What else do we have? Over here, we have another one. See, this might be a little bit time consuming, but small variations like this are quite nice to just have. And I guess that it doesn't take that long to do small stuff like this. There we go. Over here, we have another one. Let's go ahead and use this one over here. Like this. And although you don't see me do it, you can just, of course, go ahead and press the dot on your numpad to basically zoom into stuff. The reason that I don't often do it is because it means that I need to take my hand off my mouse, and I don't really like doing that because well, I'm moving stuff. I'm not really in the mood then need to keep switching back and forth. It's a picky thing that I have. But basically, we can go ahead and we can also over here. Let's do this one. And then you can zoom in. It does zoom in sometimes also quite far. And just like that, we can add some small variations. Okay, so we got that stuff pretty much done unless there is one very obvious one that I forgot. Now, we got those ones done, so maybe this one is like quite an obvious one that I forgot because I have a short term memory. I already forgot where I actually placed all of these. But this one is quite nice we close together. Here we go. Then what we can do is we can also don't do this on the edges because then it will break. But within these areas, we can go in and for example, add some small variations by simply moving up lengths up and down like this. And those small variations, it will be appreciated on the bigger scale that you just get these really small variations. You can also see them over here that there's some small variations going on here or there. Of course, I'm not spending as much time as they did on red de redemption, because it's logical, it's a tutorial. I don't I'm not a team of artists. But if I now go ahead and I have this stuff and just do like a wire frantgle. Here you go. Here you can see that now it does have quite an interesting look. So we got this one over here. So that's pretty good. Let's save sen. And now what I want to do is I also wanted to go in, and I wanted to make one of our windows final. So let's just do that first. Let's go to our store window over here, as we have this one over here. And let's turn on my wife Rm toggle. I first of all need to see exactly how this looks. So okay, so I use this one, but that's not really a handy close up. What I think I'm going to do is this one is great for like a small window, but I might want to go in and actually find some better reference for like our store windows to get something nice out of it. So I'm going to go ahead and I'm going to Oh, no, you know what? That stuff might be good. This stuff is good enough reference for me. Let's do this one. So okay, this one. So we are just going to create the outer profile and then also the inner ones. And then for the windows, for now, we will just leave them like blank. It will just be like a plain. But having that stuff, one thing that you need to keep in mind is construction of the store windows. In these times, the construction should be very, very easy. As you can see, it's just like a block on top, a block with a small profile over here on the side and on this side, a block with maybe, again, a different profile on the bottom, and then it just has these extra pieces in between. Okay, so let's go ahead and start by just creating a base profile. So we have our store window over here. Now, for this profile, I've already showed you how to do this with the roof trim. So Shift A mesh, and we are going to get started with like a simple plane. Wait, let me just bring this up over there. Now for this plane, we can pretty much already turn on our snapping to increments. And let's just rotate this Oops 90 degrees like that, and then we can already start snapping this to the increments. Okay, so for our mesh, actually, let's start off snapping to increments for a second there. So I need to see I do not want to. It's a little bit bulkier than what we had, but we can very quickly go wrong with this in terms that the bulkiness just looks off. So let's just go ahead and just push this a little bit more in like this. And then if we go ahead and go to Addit mode, we can grab our shape over here. So let's say that, okay, at this point, actually, we can even probably do switching between Altex. So at this point, that should be fine. Then we do like an E. Sorry, LTE, and then we push this out. I'm just following the I'm just trying to follow the reference right now. So it looks like that I'm pushing this out. And then I do another Alt E and I just right click so that it's leaves in place. Then I'm pushing it up until here, probably. Then it looks like another Alt E. Push it out. At this point, let's switch over to our X ray mode so that I can see it. Alt E and then another one. I think at this point. Yeah, I think I just want to have roughly the same length as that one. Let's do that. Yeah, that looks fine. And then another Alt E. Oh, sorry, Alt E. And then we go back in, and then we are making this one a little bit ticker. Probably something like this. Yeah, that should do the trick. And then if we just turn all snapping, we can do one more Alt E, and then we can just push this back in. At which point, we can select these two pieces, and we can just do a cue and a bridge edge loop. So let's do quick pivot the rear, push this up. So that's pretty much our profile. So quite easy. Let's go ahead and here, let's push this one up until actually, not up until the entire way. Let's push it up until this point over here. So we have this one. I still feels a little bit thick, to be honest on this side. Let's push this back in a little bit, just to make it feel a little bit thinner, because if we make our profile a bit thinner, it will make our window feel a little bit longer and a little bit bigger compared to when we have this really big bulky profile. So at this point, let's do a sorry, let's select this. Let's do a quick pivot. And let's just go ahead and duplicate it, and then I'm going to go in and I'm going to just rotate this 180 degrees and push this one around this point over here. There we go. Okay, so we got that one. Now, the top profile seems to be quite easy, actually. It seems to be like the top profile is pretty much this piece over here. Then we just rotate this. And it seems like this is just sitting on top. So if at this point, let's just go ahead and temporarily hide this. So it looks like this profile is sitting on top up until around this point over here. And then if we go in and let's see. So it looks like that it's sticking out a little bit on both sides. So let's go ahead and do that. Honestly, we don't even need to do it on this side because we can probably just mirror it. So let's just focus more on this side, and then we'll mirror it. Let's do a contra R, and we are going to have a contra R sitting over here. We are going to have a contra R sitting over here, and the reason I'm doing it here is that now it becomes easier for me to place these here and here. Okay, that's looking good. Now if we go to our faces, we can go ahead and we can just, um, Oops, delete those pieces and actually delete all of this. Maybe it's handy if I do led eggs that I can actually see. Oh, no, wait, over here. One last thing I need to do. So let's actually do that because I need to add one extra loop over here so that now when I delete them, I don't need to, like, re art that entire face. So we got this stuff over here and we got this stuff over here. Except for these. I do not want to delete those. That should do the trick. If I just quickly press height? Yeah, okay, so that should do the trick. And oh, sorry, I accidentally turned on a different model. I don't know which one I turned on. Okay. Weird. Fair enough. Let's go ahead and let's grab over here these two edges. Wow, I just came from Maya, so I still need to once again, need to get a little bit used to the blender controls. And let's just do this. So now if we do Control Alt H, it looks like that all we need to do is actually, at this point, let's delete this one. And then let's select these two Q bridge edge loops. See? So at this point, we don't really need to do anything because they are kind of like just sitting here fine. And we just kind of want to have these nicely sitting on top over here. So at this point, let's do a quick bivot, edit, and let's do a quick mirror over here on the Y axis and do a bisect. Oh, perfect. Think that works. So Console A, let's double check. So if I just go ahead. Oh, no, wait. I almost worked. Looks like we need to push it a little bit more in this direction just to fit it all in. See? And there we go. We have a very basic looking top window. Now, the bottom window, it looks like that the trim is a little bit different. So we are going to pretty much use this one. So if we do a quick pivot, we can go ahead and just Ba, I keep you holding shift. Oh, that's honestly, when you are using multiple programs, you know what it's like. It's quite annoying. How like one small button is different from another one. But unfortunately, in my job, I need to use mostly Maya and blender and also often three years Max in between that. So it's always a bit tricky. But in any case, that's just my fault. That's not up to you. You shouldn't need to see this stuff, so I do apologize. I'm going to add a Edge over. No, you know what? No, that's too difficult. Let's do this a bit easier. Let's go ahead. I don't know why I'm doing that. I can just do this. Let's grab this bottom, and I'm going to move this one down and then press control E. And then what I'm going to do is I'm going to go ahead and select these ones over here and then do like Alt E to extrude this one down again. And that should pretty much be enough for what I'm looking for. So here, so we get a little bit of like a piece here. What we can do is we can also go ahead and select this side and maybe push this forward a little bit more. And you know what? Let's also select this and push this forward a little bit more. There we go, see. So it has this little trim sitting around it. Okay, that is looking pretty good. So that's a pretty decent basis. Now, for these pieces, we are going to use the weight normals technique, which we often use for structure pieces, which means that we need to add bevels to this, and then we need to go ahead and add the weight normals modifier. That basically looks like this. So we got this one over here. We basically for simple pieces like this, we can add a modifier, and we can add a bevel modifier. Now adding this bevel modifier if we go to geometry and turn off clamp overlap, and I said the amount way lower, you basically want to give every edge a small little bevel like this. What will happen is when we have this bevel, we can manipulate the vertex normals to make them look like they are hypol. The way that you do this is so you have your bevel, so at this point, we can probably just go ahead and press A. And one thing I was worried about, which I can see over here is this stuff over here, where some of the edges are now not correct anymore. For this stuff, I guess it might be easier if we just go ahead and just add some pass to this. But let's first of all, just continue this. So what you need to do is you need to go to modified and wait at normals. Now, it will give us an error saying that the outer smooth needs to be turned on. Outer smooth, you can find by going down into the object properties over here, normals and then turn on outer smooth. Now, if I turn off my wife Rental, what you can see over here that has happened is over here, although yeah, let's set the weight to like 100 to make it a bit sharper. It will add smoothing to our meshes, and then it will create almost like a buffer in between these bevels, and that's called weighted normals. There is a much more in depth tutorial on this on my YouTube channel. I'm going to keep this nice and easy for now because it's quite a technical explanation. But basically, what this will do is in the engine. I will look hipoly even though we only added a very limited amount of polygons to this. And this is how it works, basically. So we got this stuff over here, that's pretty good. We still need to add some imperfections to this, but for now, we have this one and we can then well, we can probably just duplicate this. However, one thing that I was worried about is that if we go over here, if we temporarily hide this, turn on my wife Rm toggle. So, can I maybe just bridge these to basically make everything go a little bit better. So these ones I can sort of bridge. Over here, there seems to be a bit of, like, messiness going on. Let's see. Let's bridge these also. Yeah, so then this one, if we shift, let's do a Q. Oh, hey, we don't have that one. Right click, in that case, and just press fill, and that will kind of just fill these faces in. Now, if you go ahead and so over here you can see that we kind of need a loop still, we can just technically do a contra R. We are going to do optimizations later on anyway, select these two etches, and then merge them at center. Should have, that should have done the trick. And now that is at least filled up. So I'm not worried that now if I press Alt H, that will be fine. So we got this one over here. Let's at this point just delete that one. The blockout. We don't really need it anymore. So we got this version over here. I think I still need to now go in and redo my mirror, Y, and bisect control A, lt X, and just go ahead and push this out to make sure that's correct. Okay. Yeah, that's all still looking fine. And then for this one, we can also go ahead and we can add our bevel, and we went to shading, turn off clamp overlap, and we went down to quite a low value. 0.01 actually seems quite high for this one. Let's do 0.005. There we go. So now we have this value. Over here, it might still show, like, a tiny bit of messiness, but it's not that bad. We can press contra A, and oh, did it odd bevels? Wait, wait. I did not dd bevels here. That's because we still need to get rid of those. We still need to do optimizations. But if you would add the weight normals to this, don't forget to turn on outer smooth. You can see that that actually does fit in, oh, actually back to 50. That does fit in quite well. And then for this one, you, for example, just want to push it out in so that it is just clipping in here. As I said before, we are going to keep for this project, the models very easy. You can go much more complicated in this if you want, but I don't want to. So I'm going to go ahead. Select these lines and just press or x or press delete, and do edge loops. So we got those ones over there. And then over here, what you can do is you can, if you want to optimize this by pressing the target belt Trcal and then going in here and basically start welding these pieces together like this. So that is a little bit time consuming. Be it's time consuming, I will show you how to do it for this one. However, I will not be doing it myself for the other pieces. I highly recommend that you do do this for the other pieces because else it's just like waste the geometry. For me, it's just because this is not for Well, it is sort of for video game, but it's a tutorial. So I can handle, like a few extra poles, while for other games, you might not want that. Another good thing that you can do is you can merge it down here, and then you can see, like, Okay, so where does this bevel end over here? I can select this. Now if I go back to my selection mourn of target Atal, I'll shift and click this. What will happen is that because we merge this together here, this is where the selection will stop, and it will then also stop here. At which point, we can just press X and delete the edge loops. So that's another easy way to do that. So we got this one. I guess that once again, if you want, you can go ahead and you can do a mirror. I'm really bad with forgetting when I actually need to do the final mirror because I keep changing my mind. Bye. So just like this, you can just nicely. Whenever it does not affect the geometry, you can often just merge it together like this. It kind of depends if you want to animate like characters. Of course, you need to go for Wi green topology, but this is not a character to toil. So, for us, as you can see, like this, we can nicely just merge this altogether, which will give us a much better result. Okay, so what we will be doing is I will finish this off. Let's remove our weighted normals by adding one last mirror. And then in the next chatter, we will simply go ahead and we will continue this process of creating this window. And once that is done, it will look turn off target togle. Once that is done, it will look nice, and then we can preview it inside of heel. Let's rear the weighted normals. There you go. Turn off our wireframe toggle and just like that. See? So that does look like it has, like, a nice connection going on. Okay, let's go ahead to the Sava scene. In next chapter, we will just go ahead and we will continue with this window. 25. 24 Creating Our Final Assets Part2: Okay, so let's continue with our window. This part is almost done anyway. So let's see. We have the top part down. We have the bottom part down, so all we need to do for this one is one extra quick pivot, duplicate this. And just like relocate this over here. And just kind of like match the wall with the back wall like this, and then set the other one, just delete it. Okay, so those two are all fine. Now for this one, there's my wife frame. There we are. There's my re frame. So for this one, oh, yeah, so about the optimizations, as I said before, I will not be doing the actual optimizations. I think for this one, however, it is easier if we redo this. Yes, it is probably easier if we redo this. So let's just go ahead and press Shift H, which will hide the unselected. I tend to keep forgetting about that. And then, see, target welds weld actually, know what? I keep forgetting. I can just do a mirror, so we don't even need to do that one side. I just need to weld this stuff. And then over here, we just need to do like a connection. So that actually looks a little bit strange, but let's just see what we can do. Q Bridge hatch loops. This one, we can do bridge edge loops. Oh, yeah, wait, this does look normal. Now I remember. For me, it's another day. So in my case, it was quite late yesterday, so, right click Phil. So for me, this is a fresh new day, so I just need to warm up again. Anyway, we have this stuff over here. Let's do a quick haf or chamfer bevel. No way, so it's still remember my settings this time. No way, I did not remember my settings. It just happened to be looking quite good. So 0.005, probably. That seems about all white. Let's go ahead and press Contra A. And now if we just go ahead and press Aldag, we can grab this piece, do a mirror on the Yaxs with a bisect, Contra A again, and at this point, we can just go ahead and select this side. Kind of like oh, hello. That is incorrect. Let's EU know that. I think I went the one way around. I should have flipped it. Let's try it again. So, okay, we got this one. What the hell did I do? Mirror on the Y axis. That is correct. Is this one not? Oh, I need to flip it. That's strange because the other one we didn't need to flip, so that's what threw me off. Just flip it around. So apparently, for some reason, probably because we rotated, it's 180 degrees. It's the opposite way. So, there we go. So that now fixes it. That threw me off for a moment there. So, let's see. We have this one. Let's turn off my tug Dell toggle because that one was still on. And then we could just kind of snap this together over here. But that should be fine. Like, at this point, we have a pretty decent window frame for something like this. So now all we need to do is we have these window frames over here. Now, these ones we can pretty much just grab like a cube almost for it and, like, inset it. And then over here, I do want to get a tiny little profile just to make it look still a little bit more interesting. For that piece, let's do a shift A, and let's just create a cube and then split it up into two. So this cube, first of all, we are going to decide on, like, the general thickness of our window, and I'm going to make it quite thin like this, and then we will, of course, just have one of them extending out. So I grab this piece over here. I now just move it nicely into place. Select these sites and move them also into place. Here we go. And now for this one, what we can do is if we just go ahead and move this up, we can just do like a contra R. Shift H, contra R. Oh, diode, contra R. See? I keep forgetting about stuff like that. There we go. Now, that one is exactly in the center, and knowing that that one is exactly in center, now what we can do is we can just go ahead and we can pretty much select this bottom side over here, and then we can separate selection, which I already had. So over here. And just as refresher, that's one you can find in mesh, separate and then selection. So now they are two different meshes, which is good. So for the bottom mesh, mesh, what we can do is just do a quick bridge edge loops. Same for the top mesh, so that now it has become one thing. And then for the top mesh, I'm going to do a quick pivot and I'm going to move this one forward. So that we actually have like there we go. So that we have, that type of window. Yeah, that's looking critical. Okay, so for the inset, what we need to do for this? I think we can actually make one window and then because it will fit white. Yeah, it will fit totally fine. So let's just make one window. And then this window, we can kind of, like, just delete for now. I'm going to go ahead, select the bottom or the front and the back, press I, and do, like, a nice inset. And I'm going to make the inset thin on the side, and then a little bit thicker on the horizontal side like this that it kind gets pushed in a little bit. Now, at this point, if I do E, it will most like not work, but if I do a Q and extrude face along normals, it will nicely extrude in like this on both sides at the same time. There you go. While with E, it would not do that. Then do one more inset like this and then press delete. We can just go ahead and we can delete the phases over here. Now, at this point, we just go ahead and I'll shift to these two and do like a bridge edge loops. There we go, that bridge nicely. So there we go. That's like a very basic frame that you already have. And all that we need to do is we need to put in some extra frames in between here. For these frames, you can see that it's, we don't have the resolution to see about this, but that doesn't matter. It should be very basic. So we only need to have these on the outer side. And because of that, I think I'm just going to grab a cube. Technically, even this profile over here, we technically don't even have to have it, but I just wanted to make it just in case because it was almost no extra effort. In any case, I'm going to grab this cube, and this cube will basically become our profile. So if we go ahead and move it over here, Um, let's see. So this is fine. Let's go into face mode. We kind of want to move this halfway here. I'm already going to scale it up, and then I can see that I probably need to scale it in a little bit. Here we go. Let's make it a bit thinner. And for this, what I had in mind is if I do a contour R and add two edges like this, I can kind of scale them out and I can just do like something very simple like an ld E, which is just like an extrude and we are going to, like, extrude it like this. Then at the back, delete that over here. For this one, if you want, if you want to actually, don't even not if you want, go ahead and select these lines. Press contra I to invert it because we don't actually need those. So delete them also. And then all that we have left is these few pieces. With these pieces, I guess that we can just do manually, where we just do like a contra B. We don't really need to use the ham for modifier. Once this is done over here, that is totally fine. So this is the one that we can use. And what we will have is we will have the glass actually sitting in between these grooves over here, and that will work quite well. What I'm going to do for this shape over here is I'm doing a contre ar here and a contre R here. And you probably guessed why it is so that I have an exact center point in which I can place my model. So I can now simply place it like this. I can select the top and just make sure that the top is moved into over here like that. And now all that we need to do is a quick pivot, duplicate it rotated 180 degrees. It is interesting that you can see over here like it's not exactly in the center. It kind of depends on how you look at it. You see? I think this is actually exactly in the center of because we have set it in the center here. So maybe there might be like, a small offset. And now for this window, you guessed it. Do a bevel. Go to Jumtree, turn off our clamp overlap. Yeah, the modeling of this is so easy that we can do. Um, that is not giving me a nice result. Let's go ahead and quickly press Q and reset all of the transforms and try again. Is that better? 0.05. Wow, 0.01. Okay, 0.005. It is better. It's just way more sensitive now. So as you can see, the settings change whenever we reset. Let's make it bigger. 0.03. Yeah, let's do contra A. Should do the trick. Okay. So we got these pieces over here, and for these pieces, all we need to do now is maybe already like Ara glass, which is just going to be a simple plane. And this plain I don't want to split up this plane into the four windows because what I later want to do is I want to create a very nice looking roughness map, which will basically give glass to look almost like this that you cannot look through it. But it's not like a very plain looking glass. You cannot see through it, but it will actually look very interesting and, like, dirty and everything like that. And I think that will look quite nice if we do something like that. So over here, I think it's better if I first of all, do this one so that I can actually see where I'm placing it. There we go. So we have this glass over here. And instead of just moving it everywhere, what I'm going to do is I'm just going to duplicate it. So instead of me making one large plane, I'm just going to go ahead and I'm going to create two of them over here. Okay, so we got this window done. We can now go ahead and we can pretty much select it, duplicate it. And then on this side, we just need to move this one back, I believe. Until just sitting like that. And there we go. If we now turn off our if Rm togel, you can see that now we have a window. So what we're going to do now to finalize this is we are going to add small variations. So with the small variations, basically going to be this. You go to Add mode, you place a few contre ars like this. And have I showed you this before? Well, yes, I have. Technically, it's the same as on the wall, only this time we do it on models. So we place like a few contras here. We then tend to go to Vertex mode and just, for example, grab a few pieces and move them out like this. Be careful to not overdo it. If we overdo it, you will be able to see the repetitiveness because this window is being reused a lot. So I want the artist because it is nice to have, like, some organic looking variations. However, I don't want to overdo this because then it will not look good at all. So vehicles see me, randomly selecting some pieces and just making, for example, the woods a little bit more uneven and stuff like that. We can do the same over here with these etches, just kind of move them back. And I don't know if I need vertex painting for this yet. I don't think we really need vertex painting. So for now, we're not going to add any extra geometry for that kind of stuff. But just keep that in mind for maybe, like, the future. Let's see. Let's do this one also, move it in, so that's like a little bit sunken in. There we go. Small variations can actually make a big difference. I would say, at this point, just go ahead and start adding your weight to normals. Don't forget to turn on your outer smooth. Same over here. Actually, you know what, for this one, let's just go ahead and select these pieces over here, Control J to join them, and then turn on Oto smooth. That saves us a little bit of time. Weighted normals over here, select them, Control J, join, out to smooth, weighted normals. And this one we also did. So a stir of five from Tokon as you can see, we have this nice high resolution looking window, even though it is still game resolution. And I froze to save my seam before I lose it. Okay, perfect. So we got our base window done, and we got our door done. Last thing I'm going to do with my base window is I'm already going to just do some basic UVN wrapping so that we can actually add the wood to this just so that we already see how it looks. I think it's good if we just do the UVN wrapping per model instead of first making all of our models and then doing the UVN wrapping. So for this one, except for the glass, the glass, we can just temporarily hide. So the glass does not need to have this material. But all of these pieces over here, I want you guys to use the same material and call this plain wood. Oh, I forgot the blend of dust this. Which one did I add it to? I added to one of them. In any case, I forgot about blender dust this, so you cannot just multi select materials. You need to select one. Add your material. And then what you need to do is you need to go ahead and select the rest. And then you need to go down here to this little arrow button and press copy material to select it. And when you do that, it should have the same material on every single thing. And you can see that over here, the name doesn't change. And then if we go into our base coolor, we can grab an image exture, open this stuff up. And if we go textures, plain wood, final, plain wood A, we can use our base color, and then it should show up. On all of them. See? Of course, no UVs yet, but it is fine. For these ones, we can pretty much just use the same sure UV map for this. So for these, let's do a box map. And then the first thing we need to do with a box map is we need to decide on the direction and we need to decide on the size. The size is actually quite good. The direction, we still need to kind of like mess around with this, so don't get me wrong. Maybe it's even good if we just press Q and reset all the transforms. Let's try it again. So box map, you'll see when we reset the transforms, it's able to read every direction. And over here, you can actually set the rotation. So if we set this to 90 degrees on all of them, over here, you can see that now it has flipped around 90 degrees. So that's perfect. Now we can do the same over here and it will remember our settings. And then, for example, for this one, you can see that it's the Wong direction because we want to go with the grain, you would almost never really cut against the grain. So then for this one, I can just set this back to zero. Oh, then this one seems needs to be 90. See? And just like that, it still saves us a lot of time compared to doing the manual UVN wrapping. This one, I feel like there's No, this one, maybe? Oh, no. Oh, wait. Sorry, I'm looking at the wrong model. This model over here is going to be a bit more interesting. So we are going to do the box map. And let's just go ahead and it doesn't really matter which direction we go for p zero to make o, so this one needs to stay in writing, because we need to go into our UVnwapper and we need to change these a bit round. So do also box map over here. So what I mean? So we now have these pieces. Now, at this point, we just want to make some small changes where, for example, we grab these pieces over here. We go to our UV editing. Okay, let's just go over here. It's still showing the other texture for some reason, we can just press that little cross button over there. Sorry, we can press the little cross button over there to get rid of it. And for this one, what you want to do is if we go to face mode, we can just go ahead and we can double click this one. And whenever we have one selected that we want to rotate, we can just go ahead and we can I tend to just go over here to this rotation tool, and then I just tend to go in and rotated 90 degrees using snapping, like this. And that's all I need to do. Don't worry about overlapping. We don't need to do stuff like that. Now. If we decide to create a mask later on for some dirt, that will be something that comes later on. So now you can see that now they are rotated. They are in the right location. These ones over here are a little bit more tricky. So we kind of need to decide if it is word for us. To rotate these or if we want to actually keep them connected because that will create a seam here if we rotate them. So having these pieces over here, we can just go ahead and we can rotate these 90 degrees like this. And then I just need to see if I can live with the seam that we have created. So let's go into MaxVstols turn of Y, Fram toggle. You know what? I can live with that. It almost feels like it was intentional that they kind of merge this together, and it's not like one solid piece of wood. So, I think I can live with that. And else there are ways that I can hide it. So for now, let's just do that. Same technique over here. So we have this one. We need to rotate this 90 degrees, and then we need to go lt x, select this side and this side. Oh, almost press the lid, and we need to also rotate this one. There we go. The most basic UVN wrapping you can do, but it works. So that's all that matters. So we got our window over here. That's pretty good. Let's go ahead and do an artH. And then all I'm going to do is sew these windows over here, let's press Control J. Same over here, Control J. And, oh, so that's where I must have added my wood. Let's get rid of that material, create a new one and called the glass. And then if we just go ahead and select the top one over here, we can press copy material to select it. Oh, hello. I thought I turned you into Glass? Okay. Let's get rid of you. H, I don't trust that. So other way around. The direction in which you need to select is often a bit strange. So now is working. So if I did not really narrate over it, I think I accidentally selected this piece over here, and I really do not want this piece to be wooed. So what I want to do is I'm just going to copy material to select again. So basically, the way that it works is the one that is highlighted that has your material needs to end up being the highlighted version at the end. If I do this, it will automatically highlight the second selection that I have created, but that does not always work. So sometimes you see me doing it the other way around, where I first select the models that do not have the correct material. And then at the very end, I select the model that does have the correct material. When I do that, you are able to copy of your materials. But I am aware that it is a little bit confusing sometimes. In any case, let's get this done. So I'm going to go ahead and this window, let's just select it, right click, move to collection store window. So that one is all ready to go. What we can do now is we can open up in real Engine. Oh, wow. 21 minutes already. In the next chapter, we will go ahead and open up in Real Engine, and I will actually showcase to you importing some materials, getting importing some texts, getting some very basic materials. And then what we will do is I will show you the workflow that we're going to do to add our windows to our pieces. So let's go ahead and continue with that. 26. 25 Creating Our Final Assets Part3: Okay, so here we are in Unreal, and we are going to just test this out. So this is how it's going to work. Let's go ahead and quickly drag in our plane wall short to get started with, and let's just rotate this 90 degrees. Then what we're going to do is we have our store window over here. Let's also rotate this one in here and just kind of place it in, like, a logical location. Maybe like I know something like this and maybe I do like, two of them. This is going to be tested that I'm going to show you the workflow that we will be repeating many, many times in here. The only tricky thing is that this workflow, we can only do it at the very end because it will duplicate models. But I'll show you what I mean. Now inside of blender. Let's go ahead and select this one. And let's go ahead and go file export FBX, and we are going to export these to unreel store window, where are you? Store window over here. Oh, onalslect objects, definitely. So this one is going to be our store window. And we can go ahead and we have plain will short over here, which we can also go file export, FBX, plain while short, like that. Perfect. Let's have a look. Right click re input on the store window. And yeah, just reset the AVX. Look at that. We have a store window and as you can see all the weighted normals are all in here, so that's nice. And then our plane while short, we can also do that, reset the AVX, and there is our plane while short. Shadows are a little bit etchi, but remember, you can just go in here and temporarily set this to 200 to get, like, a better result. But I'm not yet going to do that because I know other techniques to make them look better later on. So the next thing that we need to do is we just need to import our textures. I'm not going to import everything yet. I'm just going to import the ones that I need in a per use basis. I want to try this out where normally I always do first all the textures, then I do all the models. Then I do all the UVs, and then I do all the importing. I now kind of want to just go back and forth a little bit, because I feel like that maybe this gives for you guys, it might feel like a little bit more relaxed, especially for me also. So new folder, plain wood. And in this plain wood, we will go ahead and do a variation underscore A. You cannot see what I'm typing. There we go. Then I'm also going to do New folder, wood planks, and in wood planks, variation underscore. Oh, variation on score A over here. Okay, so for our plain wood, this is going to be very simple because we just need to dig them in. So we have our plain wood final. And then over here, we need to grab the plain wood A. It's quite important that we use this one. And for our shader, yeah, let's just import everything except for the height. We don't need a height map for this. Yes, because it's plain wood, so we don't need a height map. So let's just do everything except for the height map and just drag it in here. Now one thing that's very important is that we have created this in OpenGL. However, UNL engine reads as direct X with your normals. So all you need to do is you need to double click on your normal. Press this little drop down. Not that one. Oh, hello. Are you not setting norm map? Oh, wait, you are setting norm. They changed it. There we go. Disc drop down. Sorry, they changed the windows. I forgot about that. So go to the texture drop down and simply drop down the button and press flip green channel. And I'll just say this one. So that's what we will be doing nonstop. Now the next one that we can do is we have our so that's our plain woods, and now we also have our wood planks, final, layered wood there, this one is the one that I need. For this one, we can also have it. Now, the height map is going to be a tricky one for this one. If we are going to do our height map, and we don't need our metallic. Our height map, we will need to have it also in the Alpha. So let's go ahead and start by importing this one. Oh, make sure to go to the right folder. So let's start with importing this. And when we need a height because we will most likely use our height and use parallax mapping for, like, very plain walls that are in the distance that do not need to have anything special on them. But for now, this should be fine. So let's just double click and flip the green channel for this one also. Okay, perfect. So to show you how this works, we are going to create a very basic material, but later on this will become this very complex material. Let's go into our materials, right click material, and just call this main underscore master. So this will be our master material, and this material will later on support pretty much every single model that we have created except for a landscape. We can open it up just by double clicking. And all that we're going to do for now is we are going to go ahead and go into, for example, over here, our textures, and let's grab the plain wood as like a base and simply drag these in here. Now, you can just click and drag to basically move them away from each other like this. And then all we need to do is we have a base color, drag it into your base color slot. You have ambient seclusion into ambient seclusion, normal into normal. And roughness into roughness. So you can see very easy for now. One thing that we do want to do is we want to right click and we want to convert to parameter on these texture files and call this base color. What this will do is it will expose this parameter. It's the same way as that we've done in substance designer, where it will simply expose our parameter, and then we can enter different texture maps on a engine level basis. So I will show you what I mean. So this one is AO, which by the way, let's just flip these two around. This one, right click roughness and this one right click, convert the perimeter. Normal. So that is now done. Last thing that I want to do is maybe give us control over the tiling. For that, if you right click, you can get this window, and you want to add a texture coordinate. Over here, this is the red button. Now, this button itself, it cannot be turned into a parameter. If we want to be able to control our tiling via a parameter so that we expose it and we can control it, we need to also add a scalar parameter. Now, you can type in scalar parameter in here or you can simply hold S and click once, and that will create a scalar parameter, which we'll call tiling. Set the default to one. So the tiling is probably one. Then all we need to do is right click and multiply because we are multiplying these values, so we are adding them on top of each other. So we have this tiling. So one by one by one, in this context, it means that nothing changes. But as soon as I set this to two, these will also turn to two. You will see what I mean. So it doesn't need to be very technical. We just want to drag this into our UV slot of our textures, and that is our material for now. So that the way that this works is that now if we go into our materials, we can right click on our main master and press Create material instance and call this bare wood variation, A, for example. And then when you open this up, you can see that now we can control the tiling. And if I turn it on and set the two, you can see in the sphere that the tiling changes. That's the general idea of this. So with this done, although we have pretty much done our tiling pretty well, we can also right click and duplicate our material instance again, or you can just create a new instance and call this wood planks variation A. For this one, we of course, need to enter our wood planks textures so we can turn these pieces on. It's often easier to just drag your window down here. And then what we can do is we can go to our wood planks and we can drag in our base color, our normal, our roughness, and our ambient occlusion, and then we can brush save. That's it. To artists, good practice, do not just drag in your material on your model, instead, open up your model like this, like we've done before, and add it in here. So if we have this model, let me just quickly also open up my window. And then our windows, of course, will not have a actual glass yet, but this is basically how it's going to be. Plain while short. We can go to materials, and we can grab our wood planks variation A. And there you go. So we can instantly see that that is working. And for our store window, we just want to grab our bare wood master over here. And then maybe just do, like, plain in your windows over here. So this is what we have right now. Now maybe at this point, I will just temporarily set my resolution to 200 for, like, my wall. But as you can see, now we have a wall over here, which is looking pretty good, although it still needs some variation, but it is looking nice and realistic. So we got a really nice looking wall, see? And you can already see that that will also automatically be applied everywhere. So, for example, over here, you can see that we almost already have like this entire thing built with the walls. So now this part is important. The way that we are going to do this, that we are going to have our windows in here is, of course, later on, we want to have these windows nicely embedded in here so that the frames only just stick out licely around here. But then, of course, we can no longer see our model. So, for example, we place this around and we just make this at like a nice position like this. Let's say like this. For this, the way that we are going to do it, we are going to use our modeling tools. The modeling tools are brand new in nal engine five. They are still in Beta, and there has been talk about maybe not including them into the first release, but for now they are existing and they are super useful. So I just have faith that they will actually include them. These modeling tools, once again, if the tools are not included, you can just create more modular pieces where you actually cut it out inside of blender using booleans. So we need to actually load up these modeling tools. I don't think I even have them loading loaded up right now. So if we just go ahead and save our scene, we then want to go ahead and we want to Mw, come on. We want to go to edit, and then we want to go to plug ins. Now, in here in the plug ins, if you type in modeling, you should be able the modeling tools editor mode, and you can see that it is in Beta version 0.1. This is the one that you want to enable. It will say, this is a Beta version. It is unstable. I know, but I like to take risks, so I'm just going to use it. The reason that I'm not too worried about it is because I'm only using one single feature of it, and a feature I have tested and it works. So you need to restart, so let me just pass the video and restart. Here we go. So that is now enabled. So what will happen now is that you can see over here. Yeah, let me just quickly set this back to 200 just to give us a bit nicer shadows. What you can see over here is that now we have a activate modeling editing mode. That is the one that we need. So this is how it works. You click on it and it will open up this window. And in this window, you have some basic modeling tools that you can use. The most important one is so we have our shapes in which we can just create basic shapes. You can do parts and everything. This is similar to using sketch up, and then we have our Poly model, which is where we can also add some small changes. We also have doing some cleanup, cutting holes and all that kind of stuff and the forming and transforming, there's quite a bit of stuff here. However, I will not be covering most of this because I've not used it myself since it has not been needed before. And you can do an outer UV, which is pretty cool. One that we are focused on is basic shape. It is over here doing the sub D because we want to just do some general changes and the boolean. So how are we going to cut this out? This is very easy. We are going to actually make use of the thickness of our frame over here, and we need to get started by adding a box. When you add the box, you can see that over here, you get this box and it will automatically snap. What you can do is you can just go ahead and you can turn over line to normal, and then you can see that it will just kind of like, it will not try to sit this on top of your model. And then you just want to go ahead and you want to click and then press complete. Now, once you've clicked this, you are able to now go ahead and scale this box up, and you basically want to scale it up until it is halfway into your frame like this. So we're just going to carefully scale this up. And this is basically, you can imagine that we are going to cut out the box from our wall. So we got this one over here. I can remember that. I can just duplicate this. Yes, and it will still register in the tool. As I said before, this tool is so new that I have done my test but I still need to work with it. Okay, so we got these two over here. Now what we can do is we can go ahead and we can use our Boolean. The way that this works is you need to grab your model that you want to cut something out of and then hold Control and select the models that you want to go ahead and you want to Boolean. Oh, it looks like that we can only do one at a time. As soon as you've done that, all you need to do is just press little Boolean button over here, and there we go. Now you can see that that has worked, and it has cut out our model, and I will show you how this works later on. So just press Accept and then quickly do it again over here, Boolean and Accept. Ada, see why I love this, how easy this is compared to me needing to make ten different pieces of models, just to add all of these windows over here to have them in an interesting location. Now, about the technical side of this. Let's turn off our molingTols. This has now become its own new model. This means that this over here, you can see that it has become a Boolean model that you can find in here. Because of this, this means that even if we would go ahead and we would update our original model, inside of blender, it will not update this. That is very important to know, because that means that once we have done this, here, you can see that it cuts really nicely, and it works really well. But it does mean that we need to do this at the very, very end. Now, don't worry, because, of course, these booleans, on our weights, we cannot save them. Yeah, see, so that's also tricky. We cannot actually save the booleans. So if we would update our model, we would need to redo all of our booleans. So I hope let's just wait until the very, very end before we are actually going to do that. So it will look ugly. In the beginning, we will just have, like, all of these windows sitting here in front. But you can see that the end result works really well where we just have these windows, and they just kind of, like, fit in here and look at that. We have this nice wood, and this wood is all sticking out with all its geometry, but it still has these lines. And then let's see, sometimes it should have Oh, I think I exactly have it like around the boolins over here. Over here. So that's like a little bit of stretching, but it's not too bad, and it's still just adds like this nice extra variation. So that's all looking pretty good. So now that you know the workflow, what we're going to do is now it's just going to be a matter of us turning all of these models into vinyl. And this will come in two stages. The models that we have right now, I will turn into final, I will U Vnmap. However, I will not yet import it into the engine. I said that I was going to do that, but I think I will actually wait with that a little bit longer. The second stage is that I add model variations. Model variations are going to be, for example, a different variation of, like, of this thing over here, this fence, just to make it look a bit more interesting because what you can often see over here also is that there are many different types of fences and poles and everything. And also, if you look at games, you can see, here you have, like, a fence like this. But then a little bit further, you have a fence like over here that looks slightly different. You have some ornate pieces and all that stuff. That stuff, however, will be done in the time laps. So I hope that now that I showed you this technique, I'm one of those guys that actually gets excited about this stuff, but I hope that you are excited for it. Last thing I'm going to do before we finish this off is go into my main master and turn on the two sided material and save that. This will just make sure that we can look at it from both sides over here, and that will cause less errors. So there we go. Okay, for this one, I will just leave it in here as like a reminder for us, how we are going to do everything. But the MlinkTols is really cool. And I think we have 2 minutes left. So in those 2 minutes, I'm just going to mess around with this to show you. Another cool one is the sub D and not sub D. Sorry, not subdivided. It is the Oh, God, what was it called Lets over here. And basically what it allows us to do is we can set our segments. So if I set this segment, I think it's a axis two. No, not that one. This one. There we go to one. What we can do over here is we can actually go ahead and we can, for example, grab these pieces, and we can just move them down up and down, see? And you can see that this is very powerful because I can literally if I want even in here, I can, like, art some variations. But why is this powerful is remember how over here, I sometimes want to have this sunken in. I can literally just grab this model. I can make one of them sunken in. And just like that, we get like these really easy looking areas where we can just sink things in and just make them or art variation. And this kind of stuff, that's why I really hope this unreal arts because it's so useful. I do hope that they can make a better system so that we do not just end up with unique measures for every single function. That would be nice. But for the rest, it is just so easy for us if you do stuff like this where we can just add small variations like that. See, that's pretty much that one. And for the rest, there are a few more where you can actually add extra loops and everything to your model. You can, of course, extrude and stuff like that, and you can duplicate. But for now, that's about it. Okay, let's continue to next chapter, where we will start by just finishing off our other walls. 27. 26 Creating Our Final Assets Part4: Okay, welcome. So as you might notice, my audio sounds very different. And this is because I just got upgraded to a brand new microphone. It was quite an investment, but I really hope that you enjoy the better audio quality. Now, I had to make a choice to continue this entire course with my old microphone for consistency or to just go ahead and continue with my new microphone. And I figured that you guys would rather prefer to have better audio quality, even though it's halfway through than not. And basically, this is all just it's an extra bonus, it's all about just the information. So the audio quality might still change a little bit here and there throughout this course, because I might be refining it and improving it. But for now, this is the new audio quality, so I hope you enjoy it. Okay, so we are going to just go ahead and continue by creating our models. Now we have our plane while short over here, but then we also have a plane whale long, and as you can see, it's just double the size. So with those, what we can pretty much do is we can just go ahead and if we let's do like shifty or Control C contra V, whatever you want to do. Let's go ahead and add this one to our plane while long over here, and then we can turn off the short version and turn on the long version. There we go. Yeah, see it's the exact value. So we can even just go ahead and delete this one, duplicate this one, and turn on our snapping. Oh, sorry, I think I still have target well turned on. Yeah, there we go. So increments, move absolute grid snap, turn it on, that should work. So let's go ahead and just move this over here. There we go, see. And we can just go ahead and continue like this, and that should do trick. You can see a little line over here, but that's most likely our vertex line, or it's most likely some kind of like just like the ambient occlusion in C. I do not think. Yeah, I do not think that it is actual mismatching geometry. But we can see soon enough. So this looks pretty good. So we already got this one, as you can see very easy to do stuff like this. Only is that I need to re ard this one also to our right click Plain wall long. There we go. We got the walls already sorted out. Let's see. Plain wall short check. Our walkway is going to be pretty interesting. What we're going to do for our walkway is we are going to take a note from read that redemption and we are going to make our planks, as you can see over here, just like these unique planks. This is quite interesting that over here, they cut it out. However, we will most likely not be doing that. And the reason that we will not be doing it is because we simply cannot guess exactly where we want to cut it out. If we want to, we can use the Boolean function to literally cut out a Boolean and then have it go down. So let's go ahead and let's use this one probably as like a nice reference. You can see that there's quite a bit of unevenness going on. I think that will look quite nice. Yeah, that should be fine. And else we can also have a look at this one. Oh, yeah, this is quite cool that we have multiple different pieces. Okay, so for this, I assume that I'm just going to make a guess at, like, how this would roughly look. I also want to actually have a look over here. So over here, they are giving it. See, I quite like that there is some spacing in between here, to be honest. So I might include that spacing in between here. So we're going to get started. Shift A, mesh, and create a cube, and we're going to pretty much get started just like a transition piece. So here we go.'s turn off our grid snap. Let's scale in, and we're just going to start with the building blocks. And these building blocks are going to mostly be like these cubes over here, which I will go ahead and I will place, say, let's place one over here. Here we go. And then just go ahead and select the bottom and then move it in. So we have these cubes over here. Let's go ahead and place them. Also on the back side, so we have one, two, and then we also want to place them in, like, the center. It's two aldeggs. This is a little bit annoying in the beginning to match it. Let's turn on like a wire frame. And let's just place it roughly into the center. They would not really measure this out to have it perfectly into the center, so I'm not too worried. So I'm going to now go ahead and also place these ones over here. And once we have the base scaling done, then we can basically just hide our blockout. So we got these ones, and it does look that they roughly go for, like, an even value. So if we go ahead and let's do one in the center over here, and honestly, I think I have a look here, yeah, like one in the cent Oh, actually, this does transition very nicely, doesn't it? Oh, no, wait, it does not, sort of. No, it's just that it happens to hide exactly on these points. In that case, what I'm going to do is I'm going to do this. So I'm going to have one in center and then one on each side over here. I think that will look nice. Okay, in this point, we can just hide this. So this is going to be like our framework for this. Now, with these pieces done, we're going to get sold by just, first of all, adding these planks around it, and then we'll add mostly the planks on top. So let's continue with that. And all of this, it's basically just going to be cubes. It's just like for these planks, we kind, need to define the first one, and once we've properly defined it, then we can go ahead and just continue using it. So if I have this one, zoom in. This one I want to have a little bit thicker because it kind of needs to hold everything together and holds a lot of weight. So they will probably use, like, a ticker plank for this. Over here. And then what I'm going to do is I'm going to go ahead and use this one over here. Now, as you can see, for example, in red that redemption, they did not use weighted normals on the planks. Where are you? Here, see, they did not use weighted normals. It's all very sharp looking planks. However, they did use weight normals unlike the larger planks, see. So you can see that even read that redemption uses these techniques. I think I'm fine with also doing that. It will save a little bit of time. So once we have done a plank like this, maybe like a little bit of variation, and this is going to be a base plank. So let's go ahead and do this. Let's add a few segments in between here so that we can immediately add small variations like this. You can see over here, so just like some small variations. And then once we have done this one, we can do a quick pivot. We can get started by just duplicating this one over here. Actually, know what? Maybe, no, we will do our weighted normals after this. Rotate this, just to add a little bit more variation in places one over here. And then the most important one is going to be this one at the site for which we can go ahead and we can place this. Oh, make sure that you rotate it exactly nine degrees. Here we go. I do hope that the audio is good. This is the first time using this microphone while doing an actual tutorial instead of just testing. So I hope that everything is going well. But basically, I'm just going to go ahead and continue this. And what I want to do is let's make this a bit more interesting. So we got this one over here. You just see me keep switching back and forth between X ray modes that we can select everything. Let's go ahead and do a double one. So now we have this one over here. And once again, because we are using this so often, I want to make sure that I do not make it too unique because then we will be able to see the difference for that. So over here, I'm just eyeing this. Ah, here, see that fits actually quite nicely. Let's stick this out a little bit more like that. Yeah, see? So it just looks a little bit messy, but it does work. So we've got those things, and now we will have these planks, and these planks are basically sitting on top. Because the planks are sitting on top, technically, there should also be a backside. Since I don't know in which context that we are going to use this, I will just make a backside because you never know. However, for this one, what I'm going to do is I'm just going to make this one long plank. So I'm just basically pushing out these segments until they hit the end over here, and then maybe also compensate a little bit and make this look a little bit nicer. Like that. There we go. So that's basically the framework that you would do. Now, in here, you would often also because there needs to be some structural pieces in here. I guess what would be logical for people to do in those times, maybe they would just be very lazy. I shouldn't say it like that, but I mean, it in a good way that they would, like, just place some of these planks and they would say, Okay, so we have these planks. We are just going to basically zig zag them, maybe make these ones a little bit thinner. Yeah, so they say like, Okay, we have these leftover planks. What we're going to do is we are basically going to zigzag these planks around like this. And push them out a little bit more. And then they would like na side. But of course, I don't want to spend too much time in this because you most likely will not be able to see much of this. Unless we have our camera angle, really, really low, but we don't often have that. So we have this one, so we can do the same where we move this out. And then what we can do is basically have one over here. And then these ones also they do not need weight normals. I can then go ahead and I can say, like this one goes over here. This one goes over here. And then finally, I'm just going to go ahead and swap these two around. Like this, just to add some X ra variation C. So then we kind of just do something like that, probably just to enhance the strength of this shape. Now, for our planks, we are basically going to create two or three different planks, and then we're already going to unwrap them so that we can then just reuse them over and over again. So yeah, you can see over here that in red dead they on purpose most likely place these planks here so that you cannot look under it or cal under it, or in some way bug the game. Of course, we don't have that type of intense game design that we need to do for this. So I'm going to go ahead and I'm going to create a new cube. And this one is going to be like our base plank, and we're just going to create a few variations of it. And then the variations we can basically use over and over and over again, and not just in this one, but in every single model that we need to, we can use it. Let's go ahead and serve a look. Where is Okay, so yeah, that is quite they often use quite tick planks, because that's a nice thing, like, of course, getting inspiration from games is totally fine. The games they have done so much research and everything that often they most of the time, it is quite accurate the stuff that they are doing. So it's great for us to just then save a little bit of time when we are just doing like a tutorial. Of course, if you have your own game, do your own research, that would be nice. But in any case, so we have this one. What I'm going to do is I'm going to go ahead and we can do, like a Shift D. Although I personally like this contra C contra V myself more, and we're going to go for, say, four, let's do five versions, five different versions over here. So we got this blank over here. This blank is going to be very simple. We need to have it very generic, so it's just going to have a few small segments and maybe like another one over here like this. Then this version over here, I'm going to go ahead and I'm going to add a bunch more segments. To give like imperfections, maybe do like this one is kind of like actually, no, let's do this one. It's kind of like sunken in over here. And then this one is going inside, inside and like that. So that is that one, so basic one. Then this one is going to be slightly thinner. And let's also make it slightly thinner like this. So that's one is just having a little bit of like a sunken in effect. And then over here, it is going to be quite a bit stronger deformed, like you can see over here. And then what I'm going to do is I'm going to go ahead and add a few more segments once again. And maybe also add like a few segments over here. So what we can do is we can go ahead and we can add like cuts like you can see over here. So we can do stuff like that. And then we will just go ahead, and we will optimize this one because we will be using this one so much, it feels a bit silly not to optimize this. So this one will once again be sunken in, maybe, like, go a little bit sideways over here, also do stuff like this. And now what we can do with these ones is we can go ahead and just do a target weltggle using the Maxifs tools and just kind of move these together, and you probably guess what we're going to do then. We're going to turn off target Well toggle, and we're just going to go ahead and select these three and just press delete and delete only the edge loops. There you go, see. So now we have a get like a cut, so that's that one. Now for this one, what I'm going to do is I'm going to go ahead. Let's move it over here and let's turn this into like two planks. So we got this plank over here. Give it maybe like a few more segments. Maybe over here, there's like a bit moved up. You can see over there. So it's kind of maybe this one also. So here, it's kind of squeaking up. This one goes down here. And then for this one, let's do a quick pivot. So yeah, you kind of guess what we're doing by this point. We are going to go ahead and maybe, like, move this one down. I'm fine with just like that and then move this more straight. See, so we have like that one. Let's move this back and maybe do, like, a little bit of movement like this. There we go see. So we have that one. And then finally, the last one, and I'm just still looking at my reference to see if I can get like maybe like some bandy stuff that would be quite cool. So we like Let's make this one like a little bit tilted like this. Maybe like a little bit back. At maybe just a couple segments just to give it a bit more variation. And then maybe like press contra and use your scroll wheel, and then you can place multiple lines at the same time. We kind of, like, bend this up or something like that. Move this back down a little bit more. And there we go. So we now have these few different planks that we can just use over and over and over again. So what I'm going to do at this point. So for these planks, it's better if we already do like some UVN wrapping. So let's move these over here. But this is going to, of course, be very, very simple UVN wrapping. We are not going to use weighted normals. No, I'm just going to keep them nice and low because there are going to be so many of them. So I'm just going to go ahead and if I go, I can probably just duplicate this. I need to have my store window. So if I go ahead and just select, select all of these pieces, selection is being a bit strange. And then select one of my store windows, and then we can go down here and press copy material to select it. And that should grab the same material as my store window. At which point I can turn it off. And for these pieces, I can just select all of them, go to my Sure UV and do like a box map Um, it's Undo that because I don't trust. It's probably because I did not select everything. Oh, yeah. Okay, so it looks like the box map only goes per map. In that case, we will do this one. It's 20. That's an interesting one by wait, that's rotation. 90, 90 I think my reset X forms need to be turned on. Let's go ahead and select them. Q and reset all the transforms. I think that is the problem. See, that was the problem. Okay, in that case, this now is done, and now we can just do like a box map on all of them. And the box map will just also randomly grab it from UV, meaning that these will always look a little bit different, so we don't need to work with Ted, but we are later on just going to add more variation. So we got those pieces also ready to go at this point. Let's turn off our text strings. So now that we know that these are UVNwpped. So now you probably guess what we're going to do. Select all of these. Go to our MaxiVstols and do a quick pivot so that they are all in the center. And then I'm just going to go ahead and I'm going to place these quite close together for now. And then, this one we can pretty much only have in these areas. Just keep that in mind. So if we do one here and one, maybe like over here and then rotate it because these ones they need to kind of like B top of something, there we go. And now for these ones, they can be pretty much everywhere, so we can just select them and just make sure that we have quite close together areas over here so that when we repeat this, it will just be repetitive. So now, at this point, let's see. So we have these ones. Let's duplicate them, and let's rotate them over here. Now let's also duplicate them again and this time rotate them two ways like this. Here we go. That will give us enough variation. At which point that we can just start by grabbing random pieces over here, and then we can go ahead and we can move this. So over here, you can see that now I can move away a little bit from it, but I need to be sure that this kind of fits. So I'm kind just spacing things out a little bit better so that it does sort of fit. And sometimes it's fine if you just give it a little bit of like a rotation. It's actually good if you do that, just to give it a little bit more of like an interest, that this is quite badly built, but it does sort of work because I assume that these are often like settlers, and these settlers, they are not all perfect builders and everything, but they just want to make a life for themselves. So they just work on, like, making it with the skills that they have and stuff like that. So there's always there can always be some storytelling. No matter how small, there's always some storytelling going on when you are making viments. Here we go. You'll see we can rotate this a bit. And as you can see, we can pretty quickly get quite an interesting look. So now I can just go ahead and I can randomly start by grabbing some pieces, especially once we rotated a few. We can just keep grabbing. Oh, accidentally duplicate it twice, but that's okay. We can just keep grabbing them and just try to not have the exact same one next to each other twice in a row. That never really looks good. This one I'm also going to actually rotate a bit. So let's do this one. Then this one then we will go ahead and grab let's see, one that we've not done yet too many times. So we can grab like this one, move this one over here. And then we can also add small variations to the unique planks after we've done this to just increase our variation amount even more. And then the small variations, they will just simply be like this stuff I can do even though they are the same because they rooted. That small variation stuff, it will basically how do you say that? It will not affect our UVs. Yeah, that's what I meant to say. Okay, so we get now near the end already. Let's go ahead and see if we can kind of fit this together. Yeah, this should fit. If we go and grab which was that thinner one? I think it was actually, you know what we can do is we can actually also just grab one of these, scale them in a little bit. Here we go. So we got this one. Now, this kind of needs to sit right next to it. Maybe scale one of these also down a little bit more and just kind see if we can push this close enough together. Maybe like here's fixing this rotation over here, push this close enough together so that everything just fits in here. And what I can also do is I can also go ahead and I can, for example, select face. And unlike real life, I am able to just quickly move this stuff around like that. There we go. Okay, so we now got this stuff done. Another thing that you can do is just do some very small imperfections like this where you just kind of move them back and forth a little bit. Oh, it looks like that we have a duplicate there. Here we go. So moving back and forth, which will give us, once again, some nice, small variation. That. Then for these ones over here, go ahead and go to your modifiers, Bevel, and let's go ahead, actually. Let's first of all, select all of them because ls need to dri four times. Let's select all of them. Control J for good measure, do a Q and reset the transforms. Now if we do modifier bevel, see that way looks a little bit better. In geometry, turn off the clamp overlap and set this to like 0.05. Okay? That's 0.01. There we go. So that's where t are Bevels A, modify weighted normals and don't forget to turn on your outer smooth, and there we go. So there are weighted normals. And I do sometimes set this to 100. If they are simple shapes just to make it all a little bit sharper. These ones are probably also obvious enough that we can give them weighted normals. So let's go ahead and do that. But another thing that we can do with this just for some optimization. So press contra J, Q reset transforms is because on a weight, you can see the tops, but you cannot see the bottoms. So we can just go ahead and select all of these bottom faces and delete them. And that will make sure that it will not generate any bevels on there, which in turn will make it a bit cheaper. So we can just throw a bevel on here, Jome tree, turn off clamps, 0.05, 0.0 let's do one. Actually, let's do 0.015. Control A, turn on the outer smooth and weight normals. Okay, turn off five frame, and there you go. There is our quite messy looking skiesz planks. So, let's go ahead and like maybe like a bit more variation wherever I can see that I want to have more variation. Oh, I miss clicked. Sorry, I accidentally clicked the text tap. Yeah, just funny. You can see me pressing AldX, but still it registers sometimes thinking that I want to go ahead and have, like yeah, it registers as if that I want to delete something, but I don't I can just remap the delete button to fix that that would actually be good. So at this point, we are pretty much done, so you can move on to the next chapter. It's just like some very small variation. I will save my scene, and I will just very quickly go to preferences. And if I go Key Map and then key binding X in my where are you? Object mode. Here, I want to just turn it off because it's getting really annoying. Yeah, I will use because I will just use the delete button to basically delete stuff here, I can still oh, and now it does. Fair enough. Now the menu does work. On no way, that's because I'm in object mode, of course. So in this mode, here or see that still works. However, X no longer gives me problems. Perfect. Another problem solved. Let's save scene, and this is now looking pretty good. If you want, you can later on also add some decails to add like some bolts or something like that, but or just add like a texture that has, like, a lot of nails in it. However, I will not be doing that because it will be such a small detail that for tutorial, it's not really worth it. I've covered this in many different tutorials, including YouTube free YouTube tutorials on how to do that stuff. So let's save scene. And in the next chapter, we are going to go ahead and first of all, add all of this to our walkway straight over here. Perfect. I get rid of like a blockout. There we go. And the next chapter, we will go ahead and continue with our door and yeah, we'll take it from there. 28. 27 Creating Our Final Assets Part5: Great, let's go ahead and continue by creating our models. So over here for our door, we can pretty much steal our window or most of it. Let's just steal. Well, actually, let's just temporarily steal everything. So let's just duplicate this. Right click, move to collection door A, and then we can turn this one off because the door is pretty much going to be a top window, and then it's just going to be a simple frame like a bottom. So we can pretty much use all of this. What I would say is for the top window, if we simply grab this stuff over here, and it's still on my wife Rem Togo so that I can kind of see what I'm doing. Okay, so you have this on. And then for our bottom window, we can probably just reuse, something like this. And I will, of course, just make sure that it looks a little bit better. This one, we can delete. Now if we press height on this one, tapi, let's see. For our class, let's move it out of the way. For this piece, let's go ahead and go into Added mode. And let's go ahead and delete this one and this one. Yeah, that should be fine. And then if I go ahead and go to Edge mode, and I'm going to also delete these edge loops over here. And actually, that's also do the same over here. Delete edge loops. There we go. And then this one can be moved up. And now if we do Alt edge over here so that we can move this back just go to try and move this back so that I can see what I'm doing. Okay, so for this one, what we're going to do is this one is just going to be like the base window, which will be around this height over here. And then what we need to do is we also need to have this piece pretty much just sitting down here. So, actually, we probably want to do that completely down there. So if we do a quick pivot on this one, let's duplicate it, and let's see. Let's rotate it 180. And if we now just press height on this one, this one is going to be up here like this, although probably yeah, I need to move this stuff exactly along with this line over here. And then we are going to have another frame sitting below it. So let's move this one down there, this one up here because the actual door frame will look a little bit different. So for these pieces over here, we can probably just go ahead and let's get rid of these two edges. Same over here. Delete these two edges. And now if we go ahead and just move this up, like that. So that will basically be the base for our window frame over here. So it will follow the same design because it would be strange if they all of a sudden just change the design around. And then from the very bottom, we can go ahead and probably go for something a bit simpler. If I, for example, do a quick pivot and I just duplicate this version over here. And let's once again here, let's delete that edge loop. Oh, I just meant to select this one. You know, there we go. I was a bit confused if I was in edit mode already or not. And for this one, what I want to do is, I think I just want to select these few faces over here and simply delete them. Not the edge loops, delete the faces over here. And then for this one, you can probably go to your what was it? Font view, right view over here and just move this one back until the lines. Now what we can do is we can select these two and do a bridge loop. And then if you want, you can also scale it flat just to make 100% sure that this is perfectly aligned. Actually, let's do that for both of these. Scale flat, as zero. There we go. S. So that now has become a simpler frame, but it still kind of feels like it belongs to the rest. At this point, it's just a matter of moving this one down over here. And then this is going to be basically where the door is sitting on. So I'm going to probably go ahead and Um, to be honest, that does look very different. It kind of looks like it only has this. It doesn't look like it has any of the top bits. So I can probably just go ahead and delete all of these. It's delete this. Delete this. Oh, it looks like that to me I need to delete all of the bevels over here. I will just do it up here, and then the rest I will just do like a mirror on it. So if I have this one, if I just do Shift H so that I can isolate this, I can at least get rid of those few bits. And then we do have a bevel over here, actually. Let's just redo that bevel later on. So for now, I'm just going to go ahead and I'm going to connect or bridge these few pieces. So let's do a bridge edge loops. And then if I just do a quick contre r and just place one extra contra R here and move it then maybe like a target we toggle. There we go. We'll just turn this back into a simple bevel. Then for all of these bits over here, let me just delete them like that. A that we have left is just a very basic looking shape over here. I just going to temporarily turn off my weighted normals. It's to Altage let's go ahead and new quick pivot and actually let's add a pivot over here because we are going to add a mirror to this on the y axis, bisect and flip. Perfect. Okay. And yeah, it's fine if that sticks out a little bit. So let's go ahead and also go in here. Let's have it stick out a little bit more over here, a little bit more. There we go. And if we just go ahead and delete this edge loop over here. There we go. So that's like a very simple base. Okay, perfect. If I go ahead and this is a blockout, isn't it? Yes. So at this point, we no longer need a blockout, so we can kind of just delete that. Just do a quick pivot, and for this one, we can just go ahead and rotate it 180, place to the other side. Move a little bit closer. How close is this one? Okay, so it's just in front of it. Actually, why am I being difficult? I can just move my pivot up here thanks to the quick added pivot tool, and then I can just zoom in and I can move this a little bit closer in front. There we go, see? So that is basically our base door frame. And then over here, what we can do is we can, of course, just delete over here these faces, do a quick pivot, and then use this as like a window. So we can move this nicely behind here, for example. Go to Edge mode and just scale this up. There we go. That's our window done also. And all that we need to do is we need to create our actual door. For our actual door, I got a quick reference image over here just so that we can see and we are just going to give it a basic profile. We are not going to do this center bit because our door is a lot smaller, so we're just going to do like these, one of these, and then two next to each other. For us this profile, it should be very easy to create. Yeah, it should all be very easy. We're going to just have a simplified version of it. So I think the easiest way to do the door is we are going to create a brand new cube and just scale this in to roughly the thickness you want the door to be. Of course, this door is not actually going to be open. Yeah, I'm not going to ever have this door open, so I can just focus on the front. Although you can, of course, do a mirror if you also want to have, like, the back. So we have this cube over here. Oh, that's actually really nice size. I want to make sure that I am only just touching the wood because else it will give me inconsistencies when I do an inset on this. Just touching the wood on all of these areas. And then just move this up. Okay, so if I see this, yeah, it does feel s an extra look. Yeah, it does kind of look that test, too, so they will just be a little bit thinner. So now that we have this, we are just going to basically split this up into two bits, pretty much, yeah. So let's do a control R. No, it's going to add a mode Cs R one in the center. And one, but this one just make it a little bit lower so that we have a lower bit over here. And once we've done that, I believe that all we need to do is so if we go ahead and select all of these, we can do an inset. However, if I do an inset like this, I would need to change some settings. So in these settings, I need to go for individual up here, which will basically give me the individual settings. And then I just need to play around with my thickness because both of these insets need to become as thick as one of these beams over here. So that's why I don't want to go to tick. So maybe like something like that looks quite good. And now we are basically just going to extrude this in, in out and everything to get this profile. So at this point, it's going to be basically like Alt E extrude this in. And I'm just roughly getting the profile. Version is going to be a little bit more simplistic, however, and I do that on purpose to kind of fit the environment. So I'm then going to go a tiny bit in. Then I'm going to extrude this. Yes, I am going to extrude this in up until this point. However, with this extrusion, Oh, wait. Proportional editing. I should have these settings. So if I do proportional editing, I should be able to it's going the wrong direction. That sometimes happen minus one. Yeah, that is a little bit unfortunate. Okay, in that case, what I'm going to do is, so we have this one. Let's see. Then in that case, what I'm going to do is I'm going to just inset it. I was going to do this. I wanted to extrude this and then also move it. But if that doesn't work, just inset it and then move it back like this. And that should also kind of do the trick. Do one extra. Oh, no, you know what? Let's not do an inset out. Let's do an extrude going in. Yeah, let's do that. And then do a final inset that is quite a bit further in like this. And this will just create like these inner panels over here. And then it looks like that we want to go ahead and extrude this out. Inset this in a little bit. Then inset this in a larger bit and then push this out once again like this. And let's see. Let's then do like one extra extrude out. Think that does it. So here you can see that we have some quite interesting paneling going on. Okay, so that is pretty good. Now for this one, it is going to be interesting if we are going to add bevels to this. Let's give that a look. Let's add bevels. Actually, you know what, before we do that, let's press Q reset all of our transforms. Seemed to do something, so it's good that we did that. So we have our barrel over here, geometry, turn off clamp overlap, stone this down. To 0.005, no, 0.003 maybe or like 20.002. Okay, so that does give me like a small bevel. In these cases, these bevels are here more to just capture the lighting. They are not so much about really making your mesh look perfectly smooth. It's more about capturing the lighting. So having this one looks pretty good. And if I then do like a weighted normals soon out a smooth. Turn off a wire rim toggle. There we go, see. So technically, you don't have to apply the bevel if you want to. I'm just used to doing it. But that does give us very quickly, a very interesting looking door. And then for the door knob, which is just going to be a very basic metal, I'm going to grab I can make this very simple because you probably won't even notice nine out of ten times. Let's grab a UV sphere and make it like 16 probably eight sides. No, wait, let's let's do 16 sides. 12. Let's do 12 sides, and then the rings also to 12. Probably still to high pool, but for now, this is fine. So we are basically going to have the door knob probably up here, and we move it over here. Then what we do is we rotate it 90 degrees this way. Then the goal is mostly to just make sure that scaling looks logical, which it does over here. It's an interesting door. They did not make the door perfect. It's a little bit lower. Although we can always go ahead and we can always hire this, so we can simply go into our added mode and we can move this a little bit higher if we want to or lower. However, I'm going to keep it. We got this one over here, and then what I'm going to do is let's go into added mode and phase mode. Let's select these phases over here. Let's go ahead and start by scaling these flat, set them to zero, moving them back in. Maybe one less, maybe one less. It's twice this scale this B flat. I messed up, Z. Once again, scale this flat. Move it back in. Then maybe do like an inset. Oh, well, yeah, do an inset, but turn off your individual. There we go. So we are just scaling this in, and then we do like a shift E. Alt, Alt not shifty. Then we do an Alt E, probably like this. Then we do one more Alt E like this and then delete the back faces. Because what we can do then is we can just go ahead and we can select this ring, Q, and extrude the faces along normal, and then maybe scale them out a little bit more like this. So this is the most basic looking, but it does work that if we move this in here, I don't know why my walkways turned on. Let's turn it off. We have something like this. Yeah, and it does not feel too big. So we got this one. Let's go at new Shift H very quickly. Delete the backside because you can never see that. And for the rest, what I should say is with this one, I'm just going to go ahead and add a single bevel here. And for the rest, I'm just doing like an outer smooth. And then right click and Shade Smooth. I forgot to do that. Right click and shade smooth. So if you do an outer smooth with a shade smooth, what it will do is it will just on these harsh angles over here. I will just here see, make everything nice and smooth. So we got this one done. So if we now go ahead and do Aldag, maybe if I That is a trigger. Let's not do an outer smooth. Let's instead just do it manually. So because I only want to have this one over here, right click and I want to have this one shade flat, see? Because that's what I more want to have. So this is, of course, very, very small. So what you will see is you will see this. What happened here? That is not logical. What has happened here? It out window, we are missing pieces. Old Age. Yeah, so file just have a look at see. Show hidden objects. So it's not a walkway. So somewhere. Door. Oh, okay. For some reason, my door was turned off. Gee, Oh, that scared me. I thought I lost, like, most of my model again just after finsing it. So here, when we see it in the context of this door, we can probably even, like, scale this up a little bit more. And move this out. There we go. So that, that might be a little bit too much maybe like scale down a little more. But you kind of, like, get a general idea of this. Let's do Shift H, and let's also shade flat this area over here. Come on. There we go. I did not want to register. Shade flat. Yeah, there we go. I should do the trick. So ldHe. Done. Okay, so that is our door ready to go. Perfect. So with this one right click, move to collection door A that everything is in the door. And then in our next chapter, we will go ahead and we will continue on with the double side while has been cut. We are not going to do that one. Our generic beam. Honestly, our generic beam, all it really needs is it just needs yeah, maybe give it like a top, but only do like a bevel on these sides over here, just do contra B and then just do a few contra Rs and give it some random deformation. So our generic beam, we can even do that in this chapter because it's literally going to be doing small variations like you can see over here, where you just kind of like move this in maybe also like move this in here so that now if we have a look at it, Yeah, see, so that from every side, it looks slightly different, but it does still give an interesting look off. And once you've done that, all you really need to do in this one is you need to do an outer smooth and then just do, once again, like a weighted normals. However, in this case, we can go ahead and we can if you press A, we should be able to then just select this one or separate it. Now, we're going to separate that. That's easier. If we just press Q and separate the selection, and right click and shade flat D pieces. There we go. I just need to re arterate to reset it. Resetting it is sometimes a little bit tricky. But basically, there we go. So that's a very generic pool. If I just ter weight almost this one and set the weight to like 100, that gives me a better result. Okay, so the beam is done. So let's go ahead and in the next chapter, continue on with the generic roof, which is going to be very basic. 29. 28 Creating Our Final Assets Part6: Okay, so let's go ahead and continue. So the roof is going to be pretty easy because we are going to create an extra texture for the roof. Although down here, we might want to go ahead and then later on when we have our texture, just do some improvements and extrude them out a little bit, or, like, add some extra slates to this. So for now for our roof, we mostly just want to focus over here on this area. So if we go ahead and I just need to double check. Because this roof, yeah, like over here, it has almost no thickness to it, does it? Let's just have a think about this. Because we over here, I want to get something in here for this roof. So for that, I will need to first of all, create some thickness. If we go to our Etche mode, let's select these two etches and let's start by just giving them a contra B. Maybe, first of all, proscere a reset of transforms. Okay, so over here, so now we have some of this thickness going on. That's pretty good. Maybe a little bit less. Maybe something like this. And then what we can do is we can just kind of push this out. So if we go over here and let's add you know that. Let's add two edges over here and scale them out. Then my idea is that I basically push it out like this. But then at this point, the roof you cannot actually see anything anymore. So I'm expecting to do something like this, and then maybe just in case in case we can see it, we can do an LTE and we can actually extrude this down again. Over here. So doing this, hopefully that will at least have a little extra overhead over here, which will make it look a bit more interesting, but we still get the rest all completely fine. Now, over here, what we can do is we can go ahead and I want to say if I want to see if we can do like an offset, and then if we can just revert the offset. So if we do -0.95 and then I wonder if I go over here and go 0.95. Okay, so this one also needs to be -0.95. There we go. So now it is in perfectly even number, and that can give us that extrusion up here. So at this point, we can just go ahead and go into face mode, select these, press Q, and do extrude along normals. See, so we're just going to go ahead and extrude this. And honestly, I think that we can even just leave it like this. We don't even need to do anything very special about this stuff. Now, the last thing that I want to do is, I just want to make sure. So, okay, so there are backsides to this. Even though we can most of the time not see the backsides over here, we do sometimes Oh wait, especially over here. Yeah, we can actually see them. That's important to know that we can do that. If we can see them, we are going to basically improvise a little bit, and we're just going to, like, stick out the backside also a bit more. Is there any reference at all that I can use for this? Maybe like over here, we can do something like that. So let's have a look. So if we go ahead and go in here. So this backside, I just want to get something that's sticking on the bottom of it. Um, I'm just having a t here. So which side that I want to go ahead and do this on? So this is actually a tricky one because we need to, of course, keep this module, so we can almost only have the shapes in here. Let's get started by just doing holding K and adding a simple cut over here, and then just kind of like end it down there. I forgot to press Enter or space over here. So we are going to later on to a mirror, so that's why I'm not just continuing this. So doing the cut here and here. Like this, this will give me the option to at least insert this shape into itself a little bit better. So if we insert this, let's do something like this. So we are going to keep it very thin for now, that over here you can see that it has started overlapping. So we just need to press Q and merge these at center. And then over here, we can do the same where we can select these Q, merge at center. Okay, so we got those. Now if we do an Alt E and extrude this in to get started with Yeah, so we are extruding this in over here. So this will be like the overlay. The only thing that I might not like is that over here, that it, yeah, we might want to go ahead and actually extrude that with it. Let's just press Undo. And let's instead go ahead and try and extrude this with it. So it will most likely give us arrows, but we'll see. Yeah, I see here. So it will give us some arrows. But these arrows can be solved simply by deleting some of these pass, and we will just, like, clean this up a little bit better later on. So we got over here now this extrusion in, which looks pretty decent. And then what I want to do is I probably just want to just add like an extra plank on top of here, and this plank will just kind of like be cut off. I think that will look best. So if we first of all, go ahead and just Select these pieces and do like bridge edge loops. Same over here, close it off. Bridge edge loops. There we go. So that's extruded out. And now if we go ahead and just grab a plank from let's say we have our walkway over here. Here, let's just grab like this one or something like that. There we go. Right click, move to collection. I want you to go into our generic roof, and then we can turn off a walkway. And then with this one, if we just also turn on a IFrame toggle, what we can do is we can make it a little bit thinner and just make it fit a little bit better. But in general, it should give us a pretty good fit. So let's go ahead and rotate this 90 degrees. 90 degrees like this. Move it into place over here, and then go ahead and rotate this over here. There we go. So this will just if we now just kind of, like, fit it in here, like this. And then I will, of course, close this up. But first of all, let's just move it over here. And move it down here and see at this point, maybe move this one carefully back so that it still feels like it is roughly the same thickness. And then what you can do is you can also go ahead and you can do, for example, contre ar over here, and then we can move this piece down in here. So we got this one over here. That's pretty good. Now, I'm just going to do a quick with it, duplicate it, rotate it 180. Move this one back so that fits. And then over here, we basically just want to make all of this properly fit. There we go. We don't need to close it off completely, but this will just give me something in here, and then over here we will just have like normal planks. So these will be normal planks. There will be slate roof around here, and all of these stuffs will just be like normal wood. And then over here, we can go ahead and we can get this on both sides. So if we do a quick pivot on this one, and then do like a mirror, Just have on the other side. For this mirror, I'm going to go on the wait, I think I need to be on the X xs. I just need to flip it around. Why not? Y axis. No, no, wait. X, but don't flip it around. That's the one. And then we can just press Contra A. So we got that one, and then we can just go ahead and duplicate this. And move this over here. There we go. Okay. So we got those pieces done, and that is pretty much for now our roof, and then we will do the unwrapping a little bit later because I once again changed my mind on when to do the unwrapping, just because I'm going a little bit in the modeling mood. It also all depends on, of course, my mood. So let's right click move to collection, generic roof. So we've done that one. Shop top trim A over here. Oh, yeah, this one. This one was an interesting one because we need to create more variations. So I think this is this variation over here. And what I'm going to do is I'm just going to make it flat to make it a little bit easier and more manageable. And then later on, we will kind of just go in and give it some kind of like an end, most likely, although, yeah, so there is an end here. So we will just go ahead and give it like an end. So let's go ahead and go into our blender scene over here. This is not the right one. This is the one. Yes, this is the one. Okay. So with this scene, I want to make it somehow a little bit more interesting. Let's have a look. How can I make this interesting? Maybe just by doing a simple profile in here. Yeah, let's just make the profile a tiny bit more complicated, and that should do the twig. So if we go ahead and just do Shift A mesh, and create a new plane for this, we can go ahead and rotate this plane 90 degrees. Turn on our snapping, and we can just go ahead and snap this to the top and to the side over here, turn off our snapping and maybe move this forward a little bit so that we can now grab this. Edge over here. Let's move this up until this point. Select, actually, we don't even need to select these two. I don't know why I did that. So we just need to place two edges over here like this, like a contra B, to split it up, select this face and move it in. So let's do something like that. Now here at the top, we can go ahead and we can this point do like an extrusion. Let me just move it like this. Like an extrusion like that, let's go to our left view lt E, and let's move this up up until roughly this point. And then we are going to extrude this out, and this is just going to be a simple extrude like this. Let's go back to my left view, lx and extrude this out again. And at this point, we can just move this back. I think that looks like a pretty interesting profile for us to have. And then, of course, don't forget to also over here move this back. Okay, so, that's pretty interesting. So we got this one. Now, we can al really just do a mirror because we are going to use the bevel modifier for the rest. So I don't need to first give it some bevels. Let's go ahead and bisect I think we need to just edit our pivot a little bit. No, wait, it's not on the Z axis. That's the one. So we need to be on the Z axis like this. And we can just go ahead and press Control A, because what we can do is we can basically select these two lines over here and just delete only the edge loops. And then it's just a matter of moving this back over here. Grabbing this side and moving this back like this. And then grab this side, turn on our snapping and snap this out, and we are going to just snap this a little further like this. There we go. And now for this one, what we can do is we can just delete it for now. So we got this block over here. That is looking pretty good. Now, on the ends, we do not actually want to, the ends, we need to keep them sharp. And that's why I want to like an ending piece later on. But for now, I'm just going to go ahead and I'm going to grab this piece, do a quick bevel on it. Let's go to geometry, turn off our clamp overlap and give it like a 0.005 bevel or something like that. There we go. It's fine. Let's pass contre A, so I'm just already going to close it off. And then, of course, you can turn on your outer smooth. And if you want, you can already do your weighted normals. However, what I'm going to first of all, do, so I'm going to go ahead and I'm going to slack the side, right click and do a fill. Yeah, that looks messy, but it is actually doable and then it should press Q engine separate the selection. It might look a little bit messy because the fill will automatically try to connect it, Q and separate the selection. But I think for this case, I don't really care. If you want, you can do very precise cutting and you can cut all of this up to make it all look perfect. But honestly, it's not always needed for something like this, especially not because this is most likely going to be hidden. It is just there as a safeguard in case I accidentally move my mesh 1 centimeter and I don't notice it, then I won't have a big gap. But instead, it will just kind of stay like this. So we now have a weighted normals also on here, and there we go, C. So that's just like a simple looking roof trim, which we can now right click, move to collection, shop, trim A, Shop top trim A, I should say. So we got that one so we can save scene and we can move on to the next piece. Door B, I will do in the time laps because it's just re using door A, store window wide, same case, small windows, same case. Those are all reuses. Plain wall short, same case is a reuse. Yeah, okay, let's create a Pv for this. I think that's good to have this one in real time, also. But also for the walkway short, I will do all of those in time laps because it's just all using already existing measures. So with this piece over here, I wonder if we can maybe already re use this or we can maybe already use this one. So if I go ahead and let's go to our face select, let's select these piece and just delete them. We don't need those. Select the backside over here. Let's do add X. Delete those. Select these vertss, scale them flat at zero. Okay, so now we have this profile. If I just go ahead and I'm just going to see what I can do with this. If I move this one down a little bit, because it might save us some time. So this one down, I'm going to go ahead and do a double contra R. Actually, you know what? I will just do a mirror on this later on. So a double contra ar like this and try it again. So double contre R and maybe I can do like Oh, wait. They always move like that. In that case, just do three of them and then just get rid of one because it's on an angle, so I cannot just do an easy scaling. I guess I can go down here, and like I said, it's the local, but this works just as well. So we got these two. Let's do contra B. And let's go ahead and select this version and move this in over here. Let's see. So we got that shape, that shape, that's fine. Honestly, I think this is actually quite good. So maybe push this one in a little bit more, maybe push this one in a little bit more, and then also these pieces like that. Yeah, that should work. Honestly, that should work as a roof profile. It doesn't need to be super special. They would probably not spend that much time on it anyway. So do a quick pivot. Mirror it on the Xaxis bisect Turn on Y Frentgle. Okay, so that's fine, Contra A. Select these cental two bits, and let's just go ahead and delete them. And I just want to move this back a little bit because I saw it moving out a little bit. So we got these versions over here, and now what we can do is same thing as before, we can just select this line. Right click and do like a fill and then also do Q and separate selection and do the Oh, sorry, I'm going ahead of myself. I first of all need to give it some bevels, because else those bevels will not match up with that backside. So instead, let's add some bevels, turn off clam overlap. What did I do? 0.005 or something like that? Press contra A, there we go. And now we can go ahead and select this Q right click Transform Q selection Same over here. Right click Fill selection. And then for this one, if you want, you can already turn on the outer smooth, and you can turn on the weighted normals. Set them to like 100 to keep them a bit sharper. There we go. So that's that trim. It might look a little bit beefy, so we might want to mess around with that scale a little bit more, but for now, this should be fine. So we can go ahead and we can save this. And at this point, I think I will stop this chapter. So well quite short time laps. And then what we are going to do next chapter is we are going to work mostly on the balconies and on the angled overheads, which will be quite similar. Generic B B. Yeah, let's also do that one. So let's continue with this in next chapter. 30. 29 Creating Our Final Assets Part7: Okay, so let's go ahead and continue with our balcony floor over here, which should be very easy because what we can do is we can simply grab our walkway straight over here. And let's see, I'm going to grab, let's grab these ones, and let's then also just grab like a bunch of these over here. That should be good enough. Contros Contra V. Right click, move to collection, and this is going to be Balcony floor. And now we can just turn this off. There we go. Okay, so for the balcony floor, it's kind of like going to be the same stuff as that we have over here. I got, like, some reference. Well, okay, so this one is not very good, but there was one that I saw. Only it was a little bit difficulty. Well, over here, you can also see how they do it. So you can see that they just, like, add those planks and everything over here, you can all see it a little bit. So that's what we're going to do. Let's do this one. So a little bit wider should be fine. Let's get started. By just grabbing this piece. I'm just going to do a quick pivot over here. And I'm just going to move this in here, which happens to be pretty much the exact same dimensions. If we move this back, so pretty much the exact same dimensions. Then what we can do is we can go to tap mode. Let's go ahead and select this one and get rid of it, delete pass. This is a long one, isn't it? You know what I'm going to do is I'm going to get rid of this one. And then this one, we can even just keep it like combined. I'm just going to move this over here. I know the other pieces are a little bit in the way, but right now I can just as well, kind of do this. There we go. So we got that one over there. Now let's press height on our blockout piece so that I can go ahead and I can do, like, a proper one where I will say, let's move it over here, and then let's go ahead and just go to Vertex mode. Oh, Alex. There we go. That should already do the trick to have something like that. I do feel like I want to make it a little bit longer. So let me just move this back. And now let's go ahead and select just the entire bottom, and I'm just going to carefully make it a little bit longer over here. We need to adjust it anyway. So let's do that. And now for these pieces, the only one is that these ones would not be very logical to have them on an actual balcony. So we're just going to kind of, like, move this back. Move this down, and then we can just use this one. Over here, see how quickly it goes when we reuse stuff. So what I can do is I can let's see. Let's go ahead and push this a little bit over. And then I probably want to make it a little bit cleaner. So if we push this a little bit over, then go to tap mode. I'm going to grab old X, grab all of these pieces, and I'm going to just scale them carefully a little bit more flat so that I can nicely move this in here. And then over here, just make things like a little bit more clean. Let's scale this one a little bit flatter. Let's move this one in a little bit more. So I'm just going to make this one a little bit cleaner. As if that they did, of course, do a bit of a better job with these ones compared to the walkway, because if you mess these ones up, someone can fall to their dead. So they, of course, do not want that, so's some rotation. Yeah, that's basically why I'm just moving some stuff around to make it look a little bit cleaner. I know that it will mess up UVs, but you know or you've seen how quickly with that. We can just redo those. Wow, I can speak. I need to warm up because it's morning here. So I will just warm up. So we got these ones over here. And then, yeah, just having that piece left should be fine. Whatever I just Go ahead and come on Deselect. There you go. Whatever I just go ahead and just move this in a little bit. And there we go. Very simple looking walkway. Let's right click. Move to collection just to make sure again move everything to the balcony and now we can go ahead and save this. So that was an easy one. Balcony floor, the blockout version that's deleted by this point. And now if we move on to the next one, it is going to be the balcony fence straight, which comes in two versions. So for this, we are going to later on make a few more variations or at least I am, and then you guys can, of course, see that. But I think for this one, I want to keep it like a simple one. And I saw this one over here, but over here, I saw a more clear example where you can see, so this is basically like a very basic looking pole or beam or whatever. And then we have just like these pieces sitting on top of it with a little on piece. So I think that will be quite interesting if we do that. So let's go ahead and get started with the first one over here. So shift A, and let's start with a fresh new cube that we can use and scale it down. And then for this cube, we can I'm going. This is going to be my base pole. I do want to make the base a little bit thicker. This does mean that we might need to move some stuff around a tiny bit inside of our level, but I feel like else, it will be too thin. So let's say that if this is our base pole, and we can just like, move it up a little bit over here, I'm going to for the base, make it very simple. That's the contre R's place like a simple segment like this. Then select all of this and then Q, extrude faces along normal. So let's give this one a very simple extrude like this. Almost as if they can place their screws and everything in there. Then it pretty much just looks like it goes quite basic until the very top. There is something that I do want to make in here, so I think I am going to actually make it a little bit thicker. But basically, so they just move it just above, and then it just has this little ornate piece, which I'm just going to kind guess what it is. So I'm going to start with the lt E and then just right click to leave it into place and then scale it out. Then another lt E. This time, move it up probably and looks like it's almost like a little tilted edge. Let's move it out a little bit more like this. Then it looks like another lt E, but this time, right away, move it out. Al E and then move it. Let's say up, and then just an inset, which goes up until this point, and then maybe another inset up until here, and just move this like that. Yeah, that looks pretty good. Let's just go ahead and just move this up a little bit more I feel like it is too angled. So let me just quickly select these pieces and just kind of scale them out a bit more. Okay? So that looks good. Now I'm going to make this a little bit wider, as I said before, like this. I think what I can also do is I can also go ahead and move this up a little bit so that it looks a little bit thicker so that we can see it a little bit better. But basically, the reason that I want to do this is because I do want to kind of, like, make almost like a hole in the sides where they kind of just chiseled out a little bit of the sides so that they can stick in these poles. That's most likely how they would do it. They wouldn't use nails and like, do it very perfly they would just probably, like, chisel it out, stick these beams in here, and then just move along, and then maybe, like, add some nails here and there, just, like, improve it. So knowing that, I think I first of all, need to make the cross beam before we can move on. For the cross beam, it goes in two versions. Start with the cube. Looks like the first version is going to be I'm just having a look, so it looks like it's going to be at the bottom, and it can just be very simple. So pushes out. So this will also decide the thickness of everything. So that's why I'm just making extra sure that this looks correct. So we will push this out over here, kind of, move it into the center. And tone on why introgo. Then what I'm going to do is it's so difficult to see what resolution. I think what it does is if we go to, let's make it a bit thicker do contra R over here. And then it looks like it kind of just if we just select all of these, Q extrude faces along normal. Yeah, it kind of looks like it does this. And then, of course, they are a little bit angled, so you just want to scale them flat, just to make sure that they are nice and flat, like that. And at that point, the back, you can, of course, then, delete all the faces. Okay, so I'm not going to extend it all the way out yet. So we got this one, and then at the top one, it's basically going to be let's see, we have multiple variations. This one looks like it actually is round, which would be quite cool. Let's do that. Let's actually do that. So we can just reuse this one, so we can duplicate it. And then in order to reuse it, I had in mind that we simply scale this up quite a bit, maybe scale this one out a little bit more. Like that. Also, let's get rid of the back because it will just be in our way. So we scale those out a little bit more. And then if we go ahead and we select these corners over here, we can do contra B. I think I need to quickly just in case Q and just apply all of our transforms. Now Control B, C, that works a bit better. Then we simply give it using your skull wheel, give it a few segments like this. Then what we can do is we can select these segments over here that are really close together and just delete the edge loops. And finally, what we need to do because over here they will all be merged very close together. We can just go ahead and select everything, Q and then do a merge by distance. And as you can see, removed four word Cs because over here, whenever you do this, it will just keep going and going and it will just keep merging more and more faces into the center point. But that looks pretty good. The only thing is that this one, let me just scale this flat over here. And just in case to make things nice, let's also do it over here, scaled flat. There we go. Yeah, the segments, I'm fine with the segments. You can maybe, optimize it by just getting rid of every other one, but I don't think that that is needed. So let's go ahead and do a quick pivot. Let's move this into location. And that means that at this point, for this one, we can pretty much move it to the side. So let's go ahead and go to our left us fine. And then go ahead and select this side. Incumbent snapping, thank you, and go and snap it over there. Same over here. Although, let me just quickly delete those faces. And just scale this flat because it will make the increment snapping easier. There we go. So now increment snapping this one also Tara. So that's looking pretty good. At this point, we can pretty much delete our blockout because now we have the distance. And now over here, what I wanted to do in the very beginning already is do a contra R. Move one contraR here. It doesn't need to look very nice. It's just like that little extra detail and do the same over here where we move a contro R around here. But we move it just below it so that we can actually see what we're doing. Like that. And for this one, just to use the same polygons, simply move this out over here because else it would be a little bit of like a waste. And now you can simply select these two faces, lt E, and just push them back in a little bit. There we go. Now for this one, yeah, okay, this is a little bit too much for me to just leave. So I'm just going to do a target weld toggle, and I'm just welding these ends shut because it's very easy to just optimize. And I'm welding these ends over here, shut. Because then what I can do if I turn off Target All toggle is I can simply go ahead and I can, select this and this line over here, loop it around. So I'll have loop it around, and then we can just delete the edge loops. And then for these ones, you can, of course, also merge them together. But those ones I care less about, so I won't be doing that. It was just like the Wi long one. So we got this one. That's pretty good. At this point, I think we just need to add like a bevel. I wonder if this is too thin for a bevel, but we'll see. So let's add the bevel, set our geometry to clamp overlap, and just really, like, yeah, that looks almost like it can do it. Over here, it kind of gets confused. Yeah, you can use this little centre button to kind of turn it on and off. Hmm. It's interesting that it gets confused over there. There must be Oh, no, wait. It's an overlap. So if I do a clamp overlap, Oh, then just completely breaks also. Oh, no way, that's because I didn't turn it on. So if I do a clamp overlap, it might be a little bit better because what it will do is it will just make sure that it does not overlap beyond that phase. So over here, it will just automatically stop. The thing with the clamp overlap does mean that over here, these edges are a little bit thinner. But I think for this point, yeah, I'm not too happy about it. I think I'm going to do this like a custom way. I think I'm just going to go ahead and I'm going to select these pieces, for example. And it's also these. And I'm just placing my bevels customly, which should be fine. So let's do Contra B. You'll see because then I have way more control over where I want to place them and how thick they are and everything. So this one, this one, this one, this one, this one, and this one. There we go. So you are quite thin. And then we have these corners. So let's make these a little bit wider. Hmm. Yeah, so let's do that. So let's make these all a little bit thicker. And then over here. We can make these very thin. And the thinness for these, they are more here just to support our weighted normals. They are not really here to actually add any value except for just making sure that nothing breaks. Then we can do a target well toggle. We can just weld these pieces together so that they kind of go from small to big over here, and that should do the trick, and then what I will do is the insight over here because they are so small, and they are so close to the edge, as you can see. Although this edge is a little bit thinner, so this edge can technically become bit thicker. We will most likely simply just make them harve angles so that you cannot actually see in it or not. Maybe only have the outer edge. Give it a little bevel. But the inner edges, we will just make hard. So if we go ahead and it's like this one, tiniest edge. There you go. Super small edge. There we go. So that looks a little bit better. So now that we have these ones, what we can do is we can go ahead and turn on outer smooth, check our weighted normals, set them to like 100. I forgot to add my voice at normals to this piece over here at the bottom. So let me just add that. And it looks like it had already merged into each other. So just go ahead and select these Q and merge by distance, and that should fix that. So we got those ones done, and then in here, at this point, you cannot really see it. Else, you can do the technique where which I always do, that I just separated. So I can do, like, shift H because with the outer smooth on, you cannot turn off outer smooth for specific phases. So then what I would do is I would simply go ahead and I would like separate them, and then they would become harsh edges. So, separate selection, select these pieces and then turn off out smooth. See? And then they just become harsh edges. There is what I found to be the simplest way. So we got those ones, that's all fine. For these ones over here, we can just use our Bevel modifier. So we can go in here, bevel, clamp overlap Um, actually, this can be a little bit Or not. Can it be big or not? No, it cannot be bigger. Yeah, Bevo modifier is always a little bit tricky on very, very thin edges. So let's go ahead and then add the weight in normal. So oh, set the weight in normals to 100 makes it a bit sharper. For this one, Oh, one button. I always press two accidentally because I want to switch to edge mode, but I'm not yet in edge mode. I'm going to go ahead and I'm going to do it manually because we only really need to do these four. Here, see, and then the rest will kind of stay. So let's go ahead and do smooth weighted normals 100. Nice. Those are done. Last stop is going to be our little beams over here. And now, of course, we could go in and we could extrude this in in every single beam if we want to, but it feels a little bit of like an overkill. So instead, what I'm going to do is I'm going to cheat our way out a little bit, not so much cheat, but we're just going to make a simpler version of it. And that simpler version will basically be a beam with like a little foot at both ends. So here we have for example, the beam. Let's make it a little bit thinner. Scale this out so that I get a sense for its thickness. Let's make it a little bit thinner over here. Okay. And then just move this one. And this one, didn't mean to press insert. Contra I delete to invert our selection and delete those faces. And now it's just a question now it's just a matter of doing a double edge over here. Pushing these edges out. Then you can select these face as contra I to invert it and then Q and then just extrude face along normals. And that will just extrude everything in one go. See? So that's just like a cheaper way of just quickly getting this to work fine. And then at this point, I do want to probably have weighted normals on this, so let's add the Bvl modifier, clamp Oh, looks like that. We need to press Q and apply all of our transforms because it's not working. Let's try again, bevel, clamp, ear. So the apply our transform stuff works really well. And I'm going to go for 0.005. Should you contra eight or by the applied. Outer smooth weighted normals, there we go. Okay. Easy does it. So we got this one. At this point, it's just a matter of adding an array modifier pretty much. So what I'm going to do is I'm actually going to probably end this one. Let's see. So it goes a little bit into our pillar. So if we end it over around here, that should be fine. And now if we just go ahead and add an array modifier on the Y axis in the minus. So let's do minus one or minus two minus three. Yeah, minus three should work. And else we just need to balance it out. Okay, so let's say minus three point oh, wow, that's sensitive. -3.05. There we go. Let you do this wick. So we got these ones over here. One last thing you need to do. Do a quick pivot over here on your beam. Let's temporarily turn off weight to normals, and we are just going to add a mirror to this mirror it on the Let's see. YXs like this. Yes, that should be fine. So contre A, weight at normals, 100. And then for these pieces over here, just do like a quick pivot, and we should be able if it is a quick pivot exactly in center, we should be able to simply rotate this 180 and just quickly like places here. That should not really be a big deal. There we go. So now that it is at both sides, it will, of course, be able to receive on this end. But there we go. If we turn over WY Rm togo, you can see that now we have a pretty nice looking what was it called? I already forgot Balcony fence. So we can just go ahead and we can select all of it, move to collection, Balcony fence. There we go. Perfect. I feel like I might have a blockout or something. Yeah, here, see. This one's deleted old age to get back. Okay. So that is now all ready to go. So in our next chapter, what we'll do is we will continue on with our, let's do the angled overhead, although we cannot really do much yet because we don't have a roof material yet, and we kind of need it. So we will do the angled overhead, and the support I'm going to make the support a little bit more interesting, a little bit more like this thing over here. So we will make them the sport, and then we can continue on with the generic beams. 31. 30 Creating Our Final Assets Part8: Okay, so let's go ahead and go over our angled overhead over here, which if we look at some reference, it's most likely just going to be like quite a simple. Oh, they have beams. That is quite interesting. Let's see if we have some more reference. B, so they will most likely have the beams just sitting like below it in this one, which I think might actually be a little bit better because it will give us a little bit more flexibility. Yeah, so let's do that. Let's go ahead and let's just have a beam in between. Having this stuff, what we can do is we can simply, once again, steal our balcony floor and just steal the bottom piece over here. And let's go ahead and add this one to our angled overhead generic. Here we go. And now what we can do with this one is we can go ahead and if we just select this one, sorry, Q, separate selection, select this one, Q separate selection, this one, Q separate selection. And let's do a quick pivot so that we have everything nicely placed together. I still do want to have a plank behind here because it would be logical if you have a plank that kind of like holds everything up. So let's have this one. And if we just go to Vertex mode, I am not going to make this one as white. So it can just want to move this back. I'm going to make these pieces fairly straight so that they properly, like, flow over from one to another. So we have that one. Same over here. See, this modeling is all going to be very simple. This is also why I have decided to mostly just go for a Tenabs for the other pieces. So we got this one over here. I'm just going to moves up. So then once we've done the time maps, it will go a lot faster to get all of this done because I don't really want to spend 15 hours. Yeah, just doing this stuff. It would be a bit of a shame in terms of, like, the time that we need to spend on stuff. So we got this one over here. Let's go ahead and let's get rid of these lines over here of these edge loops so that it is a little bit easier for me to then go to my vertex mode and just properly places into place. So let's have a think about this. This probably needs to be a little bit thinner because else it will not have any space for the roof. So the roof is going to be very thin, and it's going to be like those thin slate roof pieces that we are going to also use on our main roof. But I do want to make this a little bit thinner. So let's go see something like that. And then for these one, just go ahead and like yeah, move them over here. I think I want to move this out a little bit more because it feels that it's not the same thickness else. So something like this looks more logical to me. And then here at the top, we just need to go ahead and just move this also down a little bit so that we have space for our roof. Okay, so at this point, let's just put height on our blockout so that I can actually properly place this. So this one is going to go over here. It's going to go ahead and I'm going to duplicate this one also. Do I also want to do it over here or do I want to have like, Yeah, I need to have it over here because I might have an ending. So I'll just have it over here, and then we will just have two next to each other. So we got those pieces, delete this one. And then we have one piece that's a little bit longer that is sticking out, for which we can just use this one that's no pum. So we got one piece over here. It's a little bit longer. Let's move this up a little bit. I am going to go move this one back and then also move these two a little bit back. Like this and same over here. And then for the bottom ones, just make it a little bit longer. Over here, that's just kind of sticking out. Okay, so that's pretty good. Then for the beams, what we can do is, let's say that we only have two beams per piece. We can just go ahead and we can just select. One of these pieces, just make them a lot thicker. Let's make sure that they are just nicely sitting against this. So they will probably just like use nails in here on this side, and then on this side, they would probably use them sideways, or they would first of all, yeah, they would probably actually, first of all, make this in, like, a separate piece, and then they would nail it against the actual ceiling. So let's go ahead and have this one over here. And then the only thing that I need to do is, oh, yeah, I'm just going to move this in, like, the center. That's Betsio because we don't have a fill, which is quite surprising that we don't have a fill grid. I need to have a quick check on that later on in unwel to make sure that I did not accidentally make it to short or anything like that. I can check. No, here, so I did not make it to Short. I'm curious to know why we didn't do a fill grid. If we go to a top view, did we do a fill grid like this? Oh, yeah, okay. So we did technically follow the grid, only not as precise. But in any case, one, two, three, four, 5.5. So if I just place this one roughly around here in the center, I can then go ahead and I can then move the ones that I t want to move. So let's do one here. One here. Oh, God. That does not look good. Still this. There we go. Let's do something like this. So we have thin, white, thin, white, thin white, and that's kind of like how it goes. Just to break it up a little bit more and just make it a little bit more interesting. Then for some of these, I can go in just in case we like, look below it. It would be nice if it's still some variation. Same over here. So it's just a little bit of variation just in case we can ever see below it. And for these ones, I'm going to, I can give them a little bit of variation, but it's mostly just going to be moving up and down at this place. That's the variation that we're going to go for. Over here. There we go, because we don't want to move it side to side because then, of course, once again, it will not match up properly. So we got our base frame done. And now for our actual roof, as I said before, that one is going to be a little bit tricky. For now it's just going to be a simple cube. And then once we actually have our texture, then what we can do is we can just make this give it like a proper end where we kind of, like, stick out those slates a little bit and then extrude them out on the end. So let's do Y frentogle. But for now, here, let's scale this. It's like a very thin slate. Let's move it here. Yeah, that should do the trick. I'm already going to move this all the way down, and then what I will do is, here, I need to have this angle. So we are going to move our plank a little bit lower, and we are just going to have this sticking out up until this point, and then remember that it will stick out a tiny bit more. Then up here, what I'm going to do is I'm going to add an extra contra R edge loop and move this up a little bit so that it fits a little bit better. And then for this one, grab it. Move it down. And I guess that they would go through the effort. Here we go to our front view, I guess that they would go through the effort to saw it off at an angle because it's not like they were stupid at those times, not at all. So they would, of course, still put in some effort. It's just that they're all homesteads and many people, they do not actually have all of the skills needed to make everything look perfect. So there will still be, of course, builders and everything, but it takes time. So at least that's just my story behind it to make everything a little bit more messy, basically. So it's just my way of cheating. Let's go ahead and let's set increment snapping on. And can I snap if I go to my top view? Can I just snap to the side? Looks like it to this side also. There we go. At least now I know that it is all perfectly tilable. Okay, so for now, nice and simple, but that should do the trick. So we got this one. Right click, move to collection angled overhead over here. And now for our support, beam that we have over here. So yeah, I said I was going to make it a little bit more interesting because I wanted to do, like, something like this. However, maybe on the side that would not be too interesting to actually do that. This looks quite interesting, actually. Yeah, let's go for one like this. It's a little bit of, like, a different design, but I think it will work. So, for one of these, I guess I will once again just like steal. Let's not steal these. Let's go for a balcony floor. I'm going to, let's just only steal this one again. Over here. Move the collection, overhead support. And then what I'm going to do is I'm going to go ahead and I'm only going to grab one of them. Here. And then the rest, we can kind of like just delete. And then for this one, Let's go ahead to select all of these lines and just get rid of them. Do a quick pivot. And now we can start by just rotating this nine degrees and another nine degrees over here. We can start by just moving this one. So this is still going to be the same plank because we do need to have a sporting plank. Over here. So that's all fine. But then what we're going to do is we're just going to swap these things around a little bit. So we are going to get started. We're probably just doing a duplicate of this, rotating it 90 degrees. Moving it up until see, up until this point. Let's do this point because this one, of course, depends on the angle. So if that would be the angle that we have next to it, actually, you know what? Let's move this one down a little bit, because we will just have it sitting against the side once again. So we got this one over here, and we can also push it back out a little bit more like this. Then what I'm going to do is I'm going to just give it less thickness. Like this. But I will make it look a little bit more beef here by pushing this out so that it becomes more of like four by two kind of block over here. Did I say that correctly, four by two? Probably, maybe. I don't know. In any case, this point, we can probably delete our blockout over here. So we got this one, maybe stick it out a little bit more. And then what we can do is we can just duplicate this beam move it a little bit lower. Let's see. Let's give it a bit more of like a steeper angle. Let's do something like this. And let's carefully move this up here. Grab this end and then move this end back here. Do the same over here. And back here again, there we go. And for this one, let's make it even thinner. Then a pillar like this. And then over here, we can kind of compensate. So this one can be a little bit thinner over here and also this one, so they wouldn't probably waste too much wood on this. There we go. So very simple looking beam, but it does do the trick. Maybe only over here. Let's add a few imperfections. But yeah, this stuff does not need a lot. Also, like on this beam, like I don't think it really needs a lot. Maybe, like one edge just to kind of like gives us a little imperfection at one side, but that's about it. So we got this one also done. Right click, move to collection, overhead support. So we've done that one. So now all that is left is we have a generic beam, a walkway stair. I forgot about that one. And then the sides there, I'm going to do that one in time laps. And the roof window, I'm also going to do in time labs. So for this beam, let's turn this one off. We can go for a design like this so it is a little bit round so that would maybe be interesting or we can go for more of a bare bones design. Let's see. Is there something in here? They probably even use the same reference. Maybe something like that actually looks quite cool. I'm not sure if it would work because we have, of course, such a basic overhead. So let's go and actually have a look Okay, so I use it over here. Do I also Oh, yeah, okay. So since I'm also using it on, like, the bar or the saloon, which is going to be like one of those wy fancy looking places, I think I want to go for, like, something a little bit nicer looking. Scene does, where it starts to feel a little bit like an environment. So that's nice. So we are going to go for the one that I saw, which was on, where are you? This one. This one I quite like. So let's go ahead and go for this one, which should be quite simple. So we're going to start with the bases. And then for the angles, we are going to probably use an angle like this or something a little bit more basic. I don't know yet. So in any case, for this, start with a simple cube over here, and then we can go ahead and we can scale this in to roughly the size that we want to. Let's move this up a little bit. That feels very thin. Oh, no, no, they are quite thick. Just ignore me. Just a feeling. So we can now go ahead and we can move this up a little bit more. So let's say up until this point. Now, let's do Shift H that we can focus on this one. As you can see, it kind of has a bevel sitting over here at the very top, and that's about it. Now, it's been a while since I've done this in Blende, so I hope that still works, but you are able to actually also bevel vertices. Although I think in this case, I already saw it happening that it does not really yeah, here or see it, so it does not register exactly the way that I wanted to. Another way that we can do it is very simple. Contre R place two edges here, two edges here. And then simply go ahead and select these ones over here and push them down. That's another way that you can get pretty much the same look as you can see over here because you can see that it's pretty much like a bevel. The verts, it sometimes works. Well, depending on three D modeling program, sometimes works. In my IMC, I believe that it works where it will simply split it up into three. So once we've done this, we can press K and we can think it's better if we just place a cut like this because as you can see, the faces do not respond correctly to our movement. But if we place a cut like this, they will. So now you can see that now it just has become a simple movement. So we got this one. We can go ahead and we can do dH. Oh, shortcuts. I keep forgetting them. So let's go ahead and duplicate this. Rotate it 180 degrees. Move this at the top, and the top is a little bit smaller than the bottom. So let's move this up here. Let's move this in, and now we have a little bit of space. And what I'm also going to do is I'm also actually going to go to my face select and just delete these top faces and these bottom faces because they will be a waste. So that's delete those. And what you can do is, of course, if you want, you can just merge these vertss over here and then merge them simply down to these sites. But I'm not going to bother with that. Going to delete this one. And now, for this shape, so this shape, we can pretty much just do this. We don't need to use spines or anything because I'm just going to stay away from the spine tools inside of blender. What we can do is we can use an original cylinder. So if we go mesh, cylinder, 32. Let's go 24. Yeah, even 24 is probably still a little bit at the high end, but at least we can then use level of detail or LODs to kind of, like, hodoce it. So I'm going to get started by zooming in, scale this in a little bit. So this is going to be probably our base up until this point. And now, all you need to do is let's go to our face mode, and we are just going to kind of follow this profile. Whenever we have a round bit like this, what we're going to do is we are going to use the same technique as that we did on the railing, where we are going to later beevel it. So we are going to, first of all, extrude this and then later unbvel it. So if we have this one, it's going to look like this. So at this point, we get like a round bit. So what we can do is we can do an Alt E. Move it round over here. I can move this later on. And then we do like an Alt E again. And then, actually, at this point, it looks like it's going to be like an inset. So we have this, and then what we can do is we can just go ahead and select this line, Q, extrude face along normals, extrude this out like this. And then just a matter of selecting these bottom and top lines and doing contra B with a bunch of segments like you can see over here, like that. And then what you can do you can once again, delete one of those willy thin lines over here. And actually, these ones Um, so I'll shift. This one can go and this one can go. There we go. And then over here if you want, for example, if you want to give, like, a little bit more flow, you can just move this out and down. So that's kind of going to be the general idea for this. So we got this one, and all we need to do is it looks like we only need to create one of these, and then we can just duplicate it, because this one, this is just like a centre bit, so we can almost, like, mirror it. Yeah, it almost looks like a sphere. So now what we're going to do to extrude this out? Let's see. So we got this one let's move this down a little bit more and maybe scale it out a little bit more like over here, and then just do an Alt E. And it's a little bit tricky always to see exactly how high that we need to go. But let's guess that we go this height. We can then do a quick pivot and just very quickly do a mirror that we have the bottom detail also at the top, which needs to be on the Z axis and insect and then flip it around like this. Press contre A. That's all we need to do. And then we will be left over with this one line over here, which we can actually use already because we can just scale this out quite large. And then if we do Contra B with a bunch of segments, you can see that then it scales out thinner. Let's make this a little bit larger. Then if we do Contra B with a bunch of segments, it will just scale itself back and then we instantly have a shape like you can see over here. Now at this point, it would be like a matter of us needing to measure it out and as we can see, we are way too small, like how everything looks, and because we are this small, let's go ahead and create I need to have a center point. Let's create a very quick cube. Oh, sorry, actually, do it. Undo this up until this point. Yes. And now we want to go ahead and create cube because I do not want to add all of those segments because else I need to change all of them until I actually know exactly where everything needs to end up. So what I can do is I can use a cube to measure. I can simply grab cube and then grab this face over here and move this to the top and then what I can do is I can do Control R. So this is the actual center point of this edge over here. And then what I can do is I can do Contra B to basically decide how thick the center blob, whatever it is, is going to be. Now, this does feel quite high, so that's just double check. No, that's look incorrect. So now that we know that, we can move this one up until this point, and then this one, still move it kind of like in center. At which point we can select it contre B, give the bond segments, and now you can also see that now it has become bigger. It also means that we need to scale this one out. There we go. That looks a little bit more logical. So we got this one ready to go. Let's not delete it. Let's just move it over here, temporarily. So we got this one ready to go. Let's go ahead and now duplicate it, and then I will see if I can literally just throw a sphere in between here to kind of, like, measure it out. So what if we although actually a sphere might not work as well? You know what? Let's do this. Let's grab this piece over here, temporarily do a shift H, and let's go into our face select. And let's go to our left view. Let's delete all of these pass because then we're just going to scale this down and in, and hopefully that will save us some time. Old H. There we go. So we got this one. So basically, we're just going to scale this in, see? And then it will automatically kind of like deform in the same way that it looks like in our reference. And I don't even need to think that we need to scale it in. We just need to place it like this. Yeah, Nice. And then if you, of course want, you can use your blue scaling over here to make it thicker or thinner, if you want. But this is looking pretty good. So we got this one if we turn off a iFrame toggle. And okay, so these ones you probably want to right click and shade smooth. Then you can see that it does work. Do we need weighted normals for this? Let's have a look at our edges. So the way that I look weighted normals is often simply by double checking if the edges are super super thin, then I don't really want to add it, or if they will actually add a benefit to it. I feel like this one might just benefit from a simple outer smooth. See? I think that one will actually benefit more from it because the edges are a little bit too small. This one, however, I think that the edges are large enough. So what I can do is I can go ahead and I can add a bevel modifier to this. Clamp values, tone this way down 0.005 over here, and then let's do a weighted normals and turn on outer smooth. Yeah, that too. So 0.005. Let me just very quickly replicate that bevel. Jump tree clamp, 0.005, because if I'm very honest with you guys, I forgot if you can copy over modifiers. If you have made it this far into the tutorial, just let me know, like we have a discord. So you will get the discord on, like, every product page and everything, so just keep that in mind. Then we can, like, have L. Then you can mention it there if you want. So let's go ahead and save Racine. Now, this is looking pretty good. So we really got quite an interesting looking pillar. But we are way over time. So in the next chapter, what we will do is we will probably create a shape like this. It's not going to be too difficult. And yeah, then that should also be done. 32. 31 Creating Our Final Assets Part9: Okay, so now all that we need to do is we need to go ahead and create these overheads for which we are just going to mimic the ones that we have over here. That should be fine. So I'm going to get started by creating a simple cube. Here we go, let's move it up, and let's go ahead and just scale this in. And for the thickness, let's go for like a thickness a little bit thinner than the one that we originally had. Maybe something like this should be fine over here. Okay, so we got this one over here, so that's fine. I think at this point, you know what? I can already get rid of it because I know where it needs to end, so I don't really need to do anything special for that. So we got this piece over here. I'm just going to scale it out, make it look a little bit nice. So, this one is quite easy. Then, of course, over here, we kind of need to have this pattern in it. If we go to face Mode, and let's go to our left view or actually, let's do a right view. That's a bit easier. Let's go to our right view over here. And if we have this it as easy maybe, we will need to compensate it, but just go ahead and rotate it 90 degrees. That was weird. Let's try it again, 90 degrees and then move it up and then move it out to the angle that you want. One, two, three, four, one, two, three. Yeah, so around this angle actually will be fine, maybe a little bit further out. Now go to vertex mode and compensate a little bit more for, of course, the warping that we have because of our scaling. So we got this one. So of course, this angle is already fine. Now, over here, what you can see, so it looks like that we have a bend down large bend in bend again. Do we need to mirror this? I'm not sure. Oh, Oops. So for our bend. So bend down, which means that if I do bend down, I need to define this piece first. So let's just go ahead and let's do a loop, say around here. This is a brain teaser. So a loop around here, yes. And then another loop around here so that this one goes. Yeah, okay, so this. So this one will bend. So we will extrude this out. Then it will hit this point, then it will go down. Then it will bend over here, and then it will move down here. Because of the angle, mirroring probably is not that easy. So let's just go ahead and then instead, let's make it ourselves again. So now I just need to do it the opposite way. So this one needs to go like this. So bend edge loop. Looks very strange right now, but let's just see if we can actually add the bends. So if we go ahead and just select these angles, and pretty much let's say move this straight and then just Shift click it. You cannot see it, but I am just looping it around. And do like a contra B. Let's see. So the bend is not here, it's too far away, so let's go ahead and move this a little bit closer. Let's try it again. Okay, so that looks fine. I do need to fix it on the other side. So we have a bend, then we have a loop, and let's make this loop a little bit less. So round loop, and then it will go in. And now we just go ahead and do the same over here. So contra R. Yeah, this one is also probably like it needs to be moved down most likely. What am I doing here? I'm doing round one cube. So if I now go ahead, select this Control B, so we have a bend over here. But this bend, it just does not look very nice. I feel like maybe we need to push it out. Make sure to do it in your X ray mode because that's why you see me constantly switching back and forth. Come on. Edge mode. Thank you. No, that also does not look nice. Then I think I rather want to keep it like this and maybe push it out a little bit more like this. Contle B. Let's see. Yeah. Okay, so this band can actually work if we do this. The only thing is something looks strange. Oh, it's the overlapping of the faces. That's what it's looking strange. I can ignore that for now. So we go here and then we go in. So okay, that should work. Now, for our faces, if we go ahead and we select start by just selecting all of these, Q, merge them at center. Same over here cue, merge them at center, then do a target Weltgle and just weld these closer together over here. And let's do a shift H so that I can actually see what I'm doing. And over here, let's do also Target Weltogle. Here, let's merge these pieces together like this. Q at center, Q at center. Okay, so that's good enough. So we got those pieces ready to go, turn off target l toggle, and now if we go to our right, now we just need to do the same method as that we did with the center pieces, which is that if we go ahead and just do like a single CtraR over here, we can move this way back like this and then do Contra B. Like that, you can kind of move it, but looks like that we moved it too far back. Let's twi that. And just ignore that it's over here that it is clipping and everything. No, I don't like that. I want to move it further back. It's still it's an surprisingly annoying shape to make. Didn't think about I didn't think it would be that annoying. If I see this, I almost feel like that this piece is too far down. Like it needs to be moved up a little bit to compensate, because it just looks really strange. You see? Here at the top, it reaches the top far quicker than it reaches the bottom. So that makes me think that if I move this up a little bit, that everything will look a little bit more even because right now it feels uneven. While right now, we are getting pretty close to making it look properly. So let's just go ahead and do that and think that's the one. Yeah, see here, that's good enough. So we got this piece over here, so that's pretty good. We still have a big mess going on on the other side. Te if I move this down a little bit, I think, like something like this, it almost like it looks messy, but it actually I quite like that because it makes it feel like it is just like kind of slapped together. And then for the target welts, if we do a target weld like this to, of course, remove that overlapping over here. There we go. That should do the trick. So let's have a look. So we cut this one. We go down here. We move down. I'm just checking my reference. Yeah, I can't really do that on the screen. So we go down here. I feel like my bend is not as nice. So let's go ahead and go into our right view. Let's see if we can just do some very careful Oh, turn off target, toggle. Let's see if we can do some very careful, like, moving around just to kind of, like, compensate for everything. Here, so that bevel looks a bit nicer, that bevel looks a little bit nicer. We got this one. And then if we go ahead and maybe move this a bit further back, then move this a bit further back and then move these ones a bit further back. And finally, this one also. This one is quite annoying, but it does start to look a little bit better already. Ah, yeah, I think I can live with that. Without the Wireframe toggle, here, see. Without the wireframe, it does look a little bit better. So that's pretty good. Might be a tiny bit lowly around these edges, but if I really check this out with the rest. So if I do like Odd g over here, yeah, see, then it is not that low poly. So we got this one over here. I'm going to go ahead and I'm just going to give it some bevels at this point. So is there any optimization that we need to do? You can optimize it also down here if you want. Let's just quickly do that. Through Target Well toggle. And for these pieces, we can just kind of like push them down. Push these up, and then maybe just move these ones to the center. Like over here, and then these ones. Like over there. Okay, so there we go. Q. That was one. I meant to say Q, transforms. And then what I'm going to do is I'm just going to add a simple bevel. It's pretty close. But it's clamping and I don't like clamping, so let's just turn it down so that I can have full control over them. 0.005 probably a little bit bigger. 0.008 maybe. And then what I'm going to do is just out smooth. Arterwighted normals, set them to 100 to make them a bit sharper. And then if we turn off a target well toggle or a Y frame toggle. There we go. So that looks pretty good. I removed something, but it's not like I removed it. It's more that I probably generic beam, there we go, that I turn it off. So let's delete that one. So this one is now just to double check because yeah, okay, so this one is now at the same level. So we can do a quick pivot, duplicate it. Rotate this 180 degrees. Move it, and there we go. So that looks pretty good. Let's save sin, and let's go ahead and select all of this. Right click Move to collection generic beam B. So that one is now also done. Took longer than expected, but we do have an interesting looking beam right now. So of course we still need to unwrap it, but it's good. So we have our walkway stair, and then that is the last one that I will do in real time. So my planning is to do this one. Yeah. So this one I will go ahead and do in real time. And then the unwrapping, I will also do as a time map because we are just going to use the SUU V map for this, so it's very, very simple to do. And of course, all of our time laps will be included also in real time. So for this one, because I always tend to talk too much and not get straight to the point over here. How would they would probably just have different planks. And those planks, they would then kind of, like, just nail together or wait, no wait. They would cut it out of a sheet. You always need to think about how stuff is constructed. I think for this one, they would probably just cut it out of a sheet of wood or not. Yeah, or they like, Well, do they have glue in those times? I don't think they really like the type of glue that would do this kind of stuff. Let's do planks. Let's be safe. Let's do planks. It cannot hurt anyway. You'll see, because these are all sheets of woods, so that's why I'm a little bit confused. But I'm just going to play it safe. So if we are going to do planks, we are going to go ahead and we are going to grab our Let's go ahead and steal our walkway straight, and I am going to steal This one. See, do I need anything else? Yeah, okay, let's just also do these ones over here. Let's just go ahead and do this right click, move to collection, and you are going to be walkway Sir. And then for these pieces, what we can do is basically what we're going to do is we're just going to have horizontal beams. So having this one, I'm going to go select this one Q selection, this one, separate selection, and this one. Oh, separate selection. That should be fine. Delete the rest. These ones, I'm going to move out, so they are going to be our planks later on. And for these pieces, for now, just go ahead and do, like, a quick pivot, and you want to start by just rotating them 90 degrees. Turn on my wife, Rm tool, and we're basically just going to place these very close together so that they are really lined up together perfectly. So whenever we have, one of these edges sticking out, just go ahead and just remove the edge loops. Then move this down. Remove the edge loops. Ooh. Move this down. And then it's just a matter of going here. So these ones don't really need a lot of variation. So then it's just a matter of, like, placing this over here. And honestly, I can just reuse this one now I think of it. I'm just going to place this one. Duplicate it. And again, and again over here. And then this one, just move it down. This one, move it down. And then for this one, let's go ahead and just remove the edge loops. There we go. And then for these pieces, I guess what you can do is you can try and get a tiny bit of variation here and there. But honestly, it probably isn't even worth it. So we got these pieces over here now. Now what I'm going to do is I'm just going to go ahead and select them, press Control. Do I have all of the correct ones selected? Yes. Plus Control J to make our lives a bit easier, and then just go ahead and just duplicate it to the other side. And at this point, we can just hide. Oh, well, we probably want to also duplicate it into the center, by the way. Over here and height. There we go. That should do the trick. And it turns out that I do not even need these ones. And now for these planks over here, we can just reuse these planks, and then we are just going to add bevels to them later on. So I'm going to get started by just moving the planks on their location. We do not want to make these two unique because we are only having one stair of this, and the stair will only have very few planks. So it's very easy to see if we have any very specific details. So we got these planks over here. Now, we can pretty much select all of them at the same time, select like half of the vertices and just move them back. And we can just stick this out a little bit. That is no problem at all because they are not going to be aligned to any other pieces like they're not as modular. And then what we can do is if we go ahead and just move all of this back, You see, multitasking or multi editing, so to speak. So over here, I'm just going to reduce this. I'm just basically moving this in a horizontal way, nicely together. Maybe for this one, move it back a little bit more. This one, we can move it out a bit. And there we go. This one move it like that. Okay, so we've got those pieces ready to go. Now if we do another quick pivot, at this point, we're just going to simply scale this up because we are going to redo our UVs anyway. And for these planks, we do want to go ahead and just move these back in so that they do kind of fit a little bit better. Let's see. And I'll see how it, of course, looks when I scale them up. So this one is looking still pretty good. There we go. Let's just move this down. Yeah, they're quite a bit thicker. I don't know if you want, you can, like, split it up into two planks. They do look quite thin over here, but I'm just going to stick with this. And if needed, I can always just go ahead and just make this thinner. If I end up when everything is really in the environment, although it didn't really feel like it. Maybe it feels a little bit thick. Maybe it feels a little bit tick. Let's just do something like this. There's no signs bends. I'm just kind of scaling them in a little bit. And this one scaled out a little bit more. There we go. Let's just do something like this. Then it's just as simple as moving it back. So this one will be moved over here. Then we have these planks. So let's go ahead and actually select all of this at the same time. Move this back a little bit. The next plank will be moved Move this back a little bit. Next one here. Oops. Seem that does actually save a lot of spacing. Wow, that saves way more space than I thought. So it's good that we try the stuff out. Over here. Okay, so that's a little bit thinner, but it will still work totally fine. For these pieces, all we need to do is we're going to go ahead and add a quick bevel. And I forgot that bevels, of course, do not go with multiple pieces at one time. But if we just press Control J, then we can Oh, Q, reset the transforms just in case. Now we can add the bevel, turn off clamping, tone this way down. Over here, perfect. Outer smooth and add a weight normals at 100. There we go. And now if we turn off a wife from toggle we have over here our plans. Perfect. So that is now also done. And that will mark pretty much the end. So if you right click Move to Colection walkways there, that pretty much marks the end of most of the real time modeling. We will, of course, just go back and forth between things. But what will be the plan for the next chapter? Plan for next chapter to finally also save some extra time. That's the eta blockout is to go in and I will just do some modeling on these type of pieces. The reason I'm not doing this one real time is because I will just be using the same elements that we've already created. The roof is also going to be very basic, so I will just go ahead and do that in Tabs, and any other pieces that we have not done yet, I will also do in the Tabs. And then I will UV Unwrap. Once all of that's done, we will go back to real time and we will first of all, get everything into the engine. Once everything is into the engine and we balance it out a little bit, then we will have another real time chapter, and that chapter will just be me adding some extra variation models. Although I might actually, you know what? No, I will do that chapter a little while later until we have everything kind of sorted out. So that is our plan. For now, we're going to do that. We also then, of course, later on, have some of these basic props, so we will probably do some of those in real time. But let's go ahead and continue with our time lapse chapters after this. 33. 32 Creating Our Final Assets Part10 Timelapse: A. A B. I Oh. Do I 34. 33 Creating Our Final Assets Part11 Timelapse: A I Don't do. Ir 35. 34 Importing All Our Final Assets In Ue5: Okay, so we're now going to do something quite exciting that I always like to do. So I've been modeling now for a few hours, and I personally, I have a very short attention span, so I like to change things up. And that's what I'm going to do now. We're just going to change things up a little bit before we move on to the next big thing. So what I want to do is I want to go ahead and I just want to start by exporting all of our final models and setting them already up inside unreal. We do not need to set them up with textures yet. I just want to see my final models, and then while we're at it, we can just also do some moving around and just make sure that everything looks correct. So that's the general plan for this chapter. And then in the next chapter, we will go ahead and Well, we have a taxes. So what we'll probably do is start creating our shader and start defining exactly the look and the flexibility that we want to create. So for now, it is going to be very simple because all that we need to do is export. Now one thing we do need to keep in mind because we've been exporting a lot of material. So this one we already did. The Walkway traders, for example, one that we can do. One thing that we basically need to keep in mind is that they all have the exact same material. Here you can see something going wrong. So over here, because of all the copy it whenever you copy a object, even when it already has a material, it will just create a new material. And this is actually quite bad because it will import this material. All these materials, it will just import separately inside of unreal. And we do not want that. Basically, the quickest and easiest way to fix it that I tend to do, although it does break a little bit more of my non destructiveness is to press Control J and join it. I just need to make sure because I forgot if Control J applies my modifiers. Now, here I see, so it does not apply to modifiers. That is a little bit more annoying. Um, in that case, what we can do, another technique is to just select everything, and then we basically just select one that we want to have MMT on. So this is all wood. The only thing with this that I need to remember exactly which material this. I guess, in this case, it's very easy because it's all wood materials. But then I can go down here and I can go copy material to select it. And now they should all have the exact same wood material, which they do. This will also speed up your scene greatly, by the way. So I'm going to go ahead and I'm just going to go in here and just open up these things. So here we have Wood 23, 21. Here you can see the same thing. And then with these ones, that's where it becomes a little bit more annoying that I need to deselect, first of all, my window, and then I need to select once again like another piece of wood, and then I can copy material to select it. We will most likely change our materials around again a little bit later on, but that all depends on our shader. So for now, you just know how it needs to go. So we do this. Then we deselect our windows, and then we select one of our wood and cup material to select it. Here, see I did it wrong. And that's why it is annoying because, here, wait, we can just do this. Let's hide. There we go. I don't know why I'm doing things so difficult, and then I can just press old age to get rid of it again. The long while the long ball here, even this one has different types of wood. So we just want to go ahead and make sure that they both are the same material. I don't really care about the material name. I just care about the actual material. So over here, this one is bare, plain wood. Okay, so this is all fine, and then this one still needs a lot of changes because we don't have the actual texture yet for our wood roof. We still need to do that one. 0808, so that one is fine. Our door is most likely not fine. So we have a metal, so let's just hide that one. Sorry, it's a little bit slow whenever I work with text for some reason. And then it sometimes freezes up a little bit. It's a bit strange. But anyway, let's copy material to select it and unhide again. So that's our door. Window white, we can do the same. So actually, here, we have also our glass. We need to actually make sure that our glass is all the same material also and this one. So it's a bit of an annoying process, but it's not too difficult. Means reassigning all of our materials. Here you can see that we have two materials of the glass, but they are already combined. So all we need to do is we need to get rid of this glass material so that only this one is left, and that's about it. So now we should be able to just hide that. Select this. Copy material to select it and then unhide again because else we will get a massive mess whenever we export it in real because you will import like 100 materials if you have 100 objects that you accidentally copied over. And it will just be such a pain that this is easier. The walkway shocked I just need to do this. So with this one, what I did on purpose is I just left this side this piece away because I don't think we need that piece because we want to have this repetitive. So this now also just looks fine. So we can just ignore that other piece. Do same over here, select one, copy material to select it. For these pieces, I don't even question it. I just automatically do this, even though it might be fine just to make sure that it is fine. Same over here. This is all the same material, so we can just copy material to select it. This one I can just check. They are fine. This one seems to also be fine. This one would 33, 33, 33, 33. That one is also fine. The stair, I'm pretty sure that that one will not be fine. You can see how long it takes to load. I don't know, it's a bit strange. I don't know where the bottleneck is because I don't know anything from really like the technical side of blender. So I don't know if the bottleneck is too many materials or too many objects with materials. But in any case, this is all using the same material. So we can just in case, do this, and now they all have the same material. So we can even test if I turn off and on. It seems to now be a lot quicker. So I think it was too many materials. We did so many copying that when we turn this object on, it needs to load in like 50 different materials, and I have a feeling that that is going to be the problem. This one Wood bear window. Let's get rid of one of the glass window. And then all of this stuff, we can just go ahead and do a copy material. And then ldge, of course. Perfect. That one is done. Save your scene to make sure. And now what we can do is we can just start by exporting. Walkwaytrat, and I crashed. Of course, that is not too good. Luckily, I literally saved like a second before we did this, see? So let's try it again. I don't know why, but that is why we save. So we have our walkway over here, file export. And these are all going to be FVX files. And in the exports folder, to unreal. So walkway straight, we just walkway straight over here. Oh, turn on selected objects. And yes, that's the only thing that we do. So walkway straight, and now we can just continue on and start exporting everything. So here we have FBX, here we have door A. And although we cannot yet place the doors in their actual position where we start doing the Bleions because I want to first make sure that everything looks completely final, it will still be a nice piece. Store window, actually, I already exported store window, so I don't need to do that again. This one is an interesting one. So plain while long, where are you? Plain while long. Yeah, this one will be a little bit boring, but oh. Export FBX, this is going to be our generic beam. This one is going to be our generic roof. Top trim A. Where are you store? No, shop, top trim A. Yeah, this one is not too exciting. This one is going to be. But once we import everything, then it's going to be quite exciting because then all of a sudden, all of our models will turn into finer models with all these nice weighted normals and everything. That always looks quite nice. Then, of course, we might need to move some stuff around, but for rest, should be fine. Store window wide. Small Window is also one that we will be using a lot. Small Window A. Plain will super short, this one, we most likely still need to mess around with UVs a little bit. Just make sure that everything works, but we'll see. Plain while extra short. Top trim B, this one. We have not yet made ends, but that is something that we will do in the next time lapse part. I don't like to do time lapses for, like, really small pieces. When I do a time lapse I just want to do, like, a bunch of different stuff all in the same time, just to keep things nice and organized. Walkway extra straight, short, balcony floor. And this is a relaxing chapter. This is just a chapter where you can cool down a little bit, have a general overview of everything, stuff like that. This will be our balcony fence straight angled. Oh, sorry, I forgot. The balcony fence straight also has a beam. File Export FBX, balcony beam over here. Then we have our angled overhead. And we're almost there. Here's our angled overhead support. Generic Beam B. I'm quite excited to also see how this one looks. I think it will look quite nice. Generic beam B Walkway file export walkway stair A big one side stairway. So, side stair, I mean. And finally, we have our little roof window. Roof, Roof roof, where are you? Roof window. Tao. Everything has now been exploited. Perfect. So we got all of that stuff done. Let's do another save. And now what we're going to do is we are going to go ahead and go into real, and we are going to start by importing everything. Now, for this, I am actually going to go ahead and turn our plain wall back to just a normal gray material, which I believe that we just did this in material, so plain. And this is just because I want to not take away from the actual look. I just want to have everything feel a little bit more the same steel. These things we can delete because those were just tests. And over here we have our store window and do the same thing. Just art plane. So everything is going to just have the plane. Okay, let's go ahead, go to, like, a nice camerangle. I like doing this, so that's why I'm, like, really starting to just do everything Rein port. So let's have a look over here. Okay. So actually, you know what? I'm not going to do a camerangle. So what do we have here? Oh, yeah, so that's just a simple roof. So it would not change too much. Do a re input for this one. Reset FBX. Okay, looks like these are working well. We just need to readjust them a little bit. So I will go ahead and I will probably do all of this at the very end. So balcony fence B. Let's have a look at the balconies. I think I can already foresee a problem over here. So yeah, this one, I can see, but with this one, the straight. And the problem is that around corners. So this stuff is working great, see? Here, that looks really nice. But then around corners, I expect that yeah, that it does this stuff. That's a tricky one. That is a tricky one. So maybe that we make the corner beam. Closed on one side, and then we just take peace with the fact that it will just be clipping in because I think it will look worse if we do not do that. Pale or what? No, no, wait. We cannot just split them up. But in any case, the balcony itself looks great. So what else do we have Balcony floor? Reset to FBX. Okay. Ooh. That is interesting how it's doing the lighting. I wonder if that's going to be good or bad. But the balcony floor over here is also working quite well. Now, door A, door number A, let's have a look. Not bad. Not bad. Yeah, I can go a little bit higher, but for the rest, and when it goes higher, it does mean that it looks like that we overshadow a tiny bit, but we can just do this. But now it looks very nice. Yeah, nice, nice quality. And I love the lumen system. It's really good to just do this stuff. So door number B, it is like over here. So let's try that one out. Should be pretty much the same. Reset? Yeah, so it looks like the only thing that we did is we made everything a little bit too low. But it kind of depends. Like sometimes we would want to have it nice and low. Generic beam is going to be a simple one. Reset the Avex. There you go. It has some smoothing problems. Those kind of things I do want to fix right away. So let's go in our generic Where are you generic beam A? There we go. So U that is interesting. It might be just because we have moved. Oh, there we go. That is the problem. I was already thinking that was interesting. Let's do contre B. Give it a quick bevel over there, and you know what? This piece of is just annoying me, so I'm just deleting it. I don't think we actually need it anyway. So that is now looking correct. So let's just re export this. Generic beam. Let's try it again. So that's also why I'm checking to make sure that everything is correct. There we go. That should do the trick. Oh, this one. You know what? I'm going to watch it over here. Generic beam B. Wow. Nice. Yeah, that looks cool. I like that. We still need to do this kind of stuff, but I will. Generic roof, probably not too special, but still very useful. Reset. There we go. So just just like those bits. And then over here, it will just have its own little material. Plain wall extra short. Let's just re import this reset Bx. Plain wall extra short. Like the jom tree is fine. I'm just more worried about the texts. Where am I? I am in the back. So, jom tree is fine. Yeah, I was just worried about texts, plain wall extra long, which is going to be probably this one over here. Yeah, that works. Cool. So now we already start to get a little bit more shape. Plain wall short, we already did. Roof windows. Hello, Roof window. It's reimport. Ah, that looks nice. Yeah, totally fine. The top trims, those are always a little bit messy because we still need to add changes to them. But I will do those changes after we've done textures. So this is number one, which is looking fine. So yeah, we definitely need to just do some changes. Is this one not completely straight? You would think so. Shop top trim A. Let's see. Shop, top trim A. Where are you? Shop top trim A over here. Zoom in. Okay. Are you not Oh, no, you are not completely straight. That is strange. Let's just scale it flat. Set it to completely zero. I does mean that these pieces are here. Let's just get rid of them for now, and then we will probably just readd them a little bit later. So we got these ones, same zero. And now what we can do with this stuff is we can select it, right click and do a fill. And if we go to Face Mode, we can also press Q and immediately separate selection. Do the same over here. Go to Edge Mode, select all of this. Right click Fill, press two to go or three to go into face mode, Q, separate selection. And now if we go ahead and select these pieces and then select our base, we can also go ahead and copy material to select it. And finally, all we need to do is just do a quick ShuUVO here. Doesn't need to be anything special. There we go. Okay, so that's that one fixed. Shop top trim A. There we go. That's better. So that can now just probably work. And then we will just work on the end caps later on. Hopefully Shop top Trim B does not have the same thing. No, Shop top trim B has a different prom going on. Although, no, it still yeah, it does have the same thing. That's a bummer. I really thought that I already fixed that stuff. But okay, let's just delete these. You know what? Let's go to Edge Mode, by the way. Select this scale flat. Oh. Or are you? No, yeah, here, see. You are not straight. Right, click, fill. Que selection. Right, click, fill. Que selection. Oh, hey, they keep the same wood material. Well, of course, so I don't even need to do anything. I just need to go to my chuUV select these pieces and just quickly add them. There we go. Doesn't take too long, although we are a little bit overtime. So this is shop top trim B. There we go. And we will, of course, make that. All look nice later on. Okay, so Air, let's do it over here. Are was an interesting one. So it takes a little while to import because it has many different pieces that it needs to combine. But I always like to keep my pieces separate. There we go. That looks pretty good. So, of course, we do need to, like, remove this or move this a little bit differently. And move this in. But for the rest, I can live with that. Here, it's like an interesting looking site. Oh, it doesn't have a back. I forgot about that. But for the rest, that should be totally fine. Like, it's something that does not that will not be very much into view. So I'm not too worried about it. So we got that one done. Small window. Cool. Let's try that one. Rimport. Nice. Cute. Okay, store window we've done, large store window. Oh, that's the store window. Large store window, reset AVX. And then for these ones, yeah, you probably want to, like, temporarily, maybe, like, move them forward a little bit. But we will just do like a chapter where we will, like, slowly start adding all these extra pieces and just cleaning everything up. Then we have our Oh, the walkways. I'm curious about that one. So let's reset that. Pretty good. Walkways straight. That's the big one. Let's give that a go because that one will actually define a lot. Okay, okay. And the short one you know what? I think we did a pretty damn good job. It is starting to look even for just like the very basic stuff and not any materials. As you can see, this is starting to look pretty cool already. So I'm quite happy about it. We just need to, like, do some small movements, just to make it look extra nice. But for the rest, that's looking pretty good. Okay, and what you can also do, let's go to like 200 resolution just to fix the shadows temporarily. Yeah, so this kind of stuff, it might actually become buggy, so we kind of need to see how we're going to do that, depending on the lighting and everything. But it's looking pretty damn good. So in the next chapter. We will do some general polishing and movement, most likely. Once we have done that, we are going to go ahead and we are going to start working on our shader. And with our shader, I mean that we are going to make a material, and we are going to decide exactly what do we want from this material to get exactly the look that we want. So let's go ahead and go over that in our next chapter. 36. 35 Cleaning Up Object Placement And Shader Planning: Okay, so we are going to get started in this chapter just by doing some general movement and just making sure that everything is a little bit more polished. Just for my sanity, what I want to do is I'm just going to move these windows in front of it. They are already in the right location. We just need to make sure that they are all looking a little bit more logical because it will take quite a while before we actually will turn these windows into their final version. And I'm also going to go ahead and overhear move this up and down. So it all kind of depends on what we want to do. But basically, once we've done this stuff, what we're going to do is we're going to fix the tops. That's another one. And then what we're going to do is we are going to plan for our Shader. It's like these ones I already did. Looks like that I already did most of it correctly. Well, actually, I did pretty much all of them correctly. Nice. This one, as long as you have space, it would be nice to just move this one up a little bit more. And then I guess that if you want, you can go ahead and just match the window height also with it. Just make it a little bit more even. And then up here, we can also go ahead and just move this forward. Yeah, so all that stuff is fine. So our roof is doing well. I'm just going to ignore those stops for now. And then these ones, right now, we move them forward, and then later on they will need to be moved back. For this kind of stuff, as I said before, you don't always need to move it up. We can sometimes just go ahead and just leave it like that if you want to. These ones I do want to go ahead and move forward a little bit. Yeah, this stuff is actually, it's a little bit boring. But honestly, we're almost done, so I should I will not time laps it because then I will time lapse for 1 minute, and that feels a little bit Well, for me, it's a lot of work to turn it into a time laps. But also, yeah, by the time that it's ramping up, it will be done already. This one, I'm going to actually leave. Yeah, I'm going to leave this one like this, especially around this area. It will be quite far away from our camera, most likely, although it will still be presentable. Like we are still going to make all of these buildings. They will still look final quality. So that's something to keep in mind that they will still look very nice. And therefore, you can just take picture of it. If you are good with it, like if I do this, over here, like an angle like this, I could still just take a final looking picture. Only is that I would then need to spend a little bit more time just making sure that the twain looks nice. But that's about it. So keep that in mind that you can do that if you want. So you will just go ahead and do the twain. I might also do that. I might just go ahead and after I've done the main areas, the train, I will just do, like a time map where I will just like, improve the general train everywhere. Just save some time because that's also just like painting. So it's not very interesting after you've seen it after you've seen me doing it for the first time. But yeah, over here, so that's all looking fine. Maybe. And while I'm doing this. So while I'm doing this, I'm also just checking out the buildings and just make sure that everything looks correct. It's not just about moving. It's also about just looking at my work. And that's why I don't mind just spending a little bit of time just making sure that this works. So that happens because we don't have our settings yet. Once we have our settings, stuff like that will not happen anymore, but it has to do with the post effects. For this one, I'm going to leave it like that. The transition transition might be a little bit awkward. We might want to move the very last one forward. Okay, keep that in mind. Let's keep that in mind that we might want to move the very last one forward because it looks like that I do not often have them sitting on top of each other. That's one of the locations where I will have it. This one, definitely, I want to just move it up. And, so this trim over here is actually doing quite well. So we just need to double check all the trims, because, of course, we did some scaling and everything on that. This one, it doesn't really have space to be sinking in. So we are just going to make sure that it's also moved. Let's see, we got that stuff done. So same over here. This one, I'm going to probably also just keep it. It's like a long version. And And yes, it is taking longer than I expected. I do apologize for that. But of course, the luxury you guys have is you can just skip this. So if you don't want to see this, just skip. It's that easy. So we got this one. These versions over here. And this one I'm also just going to keep nice and low. Okay. Let's make this one high. Why not? Although this is like one of those outside buildings, so you probably cannot really see it anyway anymore. And we probably won't be pointing a lot of screenshots in this direction. But at least you will see that once we see the general overview, this will already look better, even though it's just floating in front of it. This version, I'm going to move it up a little bit. Yeah, I think that looks better. And then for these versions, yeah, it's kind of like, so the stair, I do want to push it back in a little bit. The stair is just like a tricky one. Like, we most likely won't really see it, so I don't want to spend too much time on it. So if it really becomes a problem, then I will, of course, just make sure that everything is perfect and improve it. But if not, then I'm just not going to do much on it. Wow. I already forgot that. Oh, wait, I placed this stuff here, of course, because I just duplicated this house over and over again. So it will most likely also windows here on this side. But you know what, on this side. I'm just going to delete them. It will also be wasted geometry if I even add these over here. So let's just go ahead and delete those. But now, in general, if we just have a look, you can see that now if you just look past the fact that the frames look very big, this is looking pretty good. Still, these ones, And this door over here, let's move that forward. This stair is looking, the stair is fine, so that's also good. Okay, perfect. So we got now all windows. Now, for our pieces over here, I think all we need to do is just press V. Just try and, like, connect this correctly. It's always a bit tricky. I think that's the one. No, it's not. As I said, it's really tricky to get this white. Also, my pivot point is on the Wong. My pivot point is Wong, yes. It's probably because we scaled it. So if we go ahead and let's go in here and press Control A to apply our weight to normals and press Control J. And I think I want to then go to my McafsTols add a pivot turn on snapping to vertexes. Over here. Yeah, that works and now we go to increment. There we go. We set this back. Let me guess that shop trim A has probably the same thing. So contra A to apply, CtraJ to join, add a pivot, snap to vertex, snap this vertex to the very corner, turn off add a pivot, and then snap the increments. There we go see. So it looks like this one has the same. So these trims are being quite annoying. Shop trim A. Shop top trim A, sorry, and shop top trim B. Because, yeah, in this state, we simply cannot properly snap. So it's better to just fix it right away, re import. There we go. Okay, so now that we have these pieces, what I can say is I can say, like, Okay, so this piece goes here. Maybe like this piece, we never mind. We cannot look in there, so then I'm just going to do this piece. Over here, I'm just going to Come on. You can do it. There you go. Snap it. And then just select both of them. Make sure that they are in the center. There we go. So that one now just perfectly aligned. That's fine. Same over here. We just want to go ahead and it's already perfectly aligned? I don't trust it, so I'm just going to redo it. There we go, see. It's not perfectly aligned. Now it is. For this one, once again, just make sure that it's moved nicely. I think we actually need to redo this for most of them. So hopefully, the snapping will go easy. And then over here we have this problem. I think with this problem, I think it is better if we scale it instead of like if we just scale two up instead of the other way around. We could, of course, also leave it like this because we are going to probably make end pieces. So it kind of depends, do you want to leave it and make end pieces or are we just going to literally make this as like an end piece? Tricky one. For now, I'm just going to go ahead and I'm just going to scale it out. And I will just decide if I really need an end piece or not. This piece, I'm going to, let's see. Let's just redo this. Let's turn on grid snapping. So we should be able to snap. Oh, that's a shame. Maybe if we snap it to five, let's try that. No, snap it to one. It Oh, that's really mean. But it is mean because the scaling is off. That's why, one, one, one. Here, see, that's why it's not working. The scaling was off. Let's try that again. So we got this one over here. Set the snapping to, like, ten again. Although I have a feeling that we just broke the snapping. Let's just do this for now. I have a feeling like it's overlapping like a tiny bit, but I will. Here we go. And now we just go ahead and select all of these. We can now go ahead and we can Oh, try it again. We can scale it down a little bit, so let's just move it in. And there we go. That should do the trick. So that one will be fine. I also want to make sure that these pieces are sitting nicely in the center over here. I know we are not leaving a lot of time left for our shade of work, but then we will just do that in next chapter. That's no problem. I think it is more important to just make sure that all of this is correct so that we don't forget about it. Okay, so we got those pieces done over there. Over here, we can also, of course, do these pieces. But let's see. First of all, I just want to make sure that these buildings over here are correct. And that stuff like this it is not happening. Is there a way that we can nicely solve this? I guess we could just scale everything down, but I'm not sure if I move this in and then, scale it in Oh, I froze. There we go. It's back. It's twilight again. So if I move it down, and then I scale this in Ah. Looks like I need to really scale it small. What you can do to kind of manipulate where your pivot will end up is to just select the one that you want to have your pivot end up and select it last. So that seems to work fine if we do it that way. This one is fine. Yeah, so we can just move this forward a little bit. Just with these pieces, just make sure that everything looks correct. Over here, we do have a little bit of intersecting going on, but I don't think it is too bad. We can do, some movement. So yeah, I don't think that one is too bad. And then over here, let's move this down a little bit and move this out. There's some lagging going on inside of unreal. I don't know why. It's definitely not MBC, so maybe there's something else going on that I've missed or, like, something with my recording. I don't know. In any case, so that's looking pretty good. So we got those pieces, and yeah, I think at this point, this is a pretty solid start. Everything else, what we can do is we can basically just do to the time es because we now know how everything works. For these pieces, you just kind of, like, want to move them up. But I realized that this is going to actually take way longer than I expected. And I don't want to just keep distracted by doing small stuff like this. So what I will do is I will go ahead and I will finalize just quickly these piece. And then what we will do is we will start making a list of requirements for our material. And once we have made this list, then what we can do in the next chapter is we actually start by creating our material. So over here, let's say that that is now fine. So yeah, and maybe like quickly move this one. Looks like we need to move it down a little bit. And this one we need to move out a little bit and down a little bit. There we go. Maybe move it down a little bit more. Okay. So for our shader list, what we're going to do is we are just going to literally make a small little list. Here we go. Okay, so I have my notepad. Now what we're basically going to do is we are going to white down what exactly our material or a shader needs to do. Sorry if I switch between the names, that's force of habit. I often just call it a shader, but in real it is technically called a material. So what kind of flexibility do we want to have in this? First of all, of course, it's just default textures. And then we want to have color overlay, control, roughness, normal et cetera, strength, control so that we can control the roughness, the normal and all of the other strengths. Then what we want to do is now comes to one where we just want to define exactly for, like, the painting and everything, our flexibility. So if we have a look at this, and also let's also have look like in game because in games like pretty good to see this kind of stuff. So I want to have control. Oh, I like the scropes. I want to have control over M. M. Let's do Okay, so let's have a mask, maybe. First of all, let's do cool. Variation control based on tile mask. And basically what I'm going to do with this is I'm going to export a mask, which is almost like a flood field type of mask, and I'm going to export it from substance designer and then inside of unwel, I can give it very small variations in color to just break up the texture a little bit and to make it look less like this where it is very plain. Next to this, there's another control that we need. So we are going to create a mask. So we are going to have a um variation mask. And then what we're going to do is in the red channel, we will have paint removal in the green channel. So in the red channel, whatever we paint in the red channel of this mask, it will basically just remove the paint and everything. Then in the green channel, we will do dirt. So RGB, in the B channel, we will do okay, so dirt. We have all of this stuff. Maybe ambient occlusion. I don't I think we can use something maybe like highlights. Yeah, let's do highlights in the B, RGB, and then we also have an Alpha channel if needed, do we need something in our Alpha channel just in case? Yeah, we could do an ambient clusion Alpha channel, but I don't know. Or maybe like an extra color variation. I'm just having a look if I can create everything with what I have right now. Yeah, so I can pretty much just create everything I want with this. And, of course, the thing with these masks are also that they need to stay generic because we can, of course, not have all of the stuff around here. For that, we will have decals that we'll just add on top of her. So let's just do a none for now. So we can do default textures. We can control the color of our base. We can control we have color variation control. We can control all of our maps, and we have a special mask that can control wherever we want to have paint. It can control where we want to have dirt and where we want to have highlights. That is pretty good. One thing that I'm missing here is vertex control. The thing with vertex control is that we want to go ahead and we want to remove paint. That is totally fine in here, and that does often work. However, sometimes we want to remove paint, and you can especially see it in games. Let's see. Is there any well, you can see it over here where the paint gets removed mostly around the outer edges. However, whenever we are using modular pieces, these outer edges we can, of course, not define as well. So because of that, we need vertex paint. So with vertex paints, we can just in our actual engine. We can start by just selecting the stuff and just painting it out. It will look a little bit less nice because unlike our mask, in our mask, we can have the paint removal really, like, fade out and we can make it look really cool and, like, have some sharp chips and everything. But we will need to have vertex paint removal option also. So we'll have a vertex paint removal, and we will have a variation mask removal. I think that's about it. So that will be our master material that we can use for most of our pieces. So that should be totally fine. Okay, now that we've done that, in our next chapter, let's save sin or let's save our thing and also save sin in our next chapter, what we'll do is we will start by creating our material and just test everything out. And we will most likely use, like, for example, window or something to test this out. So let's continue with that in our next chapter. 37. 36 Creating Our Master Material Part1: Okay, so in this chapter, what we're going to do is we are going to get started by actually creating our material or a shader. I'm going to get started and let's grab our door A over here. So this will be like our trial model that we'll be using the shader on. So here we go. A, so this is why everything's sunken in, because the pivot point is slightly off. In any case, this is quite a good one because we can just get everything that we wanted to get easily in here. And the stuff that we wanted to get, of course, have a little notepads over here. So, this is the stuff that we're going to include. Now, before I'm going to create my material, I already want to create an extra mask for this because a lot of it will rely on it, so it's easier if we already just have a basic mask. So knowing that, the way that we're going to do this mask. So because we have tilable materials, our first UV, as we go into blender over here, and we, for example, select everything this time, our first UV, as you can see, it will not work because for a mask, we need to have a unique, non overlapping UV. Knowing that, what we can do is we can go ahead and we can actually start by creating a new UV channel. So you have multiple UV channels that you can use. I'm sure that many of you have heard from it. For example, Unreal Engine uses UV Channel one for the text UVs, and then UV Channel two, for example, for the light maps, and then UV Channel three and four are still open. We are basically going to do the same thing. But because we don't need any light maps, we can just well, go ahead and use the UV channel to just to make it a little bit easier. So if we go ahead and we go over here, this is the first UV. Over here, you can see that we have our UV map. Now, it's been a while since I've done this. I believe that we need to go up here into our object data properties, IS. And then in our UV maps, we can go ahead and we can select the second UV map, and we can call this, for example, mask. Doesn't really matter what you call it. Now what will have happened is here at the top, you can see that we can now switch between our UV map and our mask. Let's say we grab our mask over here. Let's say we select everything, and then we go to UV and first of all, press average island scale. What this will do is it will basically scale UVs based upon how large everything is in here. You can see that it does not look correct, and this is because we often in order to use this, we need to select all of our models, press Q, and then apply all of the transforms. If we do not do that, it's often a little bit buggy. So if we try this again, average island scale, here you go. See. So now you can see that it makes quite a big difference. I can see over here that it's still uses this really long. So these are bugs that can sometimes happen. We just kind of need to see how bad they are. But basically, right now, we are in our UV map, so that's not correct. So let's go ahead and very quickly undo all of this. What has happened to our Maybe it's easier if we just go, Yeah, it's easier if we collapse this. So let's go ahead and just select everything except for our glass. We don't need our glass. So let's select everything over here. Why are you wood? You are supposed to be metal. The metal also does not need a mask, so we can also hide that one. Let's start with just this one. Let's pass Contra J. We selected Contra J, and that will make our lives a little bit easier. We can always just detach it later on. Our material is fine. Our mask over here should still be the original, so that should also be fine. So let's add the new UV map. Let's call this mask. Now if we go into added mode. Okay, so UV map, and now we have mask. And then if we select the mask UV up here, we can go UV average Island scale. And then if we also do a UV and the PAC Islands, Seas enough we go to UV map, you can see that it has saved the UV map, which is the original one. We want to just leave it like this. But then the rest over here will be fine. So I'm just double checking because I'm worried that something that something went wrong over here. And you can kind of see it happening over here. So if we select this one, I'm not sure if the sure UV AardN also works just on selection. Oh, perfect. It does. I forgot about that if it did that. So let's go ahead and just rotate our che vi. There we go. So that one now looks correct again. I think everything else still looks correct. So, in any case, we got this stuff. Now, if we go into our mask over here, as you can see, we now have a pretty decent mask. Still has some messiness going on here and there, but that does not matter. This mask does not need to be clean. I just need to have information in here that I can use to paint on. So now that we have this channel over here, now what we want to do is we want to go ahead and we want to of course export this. We want to do this in two ways. The first one is we will go ahead to do ALDH. We select everything, and we go file export and then export it as an FBX to our normal. Don't forget to turn on select objects to our normal to unreal folder. So this is door A. Now, I'm just going to quickly go ahead and go in here and I'm going to make sure if I re import this yes, you can just press done that everything is still correct. Okay, everything is still correct. That's perfect. So the way that you can check if your second UV has imported is by double clicking on it. To open it up. And then if you go over here in UV, you will now see that you have two UV channels, UV channel zero, which looks really messy and UV channel one, which does not look correct, and it most likely does not look correct because it's being overwritten by our lightmap. Let's see. If we go import settings, mesh, here, generate lightmap UVs. It is overwriting everything. So if we just go ahead and deselect that and press reimport. Now, this is a little bit annoying. So basically, because it has already generated, it will kind of just leave these things. We can try and remove selected. It's got loose, Phil. Okay. It's complaining. Fair enough. If it is complaining about that, we just need to add it to another UV channel. So, in that case, let's call this UV two. And then what we can do is we can simply go ahead and press, select this one and press the plus sign and call this UV tree. Fair enough. So actually, we will now be using this one. It's a little bit messy, but UV tree should be copied over from UV two, and UV map should still be fine. So if you want, you can still add it to the UV two first and then later on the UV three. But in this case, now that this one has added, that should do the trick. So if we now export this, A, e, the first time, it's always a little bit messy to just get into the mood, I should say. So now we have a UV channel two. There we go. That's the one that I want. So yes, it is confusing. Unreal, they count from zero, one, two. However, in blender, we often tend to count from one, two, three. So just make sure that you end up with a UV channel two that has your nicely packed UV. That's basically the main takeaway from this. Now there's one thing which is still quite annoying and I hope that substance fixes it soon, and that is that if we want to go ahead and paint a mask on this, substance painter can only read the first UV channel, which means that we temporarily need to transfer our UV t to the UV map, and then we need to export it. Now, a very easy way that we can just make our lives a bit easier is by using a tool. So I have added for you a tool over here that is called the UV Map Tools. It is a dot PY, and the credit to this tool goes to someone called Bova Sun. It is, so it is a community made tool. It's not a professional, release tool or anything like that. But basically what it does is it will add these two buttons over here. I just activate it, and these buttons basically allow us to move around UV maps. This tool you just import it the same way as always, just go edit preferences and then install and then turn it on. So over here, here's your tool, and here you can see the outso. So all the credit goes to them. But it is a public use license, so I can give you guys this tool. What we can do with this tool is we can temporarily, for example, move up our UV tree. Then what we can say is, Okay, then export the FBX. But this time, let's go back and export it in a two painter folder, which I've created. And just call it Dora. Once you've done that, you can go ahead and move it down again and it will be back in its original location. So this is very handy because now we can very quickly just move our UV map up, export, and then move it down again, and that's a little bit like a workaround. So now that we have done the workflow inside of blender, I know that it might seem like a lot, but we only need to do this once, and you will get into the mood for it to just do it quite quickly. What we're going to do now is we are going to go ahead and we are going to open up Substance Painter. So here we are in substance painter. There are three objectives here. One of them is to set up a base project that we will save as a template. The second one is to set up a smart material that we can always dragon drop to instantly get mask generation and keep everything nice and procedural. And the third one is to actually properly export our mask and create an export preset. The way that we're going to do this is we are going to go to file and go to new. And then in here, we can already get started. So I'm going to just start with a basic PBR metallic roughness template. Then in our file, we can go to select, and we can go ahead and we can grab the two painter and grab our door a file over here. Document resolution. I'm going to start high. Let's say two k is quite high for a mask, but then we can always lower it down if needed inside of unweel engine. I will most likely not lower it down because I just want to really push the quality. However, if you are working on the game, you of course, want to keep your resolution at a minimum. Once that is done, just go ahead and make sure to turn off Outer wrap over here. I don't know why that one was turned on, and then we can simply press Okay. And here we go. If I go up here to this button, I can switch to three D only. And of course, I do expect that you know the basics of substance painter, although substance painter is very easy to understand, especially when we've already done substance designer. So we will just have all of our assets on the left side and all of our settings on the right side, and then the viewpod basically. First things first, let's make sure if we go to two D only that we have the correct U V. Perfect. We do. Okay, now the next thing that we're going to do is we are going to set up our scene and save it as a template. To set up a scene, what I'm going to do is first of all, get rid of this first layer. I don't need it. Then if we go into our text shat list, we can call this and call this the name of your asset. So Dorner score A. This is the name that your file will also be named, so just keep that in mind that this will be your file name later on. Then we can go to our text set settings, and this is where we will really start doing a bunch of stuff. First of all, we do not need a height, roughness metallic or normal. Remember, we need only R, G, B, and later on A. So what we can do is we need a base color. The only reason we need the base color is so that we can actually preview the masks that we are creating. But for the rest, we simply want to go to our channels, go to user channels, and we want to grab a user channel. A user channel is like an empty channel that we can just re use that we can just have free use over. So R G, B, Hence A. G, B and A. What we can also do is we can also now go ahead and we can see we can bake some mesh maps, although, of course, when we save this, they would not be applied. I'm just going to leave it for now. I think that this is already everything that we need, I believe. Yes. So this should already be everything that needs to be done. So with all of these channels set up, we can now go to file, and then we can do Save as template and you can save this however you want. I'm going to save this to West Western mask tooth, for example. Let's save. Now what this will do is whenever we go to file and new, in our template, we will now have a Western mask which will already have this scene. Sorry, for some reason, I again cannot really speak anymore. The second part that we need to do is we need to create a SMAC material that will already have some basic mask generation that is very easy for us to use. First of all, we need to go down here and we need to bake our mesh maps. Even though we do not have a high pool, we still need to bake them because basically we can bake it from a low poly so that the mask generators that substance painter uses, it can utilize this to basically generate our masks. So output size, we set to two A and we simply turn on use low poly mesh as high poly. And that's it. That's all I need. I can just press bake Dor A, and I can just wait. And it will also make a cool ambient occlusion, as you can see. So that is now done. That's all that was needed. Now, if we go ahead and we go to our layers, we can create a new folder and call this Western mask tooth, for example, and in here, we can start by creating all of our scenes. Now, follow exactly what I do. We start with a fill layer. I don't know why it took so long. And this one we will call base. This will be our very base fill layer. What you want to do with the base fill layer is you want to set everything to black. The reason for this is because our masks need to be white. So everything in the background, this basically our background will be black. Then we create another fill layer, and we can call this R paint. Removal. What we can do with this one is we can only set the color and our red channel. All of the other channels, we can just turn off and make sure that the color is completely white. Next, all we need to do is we need to right click and duplicate G dirt, and then simply swap it from red to green. And if you want, you can also turn off the base color temporarily. Next to that, we had paint dirt highlights, and you know what? I will do AO just in case we can use it. So paint removal dirt highlights AO. R, G, duplicate B. Highlights, and this one we can set this to B. And then right click and again, RGB, A AO this one will be your ambient seclusion. Although, technically, you know what? No, we don't need it. We don't need it because we can just input our ambient occlusion when we export. So we now have a paint removal note, and we have a dirt and a highlights note. For our paint removal note, I'm going to get started by just adding a black mask. Actually, let's add the black mask to all of them, to make sure that they are all blank. So down here, you just go art black mask. Then whatever we paint into this mask, that's what will happen. That's what will be applied in our shader. Paint removal. Now, although this door will most likely not have actual paint to remove, what we can do is we can still temporarily input a mask just so that we have something that we can test our shader on. The way that we're going to do that is we are simply going to go down here to our mask generators, and then we just want to quickly grab something that kind of works as like a paint removal mask. Let's say we go for this one, maybe like a surface worn over here. You see it. So just as like some paint removal. It does not need to be specific. We are going to paint removal is going to be something very specific later on. So for now just turn off the global contrast and just give it some random whiteness like this. Next, we will have our dirt. Whenever we switch over to a channel, we can basically click on the origin channel and turn off color and then click on the next one and turn on color. For our dirt, I always like to go in, and I like to grab our dust occlusion over here, which will always give us like this interesting looking occlusion. I do want to go ahead and let's tone down the dirt level over here. It does seem like some of the UVs are a little bit messed up in this one, but at this point, it's often easier to just kind of paint that out. So let's say that this is our dirt. If we want to paint something out, we can go down here and we can go and add a paint layer. When you have this paint layer, you can see that now you can start by painting stuff in and out. What we can do is we can simply go to our brush, grab like an interesting brush like a dirt one, for example. If your color is white, you simply need to press X to swap around your color. And then what we can do is we can just here or see paint out this dirt to just improve it a little bit better. That's one way if you have some bad UVs, but you do not want to go in and completely fix them again. This is a handy way to just quickly try and fix it simply by painting it out. This might not be the best method, but in this specific case, it's fine for what I need. I just want to have something in here. What we can also do with this is we can also, for example, add some extra dirt. So we can also, if we set a flow very low and press X, we can give it some extra dirt, like you can see over here. Let's set the size lower. Here you see, so we can paint in extra dorts wherever we want to. So let's for now just leave it like this because it's mostly going to be like a test. So what we can do is we can press X again. For some reason, wherever we switch to black, the flow becomes less strong, so we kind of need to boost up our flow again. Just like that, let's say we have something like over here. Fine. So that's our dirt. Lastly, we need our edge highlights. For our edge highlights, I tend to just go and create a mask, and we just want to get something that's like I don't know, concrete edges often do not work very well. But over here we have some actual edge damages. So let's go for edges. What was it? Edges dusty? Turn off the color and turn on the color up here. And here, actually, this is really nice. So edges dusty is working quite well, because what it will do is it will just give us some slight lightness to these areas over here. So we now have a mask ready to go. With this mask, what we can do is, first of all, simply right click on your actual folder and create a SMAT material. This way, it will just save this material, and will always whenever you restart painter, it will always be here. So because this is one of the things that will not be included in our template, and that is actual setups. So we can just drag in the smart material and be done with it. Finally, we can save sin. That's quite an important one. And I'm going to go ahead and let's go ahead and go textures. Let's make a new folder called masks. And in here, we can just go ahead and save this, and this folder might become a little bit crowded, but it should not be too bad. Underscore A. And let's press save. Next step is to go to File Export textures. And now what we want to do is we want to go ahead and first of all, create a template that will export our specific mask because we do not really have a template like that. We can do this by going into output templates and pressing the little plus button over here. And then what you can do is you can double click on it and give it a name. So let's call this one Western underscore mask, Underscore tooth. Just keep everything the same. Now we have a bunch of output maps, and the one that we want to pick is the R plus G plus B plus A. What it will do is it will split up our RGB into its own little folder. Now, the first thing that we need to do is we need to give the name. For this, substance painter is using flags or reference points. And basically the way that this works is we select this dollar sign, and we say dollar sign texture set. Remember how we set this to a specific name? What it will do is it will name our texture or our filename to our texture set, which we called DornscoreA. You can also set this to be your project name, your mesh name, or if you use multi UV layouts, which we do not use, you can use a UDIM name. After we've done that, we simply want to do underscore, mask. That's it. Now, R, G, B and A. Remember, user channel zero in R, drag it in and just pick gray channel. User channel one in G, gray channel, user Channel two in B, gray channel, and Alpha is going to be our mesh maps, ambienteclusion, because our mesh maps are basically our baked maps, so we want to just go ahead and grab our ambient declusion. That's it. That's all we need. If you want, you can set this to TGA, but often this stuff gets overwritten anyway, so it does not really matter. Now that this is done, we can go into settings. And first of all, we need to create you know, let's make a new folder called final. We need to create an export folder. So we can go ahead and we can select this export folder and press Select Folder. And then all we need to do is we need to go into our output template, and we want to scroll down and grab our Western mask tooth. The next time that you restart your substance painter, it will automatically be organized by alphabet, which I guess, because it's W, it will be at the bottom anyway. So the location will not actually change. But if you had started to write A, it will, for example, be at the top of the list. File type TGA document size is fine. We then simply pass Export and save, and we end up with a TGA file. Now, we are already quite over time here. So what I'm going to do is I'm just going to import the TGA file in here, and then in our next chapter, we can start by building our actual material. So inner texts, right click and creates new folder, call it masks, and in here, you simply want to drag in your TGA file. Now as you can see the file has some really funny colors, but if we open it over here, what you will see is that if I turn off these channels, we will have our paint layer, our dirt layer, our highlights layer, and our Alpha map all completely done, which will in turn create this specific map over here. So that was quite a workflow, but it only took us 24 minutes or only took me 24 minutes to explain. So in our next chapter, what we'll do is we will go ahead and actually start by building our material, and we should get something really nice out of that. Let's go ahead and continue with that in our next chapter. 38. 37 Creating Our Master Material Part2: Okay, so let's get started by creating our actual material. So we got a little list of everything that you need to do, but we already create like a main master material over here. So let's have a look. Okay, so it looks like I already exposed them, so that's pretty good. So you already went over that. So, as you can see over here, quite basic. We just have our tiling, and then we have our textures already. So that's already the defaultexs. So that's something. Now, what we're going to do is we're going to go ahead and let's start by just doing some simple controls with these textures. The first one is to control the color of our base color. This is very easy. All we need to do is we need to multiply, right click and to multiply, and we want to multiply our base color with another color. In this case, the way that you can create a plain color inside of unreal engine is by right clicking and adding a constant t vector. And constant vector just means RGB, so it's just like a basic color. Then with this color, we can right away, right click, convert this to a parameter and call this color overlay and make it white. White basically means because it is a multiply, white means that it will not be affecting anything, and as soon as we change the color from white to something else, it will just become that color. So that's one. Now we can do something very similar with our roughness and then also with our normal strength. With our roughness, you basically want to multiply your roughness. Using a scalar parameter, which I've already created over here, so you know how it works. S click and just call this roughness strength over here. And default, I believe, needs to be one, and then it will not be affected. So we plug this into our roughness, and now we also have control over our roughness strength. For our normal map, we want to kind of like duplicate the roughness strength and just call this normal strength. And it's a slightly different node. If you right click, it is called the flatten normal node. And this node, as you can see, it allows you to input a norm map, and then it allows you to control the flatness. But of course, if the flatness is set higher than one, it will also just increase it instead of just making stuff flat. So you can turn off your normal with this, but you can also increase the normal strength of it. So that already gives us some general control over our roughness, normal, and other strength controls. So that's pretty good. Now, we had a variation control mask. That's also another one. That one is quite interesting. I actually do want to use that because I think it would be cool if I can simply select based upon, for example, polygons or something, but not just on actual masks. Select which pieces I want to have darker or which I want to have lighter. For example, over here, I might want to have these faces over here a little bit darker. Now this is a little bit tricky to select. So I think we are going to do it in two ways. The first way is going to be by controlling some vertex colors and then using that version. And the second way would be to create an extra mask, and that mask will be, for example, the mask that we use over here. Or, no, that's better. That's the better way of doing it. So knowing that, if we go into blender, these type of vertex colors, we need to do on our object itself. However, this is always a bit tricky because, um Inside of blender, personally, yeah. Well, I'll show you. So the way that I tend to work with vertex color in blender is let's start by just going ahead and selecting the pieces that we want to have a different color. So right now it will just be these pieces over here. And for the rest, it just works like a color overlay. It's just that we need to set this up inside of blender, which is always taking a little bit longer. So it's been a while since I've done this. But what's often easier is if we just press Q and then separate our selection over here. That tends to often be easier because they say that selections take over into when we do vertex painting, but I personally cannot make that work. So basically, we have these pieces. We then go to texture paint. And then in here, you want to go from texture paint to vertex paint down here. And now you can see that we can actually control the paint. So I believe that we just want to go for the red color, yes. So make sure that this is just set to zero, one, one, and then you can also go to blue or green. So whatever channel you want to do. So in this case, for the red channel, we were going to go ahead and do some of these highlights, and then for the green channel, we will do paint chipping. And then once it's done, you can just go ahead and quickly simply click and drag over these faces. To add them, although there should also be a fill option. As I said before, to be honest, I've not used this very often inside of blender because it is a little bit of a pain, I find. Let's see. Oh, here, set vertex colors. So if you paint set verte colors, that seems to do the trick. Okay, in any case, we got this stuff done. Now if we go back to our layout, that should be good. And I crashed and I did not save. Okay, so blender is getting a little bit buggy, so let me just go ahead and redo that off camera. Okay. So we are back, so I those vertex colors, and now I'm just going to reimport this or re export this and then re input it into unwel. But then into reel, there is a setting that we need to set that I most likely turn off in the beginning, and that is that we want to import our vertex colors. We can do this by going and opening up our model. And if you scroll down to your import settings in the vertex color import option, you want to start with, like, an overweight. Now, when you do this, do make sure that if you make changes to your vertex colors after you've already painted in live vertex colors inside of wheel engine, you will lose that live painting, so just keep that in mind. But in any case, let's just press reimport over here, and that should do the trick. So oh, sorry, set it to replace, not overt, replace over here. Now if we go to show vertex colors, there you go, see? Now you will have the red color in here and it should detect this as being for the red channel. So having that done, now if we go ahead and now we can just test it out. So over here, we now have already our color overlay, and then what we can do is we can do another multiply. Move this little bit up like this. And then if we once again just multiply this color that we have, and then we want to duplicate our color overlay. So this one is going to be color variation like this and plug it in here. Now, what we're later on going to do is we can actually use a Boolean or a switch to basically switch between different modes. So this mode will be our vertex color mode, but we can also switch between a mask mode. But for that, I first need a mask. So for now, we're not going to do that. The way that we can use vertex colors and basically detected almost is like a mask is by right clicking and adding a larp, which is a linear interpolate. When you add this one, what you can do is you can larp number A, which is before we do, so this is just like our normal texture, and we are larping it using our overlay texture. Now, with larping, it basically is like a blend inside of substance designer where you a blend and then you art a mask. To detect the vertex colors, this is super easy. You simply right click and type in vertex color. And then we just want to grab the red channel and plug this in here, and then we plug this into our base color. So we can now get started and just try to see if this works. So we got this one over here. We save it. And then for our door, if we go to our materials, I want to go ahead and I want to actually right click on our mass material, create material instance and call this door Ace A underscore Wood. So we do need separate materials for these specific pieces. For now, I'm just going to drag it on because I just want to test it out, and then over here, we can see that we just have our Woot. Now, if we double click on here, we will have a few settings. So let's just go ahead and test out a bunch of stuff to make sure that everything is correct. So we want to just go ahead and turn these on, and let's get started with, like, our normal strength. So right now this is one, and if I set it to like five, Yeah, it's hard to see with the lighting, but you can definitely see it getting stronger or less strong. So that's good. Our roughly strength. Yeah, so we can make a door very shiny or not. So that's fine. And then we have a tiling, of course, which we can set to two if one or one doesn't really matter. Perfect. Then we have a color overlay, which will be our very first overlay, and that seems also work. So see we can actually change the color of mesh. Now we have the color variation. That one I'm curious about if the vertex colors went correctly. So if I move it down, Okay, so that one is not working. I feel like it is not working because of the I feel like the vertex collars are not being detected in the correct channel. I think that might be. Although this is red, so it should be like the red channel. It should at least detect something. You would think so, at least. So what I'm going to do is I'm just going to have a quick look off camera because I'm not sure why it is not detecting. So let me just quickly check that out. Okay, so I figured out the problem. So the problem is that if we go into our texture paint, we had to make the red black. So if we go to vertex paint, you can see that now, I just turned my color to black and everything except for this is done the red color, so it will detect the red. But because it was detecting this as white, it actually gave us every single vertex color. So white basically means that the red was filled, the green was filled, and the blue was completely full. And, of course, because of that we didn't see a difference. So now this should do the trick. So you make everything that you do not want to have a vertex color black, or you make it blue or you make it green depending on what vertex color you want. And everything that you want to have a vertex color, like you can see if we go over here like this one, we just make it the actual channel color, in this case, red, green or blue. So that is the general trick. Now, if we go ahead and so I already export this, and then if we go into unreal, we can go ahead and if you set your color a little bit darker, you can see that this happened. Now the reason that this happened is because sometimes you just need to simply invert your vertex colors, and you do this using a one minus node over here. You just plug this in between your red color and your Alpha mask. And what this will do is it will simply invert. It's just an invert. We spread save and there we go. So now we have control over vertex colors where we want to, like, just, like, have different darkness. So now I can control over here, see. So this is very handy for me that even though I have a Tya material, I can just add this kind of control, and don't forget. I can also do this in actual colors. So I can also go ahead and I can also give it like color control and maybe give it like a bit more of like brownish darkening over here, as you can see. So just like that, we are able to just do some quite interesting stuff. Okay, so that system is also working. As you can see, that already adds quite a bit to our scene. I don't know if maybe it would be nicer to actually control this one, but for now, this is fine. Now, that is the color variation control. The only thing that we later on need to do is we simply need to art and mask, but we will do that when we start prototyping our Wall now what we'll have is we will have our variation mask over here. For this variation mask, we do need paint removal. So for that, we do need, like, a paint texture to also be added. If we go ahead and go in here, we have our plain wood, but we never did plain wood painted. Yes, so we never did that. That is something that we do want to go ahead and create just so that we can cover all bases. Now, let's first of all, just go ahead and create over here like something very simple. So we have this stuff over here, and we can call this stuff. If you press C, you can add a comment and call this color over lace over here just to keep that nice and organized. It's a little bit like adding a box or a shelf. I forgot what was called inside of substance designer. So if we grab a mask like the mask that we created, we can drag it in here, and as you can see this mask, we can control all of our outputs. So we have paint removal in the red channel. Then we have dirt in the B channel and highlights in the AO channel. Now, for the paint removal, we kind of need to also decide whenever we do or do not want to have paint. So I'm just having a tink over here because we are going to larp this, but I want to have a think when I'm going to lurp this. If I'm going to lurp this after my color overlay or before. I think I want to do this before. So here we will have control. So if we move this down, let's get started with the paint removal. So for now as a placeholder, I will just do a constant color over here. And this is all going to be larps. So we basically want to lurp number B with number A, and this will be paint removal. So basically, wherever this mask is there, that's where we will have our paint removed. Then we lurp it again. Over here. And this larp will have a dirt overlay so we can discolor OX, discolor overlay, let's call it Temp. And then discolor overlay, let's call it dirt. And let's make this one more like a brownish color over here to get started with. So this is our dirt color, and we use the green channel to basically lurp between this. We might need to invert on channels here and there, and then we have our highlights channel. The highlights channel let's do a larp but let's do this a little bit different. Instead of a color because it's highlight, let's do so here, let's P channel up. Let's do a art note. And let's see if we can just art our original lp with a scale parameter that we'll call highlight amount. And set this to zero by default. And doing what I'm hoping that will happen. So it's been a while since I've done this one specifically. So I don't know if it was an art or if it was a power node, but what it will do is it will just simply increase the color a little bit. Over here, you can see that it's already looking quite wrong, and this is most likely simply because we need to, like, invert and masks. We also had the AO map, and that one, we can Oh, because we already have an embitlusion map, let's multiply that. So we can multiply our tilable material ambient occlusion with the ambient occlusion from our actual object and art is over here. Okay, so as you can see, not too difficult. So what we're going to do is, first of all, most likely a one minus, I believe on a Dort note. And what you can also do is you can also swap the lubs around, but I just tend to do this. Okay? So yeah, I think we need to have a one minus on everything. It's also on our red channel over here. Here, S so now I'm just looking, and although this sphere, of course, does not represent our model, it does work to just preview everything. So that would also mean that we most likely need a one minus for our highlights over here. Yeah. Okay, so we can now go ahead and press Save and we can give this a go. So we now have this one, and I will clean it up a little bit later. But let's go into our western town. And for these pieces, I forgot that I need to set the UV channel because else, this does not work. So if we add a texture coordinate over here, and what we want to do is you can see the texture coordinate index. Now remember, Neal reads as 012. So number two is actually our third channel. So if we set this to two and plug this into our UVs and just keep the tiling to one, it knows that it will just need to use the normal UV without tile in channel number two or channel number three, depending on how you look at it. If I save this, that should do the trick. There we go. Okay, perfect. So we got this stuff. Now what we can do is we can go at and where is my material. So what is starting to look like something. Okay, so we have our temp, which is our paint. So our paint is detecting that it will basically just, like, tear away the paint. I think for that one, we would not need a one minus, but it kind of depends how we want to do this. What we can do is we can do a paint invert note. So what if we do this? We add a static switch parameter. Over here, and we can call this paint mask invert. And that will give us control over, if we want to invert our paint mask or not. And then simply what we do is if it is true, use this mask, and if it is false, use befety one minus and simply plug this into your Alpha. So this will just give us an option to invert that. So if we do that, ever we want, we can here. So now you can see that now only the dirt is over here in these areas. But then what I can do is I can simply go in, paint invert mask, turn it on, and then it will just invert. So that gives us a little bit more flexibility. Next, we have our dirt. So if we go to our dirt, let's just turn this to black just so that I can see I can see it, I guess a little bit. I can see it a tiny bit, but it is nowhere near strong enough. So if we go in here, move this out. So this one will be the paint overlay. This is a mask. And I can later on give it comments, but I first of all, like to always make my material before you start commenting it out. So over here, we have our dirt. Now, what we can do is we can go ahead and after our one minus, we can add a multiply like this and just call this or add a scale perimeter that we'll call dirt amount. And then if we set a default to one, we can plug this into our multiplier, so now we have control over our dirt amount. So let's go ahead and save this. And then, of course, we also just need to keep in mind whenever we are in painted that we might need to, like, increase this. So if we now go to our dirt amount over here and increase it, the tricky thing with a mask is that it can. Okay, so I need to do this before. Yeah, I need to do this before one minus. The tricky thing about this is that I lost my train of thought. So. Oh, wow. I have a complete blank. I don't know what I'm talking about anymore. Oh, well, I'm sure that it wasn't too important then. Oh, yeah, that we need to keep an eye out also in substance painter to make everything strong enough. So I'm doing this before we artists, so let's go ahead and save. And let's see. So it might just do like an overall No here. So yeah, it does add the dirt, but it looks like that the dirt, like you can increase it. It's just a little bit sharp. So we need, like I said, it's really high to like 700. And then we need to, of course, go into our dirt and tone down. But then what we get is we get this problem over here, which is always interesting to me because it is a mask, so it is bleeding out the colors to be this strong. But that's always interesting because it is, of course, a mask. Now, something else that we can do instead is if we go to our master material, we can go ahead and we can add a power node. So a poweroid often keeps a little bit of everything better in check. Let me say it like that. If you hold Control, you can actually just move over here your output, so we can just move them like this and just swap around from the multiply. And let's go ahead and actually that's set the dart amount to zero by default, in this case, because the poweroidPower node is very sensitive. Actually, let's do 0.1. So let's press Save. And now over here you can see that nothing happens because we set it to like 700. If we start with zero, you can see that over here, if I now move, you see, so the powerid node is quite strong. But it does breaks my mask. I do not like that. I don't want it to break. This is a tricky one, so I kind of need to decide between the two. In that case, we might just go for just like a multiply like we did before. However, we might just want to increase it inside of substance painter. That might be a better solution. So it seems like the system is just pushing it to its limits already. So if I just go ahead and multiply this, let's save this. And basically, what I mean is that if we go into painter over here and we go into our dirt color, we just need to keep in mind that even though this looks nice, we always in on dirt just need to add a levels note down here, add the levels note, and just push the white slider up quite a bit, like this until it is very strong, and then just re export it. So then now if we just tie it out, so we've done this stuff over here, you can see that it's almost not working. We might set our dirt amount maybe to like ten so that we can see it a little bit. And then if we go into our masks and just re import, see? So we are increasing it basically inside of substance painter instead of doing it inside of Unreal, because Unreal has hit its limits. So you can see multiple different ways to kind of do the same thing. So over here, there seems to be another problem going on because this is not normal, the colors are so off, it feels like. Here see they are off. What might be happening is that our color overlays are clashing together. So our color overlays over here, what we might want to do just to see if they work better is we replace this larp over here because this is our dirt, so our dirt will be added on top anyway. And then grab our dirt and then instead move it over here. So it will be like the last thing that gets added. Like this, because I have feeling like these collar overlays over here are just breaking it. And if we now press save Hmm, let's set my dt amount to one. Is it really that strong in amount? So I'm just not I might be the material. I'm just not used to seeing it this strong. Here, see? I'm not used to seeing this strong. So then, but the color does correspond at this point with what I want. So Okay. That is a learning moment for me that I guess if I want to just have my strong dirt, I really just need to only apply it inside of substance painter and maybe then also go into my dirt levels and, like, increase the dirt levels because it looks like it just loses a lot of this detail, which is a bit of a shame, but it's not that bad to do. It's just something we need to keep in mind. It was just nice if I added this control because I've, of course, added control before inside of. Yeah, this works. I've added control before inside of unreal, but it does not always work exactly the same. Okay, in any case, so we got this stuff done over here. The last one would be our highlights. So if we have a door over here, let's see, the temp, can I just like here, I'm just going to turn you off. So the temp, we can even use Temp if we want, like as an extra dirt overlay. So for our highlights, scholar, if we increase this, something happen, set to like 50. Okay, so something does happen. So we do have our highlights colors over here. We just need to set it a little bit higher. So let's say that ten, five here, I think five is quite a nice color. So you can see that we now get some small highlights over here. So if we set the default to five, highlights color default five over here, that should do the trick. And we can just leave our dirt over here that does not really matter too much where we actually input it, apparently. So let's just have these ones. So here we will have C, paint, mask. C, highlight, mask, and see. Come on. DRT. Mask. Okay, so those are now also done. Now in the next chapter, we will just go ahead and we will just start by exporting an actual paint texture. But as you can see, the difference. So we have this one. So this is now our door, and this was the previous door. Oh. Of course, the previous door does not work that way. That is a little bit awkward. It's because of a Num to. Let's go ahead and right click and convert the parameter and call this mask, our actual mask. Over here. Now, in any case, you know what it looked like. You know what the previous door looked like. It's a bit tricky for me to now go in and, like, show it to you because I don't really have a material laying around because we all use this material. In any case, what we're going to do is in the next chapter, we are going to finish off our material. I would say that it's already starting to look pretty good. So we already got a really interesting looking wood that does not at all look like a tilable wood material. So let's continue with this in our next chapter. 39. 38 Creating Our Master Material Part3: Okay, so now that you have a pretty good shader, we just need to test it a little bit more. So what we're going to do is we need to have a few more textures. I'm going to actually go ahead and use my wood planks for this because this is often an easier way. So if we go wood planks, right click and new folder, variation, Caps lock. Variation on Scot B. Let's move this a little bit up. And then we already have some wood planks over here. So as you can see, we have our painted wood also. Layered wood painted over here. So we want to get our I don't think we need our ibient occlusion for this. So let's do a base color. Normal paint mask and our roughness. Oh, yeah, paint mask. I forgot about that one. So let's go ahead and just import these. Give that second, and there we go. Just double click on a normal and don't forget to just quickly swap around the flip around the green channel. For some reason, I need to Wow, I cannot speak. For some reason I cannot speak anymore. Okay, so in any case, what we're going to do is we have over here these paint maps. Let's go ahead and just select all of them and start by dragging them into my mask material so that we can utilize them. So first of all, over here we have our paint mask. Lo where we want to kind of, like, paint this stuff out. For this one, we can pretty much just go ahead and if we just place this down here. This is, of course, then, like a template. I can later on also just have a switch that says that if it has paint or not. So we want to go ahead and we have this one. This is a roughness. This is our actual mask, so our actual mask needs to go up here, and this is our normal, if you want to just go ahead and place down here and let's have our ambient occlusion up here. Okay, so while we had our temp over here, we can go ahead and just replace our temp with our actual paint. We can right click and convert this to peremter and Carl this base color paint, for example, because I know that pretty much every single one will have a paint variation. Right click, convert to perimeter, roughness underscore paint, and also here, convert to perimeter, normal underscore paint. Okay, so we got those ones. Now all we need to do is we just need to input the same UV channels or the same UVs. Over here. There we go. So we've done those things also. And now, what we're going to do is so first of all, I kind want to be able to turn it on and off. Yeah, that's probably the first thing I want to do. So for this, let's create a static switch parameter, and let's call this has painted version. And with the has painted version if we go ahead and we can probably just use this one because I still want to be able to use my highlights and everything. If it is true, grab this one. If it is false, grab a base color. And throw this in here like this. Now for these ones, we just need to do the same lbs. So if we just go ahead and duplicate the lub here, and then let's see. So this one goes into B, this one goes into A, normal goes into B, and then the normal paint goes into A, and then we basically grab the same mask over here to all of them so that we can instantly just turn them all on. Next stop, plug this into its outputs. And I just copy over the static bull over here because we can do the same thing over here. We can say if it is false, and if it is true, we will add our lub over here. And same with the normal map if it is true, and if it is false, it will just be our default normal. So now we can instantly turn this on and off. The only thing I want to do is I probably just want to turn it on by default. And what you can see is when I turn it on and off, because they all have the same name, they will all be updated. So they are all instances of each other. So that is the nice thing about this, we don't need to check three options. We will just have this one option and we are able to check it. The next top will be that we have a paint over here. I'm going to multiply it. And I want to multiply it using a constant t vector that we convert the perimeter and call this paint color. Now for this paint color, I'm going to set this to white by default. And then what I'm going to do is I'm going to lurk this together, so we will have a linear interpolate. And you guessed it. So over here we have our paint mask. So let's convert this to pemeterPaint mask. That has the same UVs. Now what we can do is we can plug this into our Alpha, and then we can say, Okay, so our paint color, in this case, I'm going to do it in the A, I believe. Let me just check and then our base color into the B so that I don't have to invert it. Although I might still need to input it. I'm always mistaken. I think that looks pretty good. So, okay, so we now have control over our paint over here, and we have control over where we want to have our paint. So let's go ahead and save scene and actually try this out. So save sen. Now, if we go in here, we don't need to do it for this one. So I want to go in and grab my plane will short over here, and you are going to be my prototype for this stuff. So our plane will short. If we go to materials, we can go ahead and let's actually grab because this one. So for example, this one will not have a mask. So we kind of want to work with that. So here we have our wood planks variation A. Let's go ahead and just duplicate this and just call this plane wall short. Or do we need to? No, wait, we don't need that. Sorry, we don't need that because we don't have a specific mask, so we can actually use this one over here, and this is like our paint as well. So, yeah, that's all looking fine. So if we just go ahead and open this up and just turn everything on. So the first one is that I need to be able to turn on and off if it has a mask because I do not want to use my mask all the time. So I'm going to go in here and let's see. So we have a mask. So if I duplicate my static switch pemeter and call this has variation mask over here. So we can just turn this off whenever we want to. And that means that for our paint, it will not use the mask, but then what we can do is we can switch between vertex colors or mask. Yes. So that means that over here, if it has a mask, it is true. Sorry, let's duplicate this three times. So if it has a mask, it is true. And then what we can do is we can hold control and we can actually swap this around like this to just copy over our inputs. Oops. One more. Over here. And then if it is false, we want to have a constant three vector, two of them, one of them black, one of them white. We need the white one for our ambient occlusion, and we need the black one just for our masks so that they will basically say, Yeah, we have nothing in here like this. Okay, so we got that stuff done now, and by default, it just set to true. So if I now go and save this, I should be able to now go in here and a variation mask, turn it off. Okay, that does look better. I don't know why my frame rate all of a sudden dropped like that. But okay, so that works. So we can now turn off our variation mask. And as you can see it now also doesn't show up anymore in here because we just don't use it anymore. So now what we want to do is we want to go ahead and we want to have control, so all this stuff will go away or will not work now. But the color overlay should still work. That is fine. And then we have a paint color, and our paint color needs to be inverted, it looks like. So let's go in here. So after all, I need to invert it. But I can just go ahead and do it like this. See if I just invert this lube that should do the same effect as me doing on one minus. Tara. Okay. So we got that stuff done. So, of course, our paint color, we don't want to go this intense. So if this is white, we are able to change the colour to, for example, as you can see here, like, a little bit of like here, let's say that red is often, something that they like to do. Like this. So now we have a red color. The only thing I need to do is I need to extend my mask a tiny bit because right now, it still has some of that whiteness on top of it, and I don't really like that. So I need to extend my mask a little bit more. Okay, perfect. So this stuff is no alco donone. So we're just running down a list here, basically. Save cine. So the next one would be that we want to have control that if we do not use a mask, we want to have control over using vertex paint. So over here, we are swapping in our mask. And then we say, if the paint mask is true, we will use this one. And if it is false, we will use wait. Sorry, that's a paint mask invert. I was already thinking. Okay, so that's a paint mask invert. So now if we go ahead and now if we add another one on top of this, it will basically be duplicates vertex. I'm not typing for some reason. Vertex paint removal. Yeah, let's do that one. If vertex paint removal is true, so if it is false, we use this one. But if it is true, we will grab our green channel of our vertex color. Now what we want to do is we just want to swap this around. Like this. So now what it will do is it will include our vertex color if it is true or actually know it will most likely overwrite our vertex color. So we might want to play around with this a little bit more, but we will do that when we get an example. So if I now go ahead and have this, that means that if I now go and select my model and I go over here to my active mesh paint, this is our vertex color painting. If we go to paint, we can set so let's set our strength to one, and let's set in our green channel, our paint color to black maybe. Hmm. Okay, so that does not seem to work. Is it turned off? Okay, so it's turned off by default. Um, let's go ahead and just go in here and turn it on. So we have our vertex paint removal. Let's turn this on. Okay, so if I turn it on, it will be the opposite direction. So we will need to invert this. But as you can see, now I am able to paint in my wood based upon my vertex colors. So although for this, it doesn't really matter because what we can do is we can just do a fill over here, and then everything will be paint. And now if we paint with white, you can see that now I can basically paint away. For example, on these edges, as you can often see, I can paint away my vertex colors like this, and I can just leave in, like, a little bit of this paint, and then I can also swap around my colors if I want to increase it again. Let's say, like we do for our example, we have only here at this area over here. Like that. Okay, perfect. So that, nicely fades away and stuff like that. So that one is also working. And then when you close this window, it will just stay, so it will remember all of this. Okay, so that one is good. Now the next one is I probably want to have control to paint between our chipped paint and our clean paint so that we also have control over that. So we are getting quite bigger, anyway, the shader. But it should be fine. So let's select this star, C, and this is going to be variation mask over here. So we got this stuff done. At this point, we no longer are following our notes because we are past that point. So we have control over here that it will automatically be turned on. Then we still have control over roughness and all of this extra stuff. So let's save Racine. So here we are in substance designer, and we just need to export a clean painted version. So we have layer wood painted. Let's do layer. Wood painted clean over here, and that one is where we will export this. So if we go into our presets, we most likely need to make a small added to this. So first of all, go into our presets and let's go at the set this to be our overlapping planks. Okay. And then our paint is already turned on. Yeah, so we can just turn it on and off. And then for our hes paint, we want to have another version that will be like the mask will just be clean. So first of all I need to kind of see where is our mask. I believe over here is our mask. So if we go ahead and add another switch, so space switch, grayscale. If it is true, and then if it is false, it will be a uniform color. Or do I should already have a uniform color? Oh, God, now I'm getting confused with unreal engine. Editor. So this switch, basically what it will do is exposed if broken paint is true, then it will go ahead and do this. And if it is false, it will just stay. So we got this stuff that throws it into our base color. There we go. And now if we go into our wood blanks, Actually, let's double click on our base color so that I can see it. It's going to our wood planks over here. And then in our overlapping planks, it should have this as paint. Oh, no, wait, I added this to my base color, of course. So broken paint, I can turn it off. I will clean this up. But now at least now it is just like a plain painted version, and it should still apply to everywhere. Okay, so that's a problem. So this is actually a problem that we need to fix anyway. So it looks like that the paint is actually removing our map because we are blending with it, but we do not actually want to remove nor map. We just want, not the actual planks normal. That's the one that we do not want to remove. So let's see if we have a paint over here, this paint simply needs to be blended with, like, a cleaner version of our normal. So this version over here, what we basically want to do is we want to do a normal combine, and we want to blend this paint with this normal. Really, does this paint have like, Oh, no, of course, it doesn't have any detail because I literally just turned it off. So now it will still keep that normal map. So that should be fine. So now if I save my scene, I can export my bit maps, and this one is going to be layered wood painted clean. And let's go ahead and we do not need a paint mask for this ambient occlusion, height or metallic. Let's export this. Over here. And then what I want to do is I just want to quickly turn it back off over here so that we have so that now we do have also, our correct paints over here. So what I can do is I can now export this because we need to re export this because I wanted to get this effect over here anyway. So we got that stuff good. So let's export and you are going to be layered wood painted normal, and I need you to just also export so that we can just reimport that norm map also. Okay, I hope that this is not too confusing because we all of a sudden have a lot of texture maps to work with and a lot of stuff. But once the system is done, then it should be easy going from there. In my wood planks, let's start by just going ahead and going into variation B. Right click and just reimport my norm maps that it has that extra Added normal. Then variation C. Variation C, we are just going to import. Our clean painted wood over here. Once again, just double click on your norm map and just make sure that you turn on the flip green channel. Now what we're going to do is we're just going to go ahead and we are going to add this to our master material over here. So we got this one. Start with our base color. So if we go over here, we have a base color paint. So yeah, well, this comment needs to be a lot bigger. I already know that. So we first of all, control the paint amount, but then we use our paint mask automatically. We use our paint mask automatically, but the paint mask, yes, it's actually, no, this is correct. So the paint mask will only use this one. That is fine. But then if we lurp behind it, so we do another larp here. And basically, with this larp, what we say is B is default, and then in A, we want to use our actual clean painted version. However, our clean painted version, if we just right click, convert the perimeter, paste color paint clean. Then this version also needs to have the same multiply. So this version needs to have the same paint color. Like this. However, this one, of course, because it is all paint, we don't need to have any mask. So we can just plug this in here, plug this in number A. And then in our Alpha we want to choose, for example, the blue channel of our vertex colors to paint in here. Okay, let's actually first of all, test this out before you start applying this to the rest. So now, if we have this version over here, I don't know why my frame rate is tanking. Uno five does sometimes have some frame tanking. Then you can see that now it starts to go better again, so it does sometimes happen. So if we go to our paint, we set this on our blue channel. There we go. And then if I paint this out, I can now paint in perfectly clean paint. Perfect. So now we have full control over this. So you can see how powerful this is going to become where when we can go ahead and we can paint, we can change the paint color, and then we can paint between the different types of paint, and we can remove paint like you can see over here. But we can also do like a mask and do all of this into the same material. And then just imagine that on top of that, we throw decals, which are like leaks and general dirt and everything. So that is perfect. So we got that stuff done. Now all we need to do is we need to go ahead. Apply it also over here to these versions. So we got this larp, and we want to do another larp so one lobe here, one lobe here and we want to do this lb before we have this stuff. So we have our I forgot I need to do the exact same order in number B. So paint B, and this one is going to right, click, convert to perimeter. Roughness, paint, clean you are going to go into A. This one, right, click, convert to perimeter, Roughness, paint, normal paint clean over here. So this one is going to go into A, you are going to go into B, and we plug you into our next lub. And then all we need to do is we just need to grab our blue channel over here and nicely plug it into the Alpha. Okay, so that should do all of that. So now if I save, that should show up correctly. So if I go in here, I go outside of my vertex collar Yeah, here we go. So that should pretty much work. You can also go into Show and revise it into ID. They always change it around. No, no, I think this one is into show. And then if you go into your advance, we are able to actually display the roughness. I just forgot where it was again because they changed stuff around in Emule engine five. Now, then it should be here, right? Visualizers. Mm, that's strange. It should be in here somewhere. Oh, yeah, wait, here, buffer visualization. And then we want to go roughness, and then we can kind of see if the roughness is working correctly. And seems like that it is working because this is our wood roughness, and then you can see that this one is a lot more plain. So that's all working correctly. And, of course, if you want, you can do the same with your norm map, although your norm map is a little bit trickier to see. Um, yeah, you know what? I'm not gonna bother with that. So, okay, perfect. Let's have a look over it. So I think we have everything. Of course, we can always go back in and we can, like, change things around. But you can see that this one is also still looking the same. So what we can now do with our door, so we should be able to now also into our door material, and we should be able to say that this one does not have has painted version. There we go. So now if we turn this one off, it still keeps all of our dirt, but it does not have the painted version. So just like that, we have now that done, and then our door would technically be called done. Maybe you want to make your door a different color overall, like a different material. But for now, that is looking pretty good, and this one is also looking pretty good. So for our master material, just to close this chapter off, C, normal map over here, another C Roughness map. Then over here we will have this is like our AO map over here. For this one, we can do C. We can do map, control. And finally, so over here, we have all of these maps that are also done, and we have these ones. Okay, perfect. So all of that stuff is now done. Only thing that I need to do is paste cool clean paints. We just need to add our UVs. I forgot about that. So they need to be the same UVs as the S that we've used before. Like that, because else it will not look very good. We just didn't notice because we are not actually changing the UVs, but it's still good to have this. And I think that is about it. So everything else can be turned off. So yeah, I'm quite happy with that. So it might lookalike a lot, but I hope that this made sense. So we now have a master material. So the next step would be, I believe to start, well, let's start by just exporting all of our proper textures and everything and have all of our texture variations in here. And then what I'm going to do is we are just basically going to take all the models to final one by one, starting with this door where we will also go ahead and import like a metal texture, for which we are going to do it very simple. And we can also go ahead and already create a prototype for our glass over here. But for the rest, this is looking pretty good. You can see that if this would be like in here, it would just be like an interesting look. So let's go ahead and continue with this in our next chapter. 40. 39 Importing Materials And Doing Our First Lighting Pass Part1: Okay, so the focus for this chapter will be to export a bunch more textures, and then what we're also going to do is, of course, input them. But I actually want to work a little bit on my lighting of my scene, because if we are going to start working with materials, it is good if we already have a basic bit of lighting. So what we have right now is we have if we go to final. Okay, so we have our flat planks bare. Okay, so that one is working fine. Layout would B. That one is working fine. Then we have the painted version of today it'sod. Let's just keep only the layered would painted because else it will be overwhelming the amount of textures that we have. One thing I do want to do is I want to start by just changing some colors around. So if we go ahead and I need to actually have a look at my reference for this, here we go. So for our colors, first of all, I want to see over here. So yeah, I think our layer planks, we just want to change our colors. But then I think for our flat planks that we probably do not need to change too many colors. So most of these planks will not be flat. We will make some variation later on. But for now, what I'm going to do is if we go into our wood planks over here, we can go ahead and in our preset. So these are our overlapping planks. What I'm going to do is I'm just going to go ahead and I'm going to turn off the hairs paint. There were going. That should just fix everything, right, right away. I always need a quick reminder. That's all press update. This is the default one, but I can remember that we actually have base colors, and I can remember that we can set those base colors in here, right? So in here. I thought we had Oh, no, wait, we have presets in here. That's it. So Wood 01 is most likely this one, Wood 02. Okay so that's the darker color. Basically, what I'm going to do is I'm just going to export my base colors for this because everything else pretty much taste the same. So what I can do is I can go ahead and I can go to my final and I can do Layered wood variation B, for example, because variation A is the default. And then, yeah, so we do need to create folders. The reason that we need to create folders is because the way that I export, the file names will stay the same. So if I throw it into the same folder, it will just simply go ahead and it will overwit the files. We do not really want that. And variation C. So I'm just duplicating the folders. So this is variation B, and then we can simply turn on just the base color and press Expot and off we go ahead and we click on our plain Wood again, we can now again go to Wood 03, which is this one, and we can simply go file and export this to variation C. Okay, so that should do that should do that trick. So that's now all done. Let's see. I think, that is about it. So we've got this one done. Now what I'm going to do is I'm just going to go ahead and I'm going to also have, my plain wood and I also want to have a plain wood that's like a painted version, most likely, because I do think we probably want to have a painted version. Let's first of all, just go ahead and let's open up our plain wood over here. Here we go. And let's also start by exporting this stuff. So for this stuff, I believe that we only need to do like color variations because everything else pretty much stays the same. Oh, no, wait, we did make a small variation where some of the other wood looks a little bit older, so we can just as well do that. So let's go ahead and export. Not export outputs a bit better. Let's go ahead and go to textis. Plain wood, final. Variation B, variation C over here. And now that we've done that, we can go ahead and we can go to our presets and we can start with 01 we've already done. This one can go to 02, so variation B, export. Give that a second. Come on. There you go. And 03, export, and you go into variation C. Over here. And then, yeah, so for the painted variation, we kind of need to have a think about how we want to do that. So it might be easier to actually do the painted variation inside of the wood planks, because what we can do is we can technically just turn off the planks, and then we have a plain wood painted most likely. So if I go ahead and go in here, what I want to try out. So we have our presets. Okay, so those are our presets. The planks short, I actually need to have a look at that. Woodblanks final, wood planks bare. Layers. Okay, so we also still need to export those. So let's go for flat planks over here. So we have our flat planks. I'm going to you know what? I quite like this color for flat planks. Let's start with this color for flat planks. I'm just needing to double check over here my maps, okay. And then we can just export this. So this one will be final flat planks B variation two or variation B. Yeah, let's also just do these two variations. So this one we will only have the base color and the norm map most likely. The rest kind of stays the same. Although, no, actually, we will probably also have more dirt on it. So let's also do our roughness. Okay, so we got these variations now done. That's quite a bit of stuff, but that should be fine. Now what we're going to do is we are going to have a paint and for paint, I basically want to turn off my planks in a way. And then once I've done that, I can just add some more stuff. So if we go to the very base, Um, no, you know what? Let's go to the very top. So over here, we have this one. So if I turn this into white, so if I add a switch grayscale, and I go ahead and I just expose this white away and call this has planks, and the default should be true. So this one will be has planks. So if has planks is true, it just goes in here. But then if it is false, do I already have a white color? No, I don't think so. Then just like a uniform color and make it grayscale and make it white. So if it is false, it becomes that one. Now I just want to see how that behaves. Most likely, our flood fill or something will still break, but we will see. So if we go to our wood planks for this one, actually, let's go ahead and set this back to wood 01 in our preset. There we go. So we have these wood planks. Now what? If I go ahead and I grab the overlapping planks preset over here. And then what I'm going to do is I'm going to do this plain wood painted and press new. So now we have this one. If we go to the a planks to set is false, I want to just see how it behaves. Surprisingly well. I behaves surprisingly well. So let's see, in our norm map, it looks like that all it does is the directional warp kind of like switches stuff around. But for the rest, that works quite well. So our directional stuff, we do that over here and we grab it from this version. But what we can do is if we just go to our switch Grayscale. Oh, wait. Hey, look at that. We already did the switch, or maybe what we can do is if we set flat planks to, now, that's too bad, so it does not do that. So in that case, let's do another switch grayscale. And this time, this one will be has planks. So if has planks is true, it will do it like normal, and if it is false, it will just become white. Let's give that a go. So now if we go ahead and look in here, see, now all of our boot is going correctly, and we still have these nails, but we can kind of keep the nails. I don't really mind that. So now that we have these things done, now what we can do is if we go ahead and turn on has paint, let's see how that behaves. So that pays pretty well. The only thing is that it does use a mask. So if we have a look over here, so around how okay, so I switch this mask up over here in my directional warp. Yes. And then I just add more stuff on top of it. So if I would turn off this directional warp, but this directional warp is going to this one, which should be turned off. So if I go in here, it should be if I say has plank is egal to falls, it should be turned off, so I don't know. You he paints. That's why I'm mistaken myself. Reset, you need to be has planks over here. That is strange that it then still looked like all of the switching or maybe I just did not look good enough. There we go. Now we have the hes paint, and now it will not be split up into our woods. This is quite cool. So now we have, these two versions that are all working really well. Okay, so this one, what we can do is we can export this, and we can say into this one, yeah, you know what? Let's leave it into our wood planks because else I need to keep navigating whenever I want to make a change. So let's just call this plain wood painted, damaged. And let's like this folder. And let's go ahead and just have also the paint mask just in case and have the ambit occlusion. So let's export this And now what we also want to do is we probably also want to grab a clean version. So first of all, press update so that we have this one. And then what we can do is for our clean version, didn't we add this to our base color? Yeah, here, broken paints. Let's turn this off to false. There we go. So now we can go export this. And this one will be finely plain, wood painted, clean. Okay, that must be enough materials for now. So let's go ahead and export this stuff over here. There we go. Okay, wow, that was a lot of stuff. So if we go ahead and go in here, we do now need to go ahead and import it. So we have our plain wood. Let's do variation A, variation B, variation C, and I think even variation D. So variation A will be this wood. Now if I go to variation B, that one will be this version over here. So I'm just going to slowly start inputting everything. So for this one, I only need a base color, normal roughness. Variation C. Most likely we don't even need the roughness because we can just reuse it. But in any case, variation C, we will go ahead and also grab this one. Oh, yeah, by the way, same with the normal. The normal I'll leave it for now, but you can most likely get away with just not using that, and that will be a little bit cheaper on your scene. I even need to have a variation E. So variation D will be the painted version. So if we go Wolnks final and let you paint it clean, over here. And variation E will be our painted damage, and don't forget to also import your paint mask with this stuff. Wow, okay. So that's quite a bit of stuff. Now we have our wood blanks. Our Wood blanks is going to B. Let's see. Variation A, we already have B and C, we already have D and E is I think the only one that we need. So yeah, you just know by the variances how much wood this environment will have. So number B is just going to be a simple base color. And number C is also going to be a simple base color over here. Okay, so we got all of this stuff, and then what we can do is we can simply just create materials, and then we can include those materials in here. However, this is all kind of like on a per object basis, so we will create these materials later on. For now, what I'm going to do is I'm going to save all of this stuff over here. So, now that we have all of these variations here, what we're going to do is this wood and everything. Let's just temporarily move it over here. We are going to just make our scene look a little bit more visually appealing, so that when we are working with materials, at least we have a little bit better lighting and everything like that. So what I'm going to do is I'm going to go down to perspective and go to my camera actor, and this is probably the one that I want to use. Let's move this. And now over here, so we have quite a clean looking scene already. That's quite nice. We are going to get started doing a little bit of lighting for this most likely. So if we just go ahead and move this, for the lighting, I do want to go ahead and switch my screen percentage. To 200 over here so that it is a little bit higher. And now, so we have a directional light, and then we have, of course, yeah, we have landscape, and we have a sky atmosphere. So this was the base lighting that we had at the very beginning. And for now, this is fine, although I might want to change the sky a little bit later on. Okay, so if we have a look at this, let's start with our directional light. What our directional light right now is doing is because it is based upon a real life light, whenever we move our light, it will also change our color. We just kind of need to see how much that we want to do for that. So if I move my light, we want to go for, like, an interesting looking lighting. Now, in here, it's an overcast sky, so it's not very interesting. So we are going to go maybe just rotate things around. Oh, turn off your snap rotation for this. And here what you can see is when you move your sky around, you can see that you get very different lighting. Now, the color of this lighting is accurate. So that is quite nice. No, that it is accurate. So I want to just go ahead and I want to see if maybe you want to go for, like, sunset. You can even go for, like, night, although night, of course, doesn't really work for this. But I basically just want to go ahead and rotate my sky around and see. I quite like this where I have still some shadows over here. What these shadows do is they almost create a silhouette of their own. As you can see, it also minimizes over here with our planks, but I don't want to overdo it. Let's go for something like this. Now we can also rotate on the other axis and we can see if we want to change. For some reason over here, so it's losing the axis. Over here, you can see, I always quite like a little bit of strong lighting. This might be a little bit too strong though. I think maybe we would go for like something. You know what? On the one hand, it feels very strong, but on the other hand, it does look really cool if we do something like this. Let's see what else do we have? And this is also why it's important to add all those buildings later on. So what else do we have? We have this one. This one does not really work because we don't really have the buildings to support that. So, you know, I might so we'll go for this one, or I will go for I think I'm going to go for this variation over here. And then I also just want to keep playing around with my lighting to see if I can maybe get stronger or less strong light. Here something in this d. So you kind of need to look for yourself what you like and what you want to get. So when we have this lighting, we can, of course, in here set our intensity. So if we set this to 0.5, for example, here, it kind of, like, reduces things a little bit, but this will also reduce the overall GI because with the new lumen system, the GI and everything is very affected. However, it's hard for us to really work on intensity for lighting because everything is white, we just cannot properly see which direction we want to go. So we can also go to our light color. And if we set our light color, down. It will not over white the color, but it will add this color on top. So what we can do is we can go ahead and we can give this a bit more like an orange here. If we set completely to orange and then tone down this slider, you can see that it slightly just changes. I feel like this environment can use a little bit of orange because it feels like a really warm environment. It's probably located in the desert or something like that. That's another thing that we can do. Now, on top of this, if you want, you can also use your temperature, which will basically allow you to set like a temperature. And the soft angle is quite important. Look at these lines over here. The soft angle will basically soften out those shapes, although it does not do it as strongly as I expected. Oh, that's interesting. Normally, it does. Normally, it will make everything a lot stronger. Maybe it has to do Oh, I honestly don't know why it doesn't do that this time. I've used it like a few days ago, so we'll have to have a look at that. I don't think shadow resolution really does something, but you can try set your shadow resolution higher. The soften angle, it is PBR equid, so it might work in some areas, but I'm not completely sure. But over here, this is quite nice. So now we have an area, and with the new lumen system, it will look very realistic right away. So we will have an area that is in shadow, and we will have an area that is in really strong lighting. So it will give us a very interesting looking contrast. So I'm quite happy that we found this angle. If we go down here, so these are all extra settings. We don't really need to touch them. Distant field shadows, all of this stuff, it will just do its own. Yeah, we don't really need to change these settings. I know that I just did, but we don't really have to change these settings. So let's say that our directional warp or directional light is currently done. So our sky atmosphere we never really have to change. It's just like our sky, but we will later on most likely replace those for, like, a custom sky. Same with our sky dome mesh, and then we have our skylight. So our skylight has real time capture turned on. I just want to also set this one in the center over here. And basically, it means that it will capture this environment. You can use an HRI map for this if you want. However, I tend not to do that for outdoor scenes because once we have our materials and everything, it will actually just build this environment and all the reflections or all the material response will be correct. I do tend to just set up the cube map resolution a little bit higher to 256. Over here, you can see also if you ERC, you can see how it affects. So you can set this stronger or less strong if you want, and you can even give it a general color. Now, all of this stuff we don't really need to work. Occlusion combining, I always said this to multiply. Basically, if we have any post effects, it will just throw this on top instead of replace it. And for the rest, yeah, you can sometimes press recapture, but it often does that automatically. So this one is also already correct. So honestly, we don't need to change that much. You have your volumetric clouds that if you want, you can change it. Here you can see that you can see your clouds basically change, so we can change this quite a bit, but it does, of course, affect our lighting also. So this is more something that you want to be a little bit careful about. And not go too high because then it will change, then it will become an overcast because it is using our clouds and it will basically use our clouds to also cast some reflections on here, to cast some shadows on here. So we got this stuff now, so that's looking pretty good. The next thing that we want is we want to have reflection captures. Reflection captures just make sure that your reflections are correct. And for exterior environment, they can be quite large. So if we go ahead and go to create visual effects, and then we want to grab a sphere reflection capture over here. Now this capture, what you can see is it will have an outline and this orange outline that's where the reflections will be included. What I'm going to do is I'm going to go ahead and I'm going to let's say place one over here and they can overlap. I'm just going to duplicate that, place another one here, and another one here and another one, let's say here and maybe also a few more over here. Now, why do I do this? This is because if I only have one in the entire environment, what could happen is if I have, for example, a reflective window here, it might show a reflection that is all the way over here, and we do not want that. So I really have to admire the Lumen system because it is just so much easier to do stuff in here with lumen compared to Un engine four. So it's really cool. You can see how it just looks nice. In anyway, we now already have some base lighting done. What we'll do in the next chapter is we will just quickly go over some post effects, and then what we can do is we can already start by creating some new materials like a roof material or already setting up the default materials. Let's go ahead and continue with this in our next chapter. 41. 40 Doing Our First Lighting Pass Part2: Okay, so I want to start this chapter off by creating post effects so that we can already make some general changes to it. So first of all, let's go ahead and just grab our sphere reflections and throw these also into our lighting folder over here. Now, for post effects, so apost effects is simply a volume that you can find in create, visual effects and your post process volume, these are effects that will be added to your camera after everything else. I'm sure that many people have heard of this. So these are basically almost like camera effects. They are everything from screen space emulaticltion to adding vignetting to adding color grading and a bunch of other stuff. Now, we will go a little bit more advanced into this later on, but for now we just want to do some basic setup. So if you go ahead and just open this, the first thing you want to do is scroll all the way down and turn on infinite extent. When you do that, what will happen is it will make sure that no matter where you are in the environment, these post effects will be applied. Then what we're going to do is we're going to scroll up and let's just run through this. In here, there's a few things that are very important. So first of all, we have a bloom. That is fine. If you want to have more bloom, you can do that to give it a bit more like a glow. However, I'm quite happy with the default, so I can just leave that off. The exposure is very important. You have already seen me struggling with it, that if I'm, for example, I think it was here, do this, that everything just becomes pitch black, and then when I look again, see it changes. This is basically the system tying to make that effect that your eyes need to adjust to the new light. However, I do not want that. This is an art environment, not a realistic game. Well, it is realistic game environment, but I do not want to have these settings. I want to have full control over my exposure. The way that I can turn this off is by going into exposure, and in our minimum maximum brightness, we want to set this to the same value, and I tend to start with 0.1. Oh, here, C 0.1 spot on. If you set this to zero, what you will see is it becomes white. If you set, for example, to 0.5, you can see that it becomes darker. But 0.1 seems to be spot on, and that's why it's often my default value. Now, chromatic aberration is that effect that you get on the outside of your lens, it can sometimes be nice and, like, a very, very low level, like 0.0 0.1, even. So just like very, very subtle. Is my resolution? Yeah, my resolution still fine. We don't need stuff like dirt mask or camera settings or anything like that. Maybe daptal fields would be cool. We can ty depth of field. So first of all, let's go into our image effects. And here we have vignetting, which is basically like the darkness around your corners, and sets to 0.5. We also grain. You know what? This might be a nice environment to include grain to get like that film grain effect. So if we go ahead and make this bigger, basically, the grain Jeter will be how much that it moves around. And then the intensity over here. See, I can just add some intensity. So this could actually be quite nice. I can see that yeah, maybe because we have a white environment, it still feels a little bit buggy in these areas. Like our anti alysing almost feels like it's not very nice, but weight is most likely the shadow over here. But we can set some grain. So we will most likely set this more intense later on. But for now, let's set this to 0.05. Just like a little bit of, like, a grain or not, or will it just make everything feel like yeah, on the one hand, I think we need to wait with this until we have color because grain works a lot better when we have color, and then we can make it very strong, like 0.2. But right now, what it will do is because everything is white, it will just give us a little bit of an effect that everything is moving a little bit, and that is not actually what I want. So I'm actually going to turn it off for now. We have adapt field. So adaptive fields pretty cool, that's we can use this. So what we can do with this is we have a focal distance, and then we have adept. The way that you can see this. So if we go to our focal distance, the set is x one set is very low to 0.1. What you can see is now at a very low value, it will just completely, make everything blurry. If we set it to like 0.1, maybe, no ten, you can see that starts to improve 15. But what I'm more focused about is we can set over here. If we go to Advanced, we should be able to set or we should be able to preview adapt or field. So visualize depth of field. No, not dept of field layers. Oh, I froze. Whoa. Okay, fair enough. Fair enough. It's unreal engine five. It sometimes happens. So you kind of need to get used this. I just hope that I save. Okay, so I only lost the creation of my boost effect. So that is fine. So here we are back again. I just restarted the engine. So keep that in mind. Save often. It's we do out of saving also. Any case, depth of field. So I was going to go ahead and I was going to go in here, visualize, and then you can set the depth of field also like a distance, but now I don't really trust that anymore, of course. So instead, let's just go ahead and just play around with that distance. So if we set this to 50, so 50 is still 100. Here see, you can see that it starts to 200. 500. Here, see, so that's more what I want. So now you can see that over here, we get this little bit of blurring here compared to if I turn this on off. You can see that it does a little bit of blurring, and that's kind of what I want. So this works better with a cinematic camera if we have one of those. However, we currently do not have those set up, and we will work on that later on. This is just like a basic quick thing. Let's do 400 maybe. 500 that's to 500. I also want to make sure. So it does also add already like some softness here. So it's a little bit tricky, in this case, how we are going to use adaptive field because the environment is so large. So you can leave it, but let's cycle back to this when we actually have our colors. A lot of this stuff depends on when we have our materials. Our color grading, here we can just do general color grading. The color lute is currently broken, although I will see if I can find a workground because with the color lute, what you can do is you can do your color grading in, for example, Photoshop, and then you can just input it. However, you can also do basic color grading in here. So for example, in our shadows, one thing that I often like to do is I like to go into my Gamma. Let's move this like this. I like to make my shadows like a little bit of like a bluish color over here. If you make it very dense, you can see what it does. So here it will just give my shadows like this little bit of like a blue color. And I think that often just looks quite interesting because what I then basically am faking is that the sky the shadows are basically reflecting from the sky, and they will just reflect that tiny bit of blue color that we get from our sky. Next to this, we can also go into Global and we can set things like contrast using just like a slider. So we can set the contrast to, for example, 1.05, just to make it a little bit sharper. And, of course, we can also set our Gamma if we want, but I'm going to leave that because kind of defeats the purpose. And just like that, so we can kind of, like, mess around with things. We don't really need to do much now because we don't really have anything to color grate, but just keep that in mind. Film you can ignore the global animation, normally, we had a lot of settings here. But right now because everything is set to lumen, the only thing that I would do is I'm just going to set my quality to two over here. Reflections is also lumen. A set the quality to two, just go highest quality that you can do. That's what I tend to do. Over here in our engine scalability settings, I also have this to cinematic. So these things, yeah, you don't really need to do much. Our ambit occlusion gets overwritten by the lumen, so it does not really matter anymore. And everything else, we can kind of, like, leave the default. I still need to also get used that I have less settings that I need to adjust here. But it is already starting to look pretty good over here. So we got all of this stuff done. Let's go at the Sava scene. And let's see, is there anything else that we need to do for this? One thing I can show you is if we go at it, if you go to your lighting and your directional light, in here, what you can see is you can also have control over your volumetric scattering, so I should not do that. Volumetric scattering intensity and our indirect lighting intensity. When I do this, well, this one doesn't tend to do much, but over here, you can see that it basically affects your GI and it will give you stronger or sharper shadows. So we can just leave this to one for now. I think the last thing I will do is I will give it some fogginess. So I don't know here if we can see over here in the background, you can see, just from the heat and everything, you can see that there is a little bit of softness to it. So we can also do that with a very simple fork modifier. If you ever get this setting, reflection captures need to be rebuilt. You can just go to build and press Build reflection captures. Over here. It's just for those probes that we had. In any case, if we go to create visual effects, exponential height fog over here, this will just add a fog volume or a mist volume or whatever you want to call it. Now what we can do with this is, first of all, we can give it the height fall off to make sure that it does not go all the way up to the sky. Then what we can do is we can give it a starting distance. And basically what it will do is it will push it kind of, like, back to the very back over here. And another thing that I like to do. So the starting distance here, this is a bug that is a little bit sharp, so we need to be careful with this. But I like to start by just setting, let's set my fork density down. Let's set the colo to be more like a orange color, like you can see over here. And then if we go down, we can sometimes try to do the volumetric fog over here, and then it will kind of be affected by the lighting, and that often gives me a slightly better result. For this one, you also want to then set the color to be a bit more of like an orange color. Like over here, not too orange. It's, like, very subtle. And in here, you also have a view distance. She can see. So the lower we set that, the less we see of it. But if we set it higher, our viewer distance will be longer way. And what we can do is we also have an extinction scale, so we can give it like here, see. We can just give it some general fog like low here. So if we set this to 1.2, and I tend to just like drag round the sliders. There's no rocket science in this. I just drag around sliders. And now what will happen is remember how we have in our light. So if I go ahead and, well, you can also change the opacity over here. Let's just turn this on off so that we can see. So difference before. After. Let's set this to be a little bit less, and I'll set our intensity to be a little bit less to maybe like 0.5, because for now I want to keep this very subtle. So now before, after. See, I just adds something to our scene. But what I was talking about is that our directional light, we now have that second setting, which is our volumetric scattering intensity. If we set this to zero or to like five, you can see that it affects the fork. Now, it does it very subtle, but I'm going to set this to two, and it is there. So this is more about just explaining to you which settings we have. Don't worry later on when we actually have all of our materials and everything, then we will really sit down and we will make sure that we do like a proper lighting pass, and I will explain much more to you, like the reason why I'm doing this contrast, which I already explained a little bit, so that we almost have a divider sitting in between our scene. And how we go from quite a strong angle and also just in general, we here. Look at all of these interesting looking things that we have. This stuff, we also need to fix, but we can do that using an outer smooth. So that is another one that we need to fix. Um, because we are almost over time, what we will do is we will just fix it now because then what we will do Blender crashed again. Wow. We have a lot of crashes lately. That is quite interesting. I don't know. Could it be something in my hardware? Oh, great. It crashed, and then it there we go. Sometimes when it crashes, you just need to swap back and forth between the channels to kind of, like, reset it. I don't know why Blender is crashing this time. Um, now, it cannot be my hardware. Like yeah, I highly doubt that it is my hardware. But anyway, t's just do an outer smooth. I will see if I maybe need to update some drivers, but I normally never have it this much. So I wonder exactly why it is crashing. There might be sometimes it's just like this one thing that just is not going very well. I'm going to now select all of these pieces right clear and right click and Shade Smooth. And I can hear thunder outside. So this is probably my sign to stop recording because else you guys will hear a lot of noise. But in any case, so we have this one. What we can do is we can just go ahead and we can re export this Exports, turn on selected objects, too unreal, and this is our walkway straight. Let's go back in here, save my scene, by the way, before I forget. And now I can just go in here and should have fixed that smoothing that we have. So let's give that second because, yeah, we do not want to have harsh angles, and we don't have weight noomals. Oh, you didn't fix that. Let's turn off our I Rim togel. Now, that seems to be fine. Over here, these ones are also actually having some problems, but it should still have fixed that's stuff. Well quite straight. Did I maybe export it to a Wong one. I think also at this point, what might be easier is if I go ahead and go to my front view, and I simply select all of these planks over here at the same time. Now, I'm just going to pass ContoJ because I know that I cannot turn on a smooth at them with them separately. So right click Shade Smooth. Okay, so this stuff should work. File, Export, FBX, to unreal, Wale Que straight, selected objects. Export. It should work. It would be very unlogical if it works, if it doesn't work. Oh, it's because this is the short version. That is why. See, I told you, so here is actually working. I'm not going to edit the short version yet because we will most likely throw it away when we create our UVs for this version so that we can reuse that. In any case, let's have just, like, a nice little look and admire our scene. So we are getting, quite far in the scene. So this is looking really good. As you can see over here, we can just have look. This view still needs quite a bit to do. Maybe we can just do some interesting depth of field or something. But for the rest, everything is working quite well. See? Yeah. So we got some really interesting looking things going on. Perfect. Okay, in our next scene, what we will do is I think what we are going to do is we are going to get started by just creating our other materials. So we will create our slate roof material, and I will also quickly import just from an external resource a metal material because we have almost no metal, so I don't want to spend too much time on that when we only have a single door knob over here. So let's go ahead and continue with that in our next chapter. 42. 41 Creating Our Roof Material Part1: Okay, so what we're going to do in this chapter is we're going to start by creating our slate roof tiles over here. We're not going to make them as messy as this. We are going to make them quite clean, a little bit in this direction. And yeah, that should not be too difficult to do, or this one is also quite good. So for this, let's go ahead and let's start by creating a new substance graph. And we will just call this roof tiles, for example, Woops. Tiles over here, and PB metallic roughness is fine, so let's go ahead and export or Epoet, let's go ahead and set that on. I do not need a metallic map. I do want a height map because I will most likely have parallax occlusion mapping for these tiles because we're not going to just have all these tiles into geometry. So all of this stuff is fine. Now, the first thing that we need to do is we need to actually create the height map scale. So if we go to our patterns, we want to get started probably with I think like a tile generator should be fine. Let's get started with a tile generator over here. With the tile generator, we can go ahead and first of all, we want to decide how many slate roofs. So let's go for seven. Although, now I think of it. Let's also maybe a tile random might actually be nicer, but I'm not completely sure about that. So a tile random, basically what we need to do is we do want to just get some of this unevenness that you can see over here. But I also think that I want to maybe get some different thicknesses. Now, the unevenness is very easy to do with a tile sampler because we can just use our scaling. However, the rest I'm not so sure about if it is easy. But then again, here, the mask is being quite annoying. Yeah, okay, so let's use a tile generator for now, because else it will become very complicated very quickly. So let's go ahead and set the X amount to around yeah, let's do around eight, and then the Y amount a little bit longer like six. And then in our patron, we want to go for a gradient. So let's go for gradiation over here, and we want to set the rotation to be 90 degrees like this. The next so that we need to do is we need to go ahead and let's go into our scale and just tone that down so that we actually have, you can see over here some different scaling going on. And so we do want to keep these quite close, but not too close. Then we have the inter stints over here, which if we set the Y axis, to a random and then play around to it. This is what I mean getting that randomness over here. So that's totally fine so that we get some of that randomness in there. Size mode. It's a size keep aspect ratio absolute or pixel. Yeah, so we just need to go interstize over here. That should be the best one. Now we can also just add some scaling over here, but this is the problem that I was talking about, is that doing this scaling, it will just leave a gap, while with the other node with the tile random node, it does not technically do that. For this, we can also go ahead and we could also use this for random scaling. If we use our horizontal sliders over here. Yeah, our horizontal sliders, that can give us a little bit more variation. Let's do that one. That's better. So we have that one. And then finally, let's also like a small scale random just to give it a little bit of a randomized scaling. So we got this stuff over here. You can do a position random if you want. For the rest, maybe like a position random at a very, very low level, like 0.01 for both of them, again, some more unevenness. And maybe set my sclerandom a little bit lower because else we have really thickness, really thick pieces in between here. And then for our rotation, we can try to do, like, a 0.01. No, that's too much, 0.002, like a tiny bit of rotation. We can try that also. But I'm basically working towards that we do need to overlay these over here, as you can see. So this will not work exactly the way that we wanted to. However, if we go ahead and we go down over here to a color, and this is why I decide to use the tile generator and not the tile random, it is because I can do a horizontal mask. So I can just like scale it up like this. Having that done, what I can do is I can basically create pretty much like three variations of this and I can blend between them. So we have that one. Over here, what I can do is I can just go all the way up and mess around with my random seat, and also over here, mess around with my random seat. And then what I can also do is I can also go ahead and play around with my horizontal size. And maybe some other pieces to basically get like differences in variation in between my pieces over here. So we now have these three variations. Now all that we need to do is we need to start by adding these on top of here. So we got this one over here. Now, what I'm going to do is so this one is nice and tilable. I'm going to add a blend note, and I basically want to blend this one with a transform note. Actually, maybe like a safe transform would be easier. Yeah, let's do a safe transform node over here and plug in the second tile generator. Now, the only thing that we need to do now is we do need to create a mask for this, I'm just going to use a histogram scan, and I'm going to plug in my first tile generator in here and then push up the positions that we get this cutting out effect. Now at this point because we have these two, all we need to do is we need to go into our safe transform, then if we go to our Y axis, we should be able to basically give this like I think we need to invert, maybe, or do we need to use this mask? Maybe we need to use this mask. We basically just need to mess around with this. Yeah, here, so we need to invert it. That's it. So let's go ahead and in our Hcam scan, that's an invert gray scale. And I just need to get it white. There we go. Now, I get it. See? So now what we can do is we can basically go ahead and we can do this with our offset, and we can even also move our offset like this. So we have fill control, and this will give us that overlapping effect, as you can kind of see already happening. The only thing is that our position over here, it is adding some cutouts, and I'm not sure which cutouts these exactly are. We need to be very careful with that. Okay, so here's the cutout So maybe we actually need to have this cut out. Yeah, there we go. So we do need to grab the first one. So we need to grab the first one. Now we have overlaid this. Now we want to add another blend. And this blend we'll have this tile generator. So let's add a safe transform gray scale up here. And that's already moved this down. And then we grab our his Scam scan, and I believe that we just need to grab this one. So let's see, we blend this, invert it, and now we should be able to just art No, wait, we do not want to do that because it is not going then it does not overlay anymore. This one, or this one. I need to have This is always a tricky one, so you need to have a think about exactly which node is the one that we need to use. So it is basically this mask, but then we want to remove away one of the masks again. So it is always like a brain teaser. So we have like this one, and then we want to remove away and see which version, this version we want to remove away. So if we thy that out, let's go ahead and let's add another Hogram scan and grab this version and then blend between the two. And set the blend mode to be subtracted. Plug this in here. Mm. Or art. No, so it is subtracted. So I think we need to do this after. So we have our invert gray skull. So if I now add a blend in between here and throw this one in here and set this to be, I believe art. You'll see, it's quite messy how to figure out exactly which one I need to get. Okay, let's start over. So we got this one. We don't want to add this one on top. We want to basically mask out these pieces over here. And then I have it on top. So I am masking out these pieces. God, this is a brain teaser. So I'm masking out these pieces. Just give me a second here. I like to do this in real time instead, just like magically having it here. So we got this one. No, I am masking out the wong ones. I should be masking out probably like this one, but that does not really make sense because we need to have overlaying on top of it, because right now it is not overlaying on top of it. So what if instead let's set our blending mode to art that we can kind of see. So what if instead we cut it out over here? So we add a blend in between here and then we grab like a his crim scan. And let's see. So we need to cut out Oh, well, that's temporarily. We need to cut out these versions which are these ones. So let's add the blend. And now we have this mask, so let's go ahead and simply cut out this mask like this. Oh, there we go. Yes. So that now all looks no wait, it almost looks correct, because if I need to set this to copy. And let's get rid of this mask over here. So for this one, we kind of need to grab, I believe this this one. Or is it this one? No, not that one. Oh, God, this is going wong again. We are so close. Let's try again. We are so close. So we add this on top. That is fine, but then what happens over here is that it gets added on top also. So we kind of need to cut out the pieces in here. So if I have this one, if I add a blend over here, and I cut out this shape, so I set this to subtract, and then I add this on top and set this to copy. A, come on. What am I doing wrong here. So we got this one. We cut out the shape, but we only want to cut it out at one of them. We only want to cut it out at these ones over here. Correct? Yes. I believe so that that is correct. So we only want to cut it out of these ones, and these ones are these. So if we swap this around, get this blend over here, I will showcase it properly later on, but this is just like a bit of twil and error. So we add this one, then we add this one on top. And now if we just said to start, there we go. Okay, finally, we got it. Oh, wow. That was a bit more trickier than I expected. So basically what we are doing, if I just go ahead and clean this up a little bit more. Here, let me just kind of like just make it a little bit more organized. So over here, we are going to go ahead and we basically blend this one, so we grab our original one and we cut out the very last one. Wherever we have black, that's the one that we will cut out. Then on top of that, we blend another node, which is just a very simple mask where it is just adding it on top and then masking out this specific version here. And then finally, we add the third one on top, but the third one because we have cut out the black over here. And because we have cut out the black over here, whenever we add the third one on top, it will simply ignore all of those cut out pieces. But it should still be flexible for us to now completely change this around. So we should still be able to now, for example, if I go to my Safe Transform, I should be able to still, mess around with this. And that's also what I want to do is I just want to kind of like move this one down a little bit more just to overlay it a little bit better. And now if we press space, it should still be perfectly tlable. So now we have our roof slates done, which is pretty good. This one we can get rid of, so we don't need that mask. So I know that it can be a little bit confusing, at least for me, it is a little bit confusing, just to figure it out the first time. But once we got it, it's done, and we can just keep editing. I'm just going to go in my textures. Roof tiles and just save it in here, like that. Okay. And now, what I want to do is I probably want to give it like this little lip that we have over here. You can often see that happening. And I think it is good if we just add this to our actual shape. Now, we are actually able to add a petun. So what we could do is we could go into our petus, add a shape that already has the lip in it, and then it will just include that lip everywhere. So if we go in here and we add a shape like this, and this shape is going to be a simple gasian not a gasian gradiation. And I already rotated in here, so that should be fine. And then at the very end, what we can do is if we add a blend and then add a transform, over here. Now, for this transform, we basically want to rotate it 180, and then we want to kind of scale it in. But what happens is when you scale it in, because it is set to tiling, it will try to tile it. So if we go into our tiling mode, set this to absolute and turn off the tiling, we can now add this one on top. So if we now go ahead and just set this one to be let's start with art. And then if we grab our original gradient, and for original gradients, we basically just want to scale this back until they are perfectly matching. The only thing is that this needs to be pixel perfect. Another thing that is happening over here is that the mapping mode, or sorry, the filtering, let's set the filtering to nearest. When we set the filtering to nearest, it will give us a sharper edge over here compared to the other one. So now we have something like this. So having this piece, if we artists do our patron input, let's see if this works. Pattern Image input, C. So now we have this flow that we still need to mess around with it a little bit, of course, but at least it is working. So we can now kind of just test out inside of Mamoset. So we can go ahead and we can set an image input to all of these. Like this. Once we have all of them done, we can add one final blur high quality gray scale just for the side edges and give it like a tiny bit of like a blurring, 0.2 maybe or 0.150 0.15. So we now got all of these roofs. Now, we still need to add a lot of variation, but let's actually see if this works. So this one, I feel like the blackness behind it is probably not good, but we'll see. So first of all, this one goes into our height. Then we have a rat race embutoclusion over here, for which we can use this one and just tone it down. Here we go. So the rate race emt oclusion. And then if we add a normal node, we can also plug this into normal nodes, open GL, and set this to three to make it extra strong. And now we have our basis here ready to go. So if we go ahead and save this, we can start by exporting our textures and we can create a new folder. That we will call final in our roof tiles, and we can go ahead and just turn on automatic export. There we go. Okay. Now, if we go to Momset, we can go ahead and let's just let's just grab our woop langs and just duplicate it. And it's just called this hoof tiles over here. Now, we can temporarily just go ahead and turn off the albedo and the roughness. And then if we go to our textures, and I'm doing this on my other screen, we can go ahead and we can drag in our height, normal and ambient oglusion and we can throw it on here. Uh, that's already pretty good effect for the first try. Two is fine. Let's just go ahead and tone this down a little bit. Okay, so if we see this, the angle is a little bit too sharp, but it does give us a pretty good effect. So we just need to add like a bunch more variation to this. But it is pretty good. So I'm just going to make the angle a little bit less sharp, and then the next chapter, we will add all of these variations to it. So to make the angle a little bit less sharp, it's very easy. We just go to a transform and we just basically tone this down. See? We just push this back and then grab the other transform. Just zoom in. And there we go, push it. Yeah, see, I moved it a little bit too far. So it really needs to be pixel perfect. Well, actually, technically does not need to be pixel perfect because most likely the blur at the end will kind of, like, fade it out. Yeah, see here, so the blur at the end will kind of faded out. But now that we've done this, we can just turn on nova displacement just to test it, and there we go. So that's the basis of a slate roof. The very beginning is always a little bit tricky, and I keep forgetting that. So I hope that you were not too bored with me trying to figure it out. But in the next chapter, what we will do is we will go ahead and start adding a bunch of different variations to this, warping and everything. And then it's simply a matter of throwing on our wood wood smart material. And then we already have a slate roof. So let's go ahead and continue with this in the next chapter. 43. 42 Creating Our Roof Material Part2: Okay, so we're now going to get started with some general variations. So we got our base over here. Let's get started with a and I'm just going to add them in here. Let's do a directional warp. Let's do another directional warp. Let's do a multi directional warp, gray scale. And then, of course, for our slope blur grayscal that I do want to add later on, that ones of course, a bit trickier because we have gradients. But in any case, the reason I'm doing this is because I want to have a pearl noise that is very large over here. Let's plug it in here. Let's set the warp angle down. See, let's move it up a little bit more, and then just tone down the intensity. So this is just like some general small bits of warping over here. Then I want to duplicate the pearly noise and grab like a smaller pearly noise over here. Once again, set it down, maybe like a little bit to the side just to make it a bit more interesting. And let's just give it a little bit more of an intensity, maybe like 1.3 inch, something like that. And then the multidirectional warp I want to go ahead and grab at like a cloud two. Throw that in here, set the mode to minimum, and set the directions also to one and then like tone this to the side or go a little bit to the side like this. Now, it looks like this one will actually already affect our gradient. So we'll see how bad it is. If it is very subtle and it can be covered up by our wood, then of course, I'm not going to bother doing anything else. Okay, so we got this one. Now the next thing would be to add maybe some gradient variation and stuff like that. I don't know if we want to do that before or after. Maybe it's easier if we do this before, actually. So let's move this up. Now, the thing that we need to keep in mind for this one is mostly that we need to have a think about how we are going to do our flood fills. And by the way, there's, like, this tiny little I wonder if that is causing us problems. No, it doesn't look like. So there was, like, a little black edge, but it looks like it is not causing you can see the tiny bit over here, but I think by the time that we are actually done with this, it will not cause us that many problems anymore. So yeah, just keep it in mind. Okay, so for our flood fill, as I said before, that one is a little bit trickier because of the way that these etches are all created. So I don't think it will actually work. Yeah, this one will definitely not work. If I do a flood fill, here, see, it's not really able to detect. And as you lot fill to random grayscale. However, maybe we can somehow do maybe like an edge detect. Let's see how that detects everything. It sort of does something, I guess. Is that enough for us if we blur it, will that be enough? Maybe. So only these versions over here are a little bit strange, where, I think if we set edge down, but Okay, so we cannot really get rid of that. Maybe play around with our tolerance. No, that doesn't work. So we might want to be able to just live with those extra edges over there. They might look a little bit strange, but let's just see if this works in some way. Let's just give this quite a bit of blurring. And then let's add a blend. Plug this on here and set this to be a simple multiply. And then we can see if it sort of works because what I'm hoping is that because we are multiplying this on such a low level that you will not see those imperfections. And that would save a bit of time because else we need to find a way to completely clean it up and all that stuff. And that's just a pain to do. And then we might end up needing to, like, replicate all of this stuff, and I'm just not really in the mood for that. I'm also going to have a flood fill to gradient over here and add some angle variations, and then also add a blur to this one and throw this on top of here and set this to also be a multiple Yeah, so let's say we have something like this. Um, how does this look in my norm map? It looks pretty decent still in my norm map. Over here, it is starting to break. But let's just have a look and see if this actually does something nice. Okay, so it does as some variation, but, yeah, it is also starting to break a little bit here and there. So you can see that it is starting to break, which I don't really like. So I guess that we do need to find a slightly better way of doing this. First of all, let's just go ahead and let's then in that case, increase this to make sure that it gives me the effect that I want. So let's increase all of this. Now, if I just throw my displacement again, maybe I increase it a little bit. Okay, so that does give me a bit more variation. I think the only thing is that our very first overlay needs to be a lot lower. So 0.25 maybe. Once I've done that, Yeah, okay, so that's working a little bit better. So see now especially over here, we can see that we get some small angle variations. So that's quite nice. That one can work. Okay, the next problem is that our mask is not working completely the way that I want it to. So for this mask, it is quite interesting. So it is because of those pieces over there, I wonder what happens if I simply change, for example, this fill over here. If I just move it around. Okay, so that makes it further away. And if I move it back. Okay, so that also gets rid of it. So that one is not really an option. Another option is that we can try and set our edge width to be a little bit bigger and then maybe like blur it out so much. You won't really notice. But then the palm that we have over here is that it is starting to push out. Now, another thing that we could try with that is we could try a distance node. So we add basically a distance node to this, and then we throw in our source input. And then for our mask, we grab our edge detect, and that will basically push out our shape evenly into the edges like this. And then if we set the maximum distance really high, if we then blur it, that might be a solution. We set our adjetect a lot lower so that it just cuts these piece out, but then we push it out again and hopefully that will compensate good enough. You can see some small arrows here and there. But that just needs to be a margin of errors that we can live with. We got this although I see a small arrow here and there, I feel like these arrows, I don't think that they will actually stay. If we have this, let's just blur this out a little bit more. So let's go ahead and just set our intensity. Let's blurt this out a little bit more. And then over here, we probably want to do the same thing because it could very well be that the arrows actually come from this one. So source input, there we go. So this one also gets pushed out. And I think if we now go ahead and try this one more time, Yeah, okay. You know what? I can live with that. So there is a few small problems here and there, as you can see. But for the rest, I think because this is such a it's a roof, it's far away. It's quite messy. I think it will still look very cool. And it does look very cool. Here, we already get quite an interesting look over here. So we have these pieces done like this. So what we can do is we can add a frame here and call this shape, creation. And then if we go ahead and add a frame here, we will go ahead and we will call this shape score variation over here. Okay, so those two are now done. Now what we can do is we can start by importing our dot SPSCR file of our actual plain wood. So here we go. Let's drag it in. And now the perfect thing is because we have already done our flat fill, so we had to do this anyway, we can immediately, also swap things around and just make them look interesting again. This time it is in the one direction. So this time we do want to go in, like, a direction that is, if we add a transform to this. Actually, maybe it's better if we do like a safe transform just to make sure. And then, of course, you want to set that degrees to 90 degrees and maybe also set that tiling to probably like two because I want to have this a little bit smaller. So we got this one. You have another one that is called safe transform normal, I believe, or normal transform. Which for rotating, you should use this one because when you rotate, normal slightly change. And if we do that with the normal transform, it can give us incorrect normals. So this one we just need to go ahead and go in here, non map format, open GL, angle, 90 degrees. I just hope that I, I think I need to go the other way around. I have no idea. Um, 180. That's just not enough. Oh, wait, it's because we have not done the tiling. So tiling minus two. And now we just need to figure out, so if I look at this one, Okay, it's not here. So if I do 180 rotation, and this is not going well. Tiling, tiling two. But our norm map is not correct, and I simply don't trust that. In that case, I'm going to do normal transform. So basically what we do, so we go 90 minus two. Okay, that should be simple enough. Normal transform over here. 90 minus two. That shoot now, now everything is on one line. That's a little bit strange, but. And then we can just go ahead and we can copy over this transform. So all we need is we need roughness and the other ones we don't really need in this case. So we got these pieces over here. Now we need to have a directional warp. So let's get started with this one directional warp and just simply throw in this one over here. No age, we cannot do that. Oh, that's annoying. We cannot do that because we are our warping after this. We can try and see if we can manage an edge detect after this point and then just duplicate the flood filled random grayscal distance and blur. But, well, we will see if it's actually oh, sorry about that. Yeah, that actually does work pretty decent. So we got this one. We flood fill it. Random gray scale. Oh, the distance node is not working because the distance node needs to use this one. And then we do not actually need to blur this. So we want to actually make this sharp. There we go. So that should do the trick. I'm glad that that still worked correctly. Saves us a lot of effort. So is that the warp angle somewhere and just go for like 500. You like the changes? So the only thing is that if we set this to like 5,000, so make this really strong because I feel like the warping is, see, now it is working. So if you keep the warping low to what we had before, even though we cannot see it, the system can see some kind of pixels which will mess it up. So just make sure that the warping is really, really high. So like 5,000, and then it kind of just makes extra sure that it is sharp. And then what we can do is we can just go ahead and duplicate so this one is normal, this one is roughness. I will automatically convert to the correct color node, and there we go. So that system is not so done. So we got those pieces ready to go. The heights, we don't need to do something, and the oclusion we can also just leave. So at this point, we can have our base color. Oh, yeah, this one. Let's go ahead and in our normal, let's add a normal combine, let's actually grab our normal map over here. And you said this to high quality. I'm not going to spend too much time on this material because this material, of course, it will be very far away from the camera. You won't see it. So I want to make it look really nice, but I'm not going to go overboard with it. Another thing that I can do to save sometimes is so we have these ones. So that's looking pretty good. Now, what we're going to do is we're just going to go to our wood planks, and on our wood planks, I'm just going to steal some of the notes that we've already created, which is going to be like our dirt. So if we have a look over here, so we want to grab this one, um, let's see. This one, and I'm just double checking. Okay. This one, this one, this one, this one. This one over here. This one, this one, I'm not sure what that arts. Wait, let me just switch to my precept because else, it's a little bit annoying. So update you are going to be overlapping planks so that I can actually see what I'm doing. I feel like that overlapping planks still does not work. So probably just like miss the setting has planks, is egal to true. Okay, I think that one works now. As paint is falls, flat planks is falls, broken paint is falls. Okay, so that one works now. So now we can go ahead and we can just add this stuff. And at this point, you know what? Here, I'm thinking too difficult. Let's just literally grab this and just see what we can take out of it. So let's go into our wood ties, and we can just go ahead and we can, like, quickly press Contra vi and just spaces in here, and then we can just see what we're going to do. So this is where the start is going to be. Then what we do is we add some dirt, so it looks like that we need like this one for, like, a curvature. This one for, like, our ambient occlusion. Let's get rid of the mask. And let's see. Okay, so this will add some dut. Okay. It has a custom grunge map, and I'm swapping the grunge map around looks like using the same technique like this. Okay? So that one we'll add some dirt. That is fine. That's already looking pretty good. Then over here, what we have is we grab a histogram scan, and we add some stuff to this. So this is like some general setting, but I'm not going to do it as intense. Let's just go ahead and grab only our mask over here. Let's just add this like this. Let's delete everything else. So we grab a mask, and I'm just going to like tone down the opacity for this. Okay, so just add some extra dirt. Then over here, I'm adding metal, which we do not have, so let's go ahead and get rid of that one. And then I'm Oh, really. I'm adding so little of this. A, and this is the paint. Okay, I did not realize how little I was actually adding into my Dt. But that is fine. So let's see. We got this one. Is there anything else that I want to get? Maybe like some more edge damage on the corners. Yeah, that could be one that I can add because you can see it over here a little bit. So let's just do that one last. Let's add some extra edge damage. So over here, we can go ahead and just right click art frame. Wood underscore Import. And then if we go ahead and have this one, art frame base color. There we go. And we can already plug this stuff in here. And then for our edge damages, we are going to go ahead and go in here, and we need to have a slope blur gray scale. And let's grab like a moisture noise this time over here. So we plug this in the gray scale with a moisture noise. We set the samples really high, intensity all the way down, mode to minimum, and then it's just a matter of going in here and breaking up. And then what I can see is I just need to go into my moisture noise, add a transform and set this to X two to make it a little bit bigger. There we go. Now we have some more damages. And then don't forget that this transform is no longer tilable, so you just need to add a make it tile photo grayscale note behind it. And there we go. And I just press D to dock it. So we got these ones done. Now it is just a matter of adding a blend. And I want to add this Let's see. Oh, sorry, let's hold Shift, swap it around. And then this one needs to go back up here. So we are swapping this around, and then this one goes in here so that we can mask it out. So we have this stuff now. And now if we just go ahead and grab an invert grayscale, I'm sure that we can steal, for example, this mask or this one. This one. Let's steal this mask over here. So we do an invert greyscale, and then we do a simple blur high quality grayscale just to kind of fade it out. Throw this in here, and there we go. See? Now we have some damages just on our corners and also over here, which should translate nicely into our norm maps and everything. And the only thing I would say is that maybe it's a little bit too strong, so we can tone it down in our opacity over here to like 0.45. Let's turn on and off our height. Give the second to load. So our nor map is looking pretty good, but I think I want to make my norm map actually a little bit stronger for this specific one. I don't know if we already added nor map strength in here. I don't Oh, yeah, wait, we did add something. Let's just go to a normal, let's just see if I set my norm map strength a bit higher. Okay, so that does work. So we are adding norm map strengths in here. But then, of course, because we scale it down, it kind of gets tone down a little bit more. So let's set this quite a bit stronger. And now let's go ahead and go in here. And now here, I can see that this already looks quite a bit stronger, so I'm quite happy about that. Okay, so our nor map strengths are here, and now it's just a matter of importing our other textures. So roof tiles, final. We can go ahead and we can import our Beto Map and our roughness map. And there we go. Okay, so seeing this, one thing that I want to do is I want to add some more random color variation to this. I think we can simply use our gradient. So if we go ahead and let's add a blend before we start adding our dirt. And in this blend, literally just grab this distance note, throw it at the top, add a gradient map in between, and then maybe also a blur map, but we'll see. Yeah, I need a blur map. Let's add a blur, high quality color. Let's go ahead and tone this down so that we have a soft edge and simply set to be a multiplier. So this is the easiest way to just add some general color variation, just doing stuff like this. And then if we go ahead and have L, here you go see. Might be a little bit too intense, but you get the point. So instead of us needing to, like, map specific colors because we can do this also with like actual colors, but that will just take very long. So let's do 0.3. To 0.25 maybe. And I think after that is done, we got a pretty solid base going. Okay, perfect. So we got this one. Now the last thing that I'm going to do next to saving machine is to quickly go into my plain wood, and let's say that we set this to like wood three, which is that really old looking wood, just to see how that looks. So that we have new wood and il wood. Perfect. That you do the trick. Sure, we have some small arrows over here, but you will never see those in unreal, and for the rest, this is looking quite nice. So we can go ahead and we can start by adding a screenshot of this. So let's render out the screenshot, just like we've done before. And now we already starting to get some quite nice images over here. So let's pass the video until this is done. Here we go. So let's open it up. And there we go. So that's looking really nice. Now, the next thing that you would maybe want to do if you want art improvements is to just go ahead and overhear get rid of these areas. But honestly, it's organic wood. Like, you probably won't even notice that. But for the rest, we have a pretty simple but very effective looking wood. I think the only thing that I might want to add is some very strong leaks, just to go down the roof. I think that's the last thing that I will add. It does mean that this chapter gets a little bit longer, but I think it is a good one to art. Also, we cannot really see our dirt, so that might actually be a little bit of like a problem. So let's set this temporarily back to wood zero so that we can actually see some of the dirt over here. Okay, so we can see some of the dirt. So now let's go ahead and let's add some leaks. And I think we cut out the leaks from this one. So if we go back to our wood planks over here, we should be able to steal it. So I just need to see where this one comes from. So this one comes from the Oh, the ambient occlusion. That's why I ignored it. So it looks like that I need this one, this one, this one, and just remember that we will use our grunge, this, this, this Okay, so these pieces over here, let's copy them. Let's go back to our roof tiles. So we just need to remember where the outputs are. So if we go ahead and just make this bigger. So in this blend, we go and add this one, and then for Hcrum scan, we wanted to go ahead and grab our ambient occlusion over here. And this is because we need to get some of these edges. So if we go ahead and set up position a little bit lower, let's see how the end result looks. Okay, oh, hey, perfect. So the end result does actually add some really good looking leaks. So that's nice that we can just very quickly copy and paste this. Why make something twice when you can just as well do this. And then we have this dirt over here. So let's go ahead and art this on top, but maybe make this dirt a little bit lighter or maybe actually darker so I just want to be able to see it. So let's Let's make it a little bit browner. Let's do something like this. And then let's go ahead and just make this a little bit more intense. So we do that with our non uniform blur grayscale. Yeah, so we like art this one and then maybe also this non uniform blur grayscale. And if we now go ahead and go in here, maybe, I guess make this a little bit darker so that we can actually see it. It's really hard to see this stuff. Maybe if you do like a histogram scan behind it, just to, like, see if we can maybe, like, push it out a bit more. There we go. Now we got some of those leaks. Let's push it out a little bit more and then maybe make the leaks a little bit less strong. Over here. And then also, of course, one thing that we can do or that we still need to do is we need to add a blend to our roughness. Let's add two blends. One of them is for our dirt over here. So we add this blend and we set this to be art so that it looks a lot duller. And another one is for our leaks over here. It's art that one, too, and's set this one to art to once again, just make this a little bit duller so that it stands out a little bit more. See? So now we start to get some of those leaks. And of course, you can just go ahead and mess around with it and just do whatever you want until it looks correct. So that's pretty good. The only thing that I would say is maybe mask out these really thick lines over here. But at this point, I'm first of all, just going to see how this looks inside of real because we are already way overdone with our chapter. So let's go ahead and in our next chapter, we are going to go ahead and art this into our engine, properly unwrap our models, art in a metal, and then we can slowly start by just setting up all of our models. 44. 43 Setting Up Our Final Models Part1: So now that we've created our roof tiles over here, what I want to do is I first want to apply them to our models. For this, we only need to really apply them to the generic roof A over here. So let's go into our texture step. And then, so I'm on no wait, I need to apply the two. I'm going to apply it, and then I'm going to see the best way for us to, like, add those extra variations here at the bottom, and if it is really needed and stuff like that. So having this piece over here, let's go ahead and you know what? Let's go into dit mode, and I think I'm going to separate. Oh, I think I'm going to separate these planes over here, because that makes it a little bit easier. Also, yeah, I also separate the bottom one. Cause I think that one also needs to be roof tiles. Or not. Oh, that's a tricky one. Let's not do the bottom one. I think I have a different idea. So basically, we're just going to create a prototype of how it will look extra nice. Luckily, because we only have two pieces, we only do this once because this might take a while. Press Q, separate selection. And now that we have this one, we can go into our materials, get rid of the wood, press N, and go ahead and open up an image texture, which is going to be R plus open it's going to be our roof tiles over here. There we go. Okay, so first of all, our roof tiles are well, on one side, they're inverted. Let's do a Sure U V map. Do a box map, and now we can go ahead and have a look. So if I do five, no three maybe, and this one is correct, so I will just flip this one around. So I think yeah, a going round three, that should be fine. So let's go ahead and now go into our UV editing tab over here. And what I'm going to do is, first of all, I'm going to select this one. And for this one, if we go to our move tool, I'm going to move it at the top, so that it has, like, a nice breakpoint, see, like that. So that basically they kind of like start over there, not that they are halfway halfway through. And then at the bottom, oh, yeah, we do actually also have quite a nice breakpoint. So I'll see how we can improve that later on. Now, on the other one, which is this one over here, we can just select it. All I'm going to do is I'm going to go and go to my tool. No, not tool, where are you. Over here, go to my transform. Sorry, that was the name transform. And now what I'm going to do is I'm going to go ahead and I do want to rotate this. Hold control when doing this, rotate this 180 over here, and then do the same thing where we go to our of and we basically move this up like this. Okay, so now if we go to layout, now at least our roof already has a pretty decent looking layout. The next thing that I wanted to do is I wanted to see if I can add some variation over here. Now, what I'm thinking of in terms of variation, if we go to added mode because I don't know do we really need a variation because we are quite spot on basically, my type of variation would be this where we go ahead and we add, for example, a loop over here, and we add like a loop over here. And then we have, for example, like this piece. And then what I would do is I would do like an Alt E and I will basically extrude this out. And that way I would like art and extra variation. Then I would just UV Nwrapd so that it properly works. So that was my idea of adding variation. But what I did not realize is that this one is actually looking pretty good. So we'll kind of see, so maybe if we go over here. Like, on the one hand, it can benefit from the variation. On the other hand, it might be a lot of work to actually do that. But yeah, okay, so we can just have a look. So if we go ahead and do contra, let's go ahead and just like in some of these areas, maybe if we go for, like, a cutting technique instead. What if we do that? What if we go for, like, a technique where I basically just cut some of these pieces off, and then I just move everything forward a little bit. I think that will also save us some time in our UVs. So I'm basically going get and pading a loop pretty much on every line. Over here. And I know that the cutting will then cut off some areas very abruptly. But I think from a distance, all you will really see is the silhouette. And so that's kind of like the plan for now. So I basically do this. And I add a few more segments here and there. Okay. Then my plan was to go ahead and go into Vertex mode, select all of these. And then carefully if we go to, like, our left view or right view, I want to kind of push these forward over here so that it's kind of like overlapping. Okay, so that one is pushed forward. Whoops. Am I No, I am in prospective mode. No, wait, I'm not I'm accidentally in different viewpoint. So let's switch this back to There we go. Weird. Okay. Fair enough. In any case, what I was talking about is to now go ahead and maybe, like, add two extra lines. So we like one that is very close and one that is, like, a little bit further away. And then what we can do is we can basically just go into, like, a face sect. And sometimes undo, face select, and then sometimes just get rid of, like, some of these pass. So here I can go a little bit straight, and then I can say, Okay, I want, maybe actually this one, let's go longer away, longer away and then this one S. And then we kind of, like, just add some artificial variation. And I have no idea yet how it is going to look, but that is something that we will see. You know, let's leave that one. Let's get rid of this one. Sometimes it's good to also just leave both of them. Let's see, let's get. Here we go. So from a distance, we kind of see this very small little bits of overlap going on. And that was kind of like the general idea. Having this one, I don't know why I would actually keep this one because I can just delete the ***, grab this version, go to my MaxifsTols and do like a quick pivot. And if we then go ahead and just quickly do like a mirror over here. I actually let's do add a pivot and let's go ahead and snap my pivot to vertex and just snap it to the top over here. Turn off at a pivot. Okay, and then on the Y axis. Oh, maybe I need to actually snap it to this site over here. Add a pivot. Let's see if I do that. Oh, no, wait. So it's not that precise, unfortunately. Well, in that case, I'm just going to move it myself. So we got this one, let's just press Contra A. Let's go ahead and select this one, press four. And I just need to go ahead and I need to go into my right view over here. And I just need to go in and just move it up until the point that it is just on top of these areas over here. Like that. So that saves me a little bit of time. Okay, so we got this one, so let's actually see how this looks. So if we have this one, let's go ahead and file export all of this. Oh, right click. First of all, move this to our generic roof layer. File export FBX. Turn on selected objects, and then in exports to unreelGeneric roof A. Now, if we go in here, we can have a look and see how this looks. So, oh, my tools in the way. Where are you? Generic Roof A, reimport. Reset RFX. So that is very subtle, but yeah, that is actually very subtle. But I think that once we actually have our text on it, it will be better. What we can also do is we can also try and see if we can maybe move the pieces a little bit longer. If we go back to our right view, do make sure that you select this one. If we go back to our right view, Wow, I'm really messy with, like, how I select everything that we go in and we, for example, just hold alt eggs, and, like, move these out at different levels. Like that to make them a little bit more noticeable. Yeah, I think that will work a little bit better, maybe. And then over here, same thing, old eggs. Move these out. By the way over here, they are going away from our model. So we basically move this stuff out like this. So it is some small stretching, but it will not matter too much. There we go, let's just do something like this. File export, FBX, and this is our generic roof A. So we can go ahead and we can also export that and have that done. He import. See? Yeah, it is a subtle detail, but it will be there. For these pieces, I do want to go ahead and I want to go a little bit more intense. Oh, by the way, these are sticking out. And that's because they are a little bit closer to our scene. So that's why I want to just kind of like improve them a little bit more. For that, what I'm going to do is we are going to actually, lay on roof tiles. It will take even longer to do, but it will most likely look a little bit better. And this is actually perfect timing because after that, we were going to go ahead and turn all of our models to final and look which one is exactly the first one that we need to turn to final. It's our angled over at generic. So that's just a nice coincidence. So we need to take that one as the first one to final anyway, so we can just as well do that now. So we have our angled overhead generic over here. Okay. And then this is the one that we need for this. Once again, for the top, we only really need a plane. So we can go ahead and we can select Altex. We can go ahead and just select the top bit over here and queue and just separate the selection like that. Now what we can do, let's zoom in so that I can easily move. Let's go ahead and go to our material, get rid of that one, new open our image texture, and I'm just going to navigate to it again. Scholar. Okay. And then we need to have a SUV, so let's do a UV. Let's first of all, rotate this this goes in the right direction. Don't know which one I need to rotate. I think the last one. Okay. And then three. Let's do five. Yeah, I think five might work best from a distance. Yeah, okay, so let's do five. Okay, so we got this one. Now what we're going to do is we're going to go ahead and we're going to go to our UV editing. And then if we just navigate to this one over here, do the same thing where we just move this up a little bit. Like this. Only this time, it looks like that it is not of a perfect match over here. And maybe I also don't want it. Maybe I actually want to have it moving further so that I can actually have these slate roofs uniquely. So the way that we're going to do this is so now we have this plane, and as you can imagine, for this one, because it is so close to the camera, it will not look nearly as good if we just use this technique like a plane. This is a fast technique to do it, but it's just like a technique that's more used in the distance for the smallest bits of resolution that you can still see something happening. The way that we're going to do it for this one is whoops, one is that we are literally going to model a few of these slates and then we're just going to kind of like place them and sink them in there. And then, along with parallax clusion mapping, it will hopefully just all fit together nicely. So let's save your scene, and let's do a, maybe we can even do this. Maybe we can literally duplicate this over here and just cut them out. So let's say that we cut these out. What we're doing is we will, for example, grab like this. Like that will be like one slate. And then we can do the same thing over here. Actually, before we do that, let's go ahead and just cue, separate selection. And now we can go ahead and just do that one. And over here, you know what I'm just going to dd an extra one. Q, separate selection. Next to one here, one here, is that the same one that we've just cut out? No, it's not. Wait, I should not look at the grains. Well, it should be fine. So here we go ahead and we can go and let's say we que, separate selection, cut that one out. And let's see if we do one left. Let's do this one over here. Here we go. And then we can go ahead and we can select this, and separate selection. So we now got a few of those little pieces over here. We can, first of all, select them, do a quick pivot, and it's done on a YRntgl and let's get started by just pressing delete on these edge loops that are in the center because we don't need them. Delete edge loops, delete edge loops. Then let's move them closer together so that they are all on one line. So I just need to redo my quick pivot because I accidentally moved one of these. Here we go. So we got these ones. And now, basically, to turn this one into final, all we need to do is we just need to go ahead and we need to select all of these edges over here. And I feel like for this one, the quickest way is actually if we do like a small inset like this and then select the edges because then we don't need to go into our UV editor and do anything because we can just go ahead and we can just move this down. And you can see if we move this down, maybe move this one like a bit more forward. And then here at the bottom, what we can do is we can do a cube bridge edge loops, and then this one, you can see, so it kind of like just twice the reserve the UV, which does a pretty good job. So that is the general idea for these ones. We do a small little inset on them. Like that. Then we go ahead and we select this, move it down, out a little bit. We like these and bridge edge loops. And I guess he had this technique. So maybe in like a time naps as like a polishing. If I really do not like the bigger roof, then I will use this technique also on it. But, of course, the bigger roof, this one, placing it here, it only has, like, I don't know, like ten. However, on the big roof, I immediately need to do like 20 or 30 of them. And then I want to make sure that if I am going to spend the time on that, I always need to make sure that it is worth it. So that's why I often like to use, simpler techniques first. And if those techniques do not work, then I will go ahead and say, Okay, I will spend the time. But a half hour in the tutorial is a long time. It's even for tutorial this large. So, in any case, we now have these little slates over here, and what we can do with these slates is so here, at this point, it's a little bit tricky because we need to have a cutoff, but it will transition perfectly. As long as I can remember, it should be perfectly tilable. So we kind of just want to ignore those last ones. And then for these ones, we basically just start by placing them, and sometimes you can go ahead and just scale them up, and you basically want to do this. So you want to kind of like sink them in here. And then kind of, like, have them going out like that. So let's say that I have this one. And sometimes I can also just go ahead and cut it off. Because they are sunken in, so I can just cut them off. But basically, if I do this, and let's say that this one is going a little bit further down that we have this variation, I hope that you can see that will give us an interesting looking roof. Hopefully, that is the plan. I don't know if the plan will work, but that is the plan. So like this one, you can also sometimes just sink it in very far down, and we just need to really place these into locations once, and then it's just a matter of quickly duplicating them and moving them. And do try to get roughly close. Here. You can see me sometimes struggling because I just want to make sure that I get them quite close to the end. Not that close. And then what we will do is later on we will have parallax occlusion mapping, which is basically faking the height. And once we've done that, hopefully it will kind of like tie together. So that's what we'll do in the next chapter because we are going to take all of these nicely to final completely from start to finish. Also, do any shader changes, we will just do everything to final right away. So I am going to create a parallax occlusion mapping variation of a shader that we can use. Yeah, just no, that's. So we got like this one, I can maybe, like, scale it down a little bit more. Let's see this one over here. Like that. Yeah, and just kind of place this one, for example, over here, maybe move it up a little bit more. And just like that, that should give us quite an interesting look. And then, yeah, so the ends, we kind of just need to ignore the ends for now. I know that might feel a bit strange to ignore them. But I don't know how we are. Well, fifth fifth, we can try and create an end. So we can try to, like, create another one like this and just kind of, like, leave it over here at this point, maybe, like, move it back a little bit more to have it very close to the end. Come on. There we go. And then grab the same tile and just in case I have it also over here. But yet this transition, you probably won't notice that the transition might look a little bit strange, but we'll see how it goes. So let's say that we have this. So now if I turn off my wife Ren togle, you can see that it will be harder for you to even differentiate between three D and two D, especially when we have norm maps and parallax occlusion, everything. But from a distance, you will be able to see all of these little pieces. And then, yes, we do have this problem over here, where this one, they are sticking through, and it is up to you if you want, you can go ahead and do this, or you can just say, like, Oh, what I will never see because it will be on an overhead or I make like my plank a little bit thicker because this is, of course, also a risk that it becomes too flat. I think I just in case, because I never know where I'm going to take my screenshots, I'm just going to carefully, move these a little bit up only as far as they absolutely have to. Here we go. You only as far as absolutely needed. And then just make sure that still looks correct over here. And then what we can do is we can save sin, and at this point, this one should be ready to go. So let's go ahead and export this. Export FBX. This is going to be our angled overed generic. We can go ahead and go in here and we can right click and reimport it. Oh, yeah, press done. That was that problem that I told you about that all of these pieces we always need to go ahead and we need to kind of like select them, go down here, copy material to select it so that they all have the same roof material because else it will try and to import every single material. And there you saw an example of that. So that's why it again, reimport. Over here. And now what might have happened is that when we re import, it will still leave all of these materials in here. Oh, and I can see that they are inverted. So what we need to do is we need to just go ahead and press the lead on them. See? And then these are the last ones that we have left. So if we just also drag in temporarily the plane in here, there we go. And then the next thing is that I believe that all of my faces are flipped and we can see that by going down here into face orientation, and red is bad. If you have red, just go to Add mode and press Shift N. See? And I believe, yeah, we do need to go to Add mode and select everything. So the shift and will basically recalculate your normals and flip them because if they are in the warn way, so they are red, then they will act as if whenever you have a plane, you can see that the plane only has one side and the other side is invisible, and that's how they will act like the invisible side. But if I do this, there we go. Now they are properly working, and then I can just re export that. And now I know that the model itself should be pretty much done. So we are quite a bit over time. So what we're going to do in the next chapter is we are just going to create a variation of our material that has the parallax mapping in it, or maybe we can use our original material. But over here, as you can see, that doesn't really look a little bit more interesting to have the slates like that. So I think that will look quite nice. So let's go ahead and continue with this in our next chapter. 45. 44 Setting Up Our Final Models Part2: Okay, so let's go ahead and we can start by taking our angled overhead over here officially to final. So what we're going to do is I'm going to edit our original mass shader, actually, and I will add some parallax occlusion mapping functionality. So yeah, I decided to just do it in here just to keep everything nice and organized in one thing. So for our parallax oclusion, parallax seclusion is basically faking the loop of height. It is still a little bit expensive, but it is better than adding extra geometry. So the way that we're going to do this is there is an map, and it is called the parallax. Oh, Parallax Oclusion mapping map over here. Now, this map might seem quite overwhelming, but it is not that bad. So first of all, what we're going to do is we are going to go ahead and we are going to also create a static switch parameter, and this one will basically be having our has parallax over here. So he parallax will by default be false. And then what we can do is we can go ahead and we can hold Control and we can plug our tiling into here because the way that the parallax, oh, sorry, I knocked against my micphone. The way that the parallax works is that it works by inputting all of your settings into your UVs. So with this he parallax, if it is true, what we can do is we can go ahead and we can have our so if it is false, we can have our original tiling and if it is true, we can have our parallax tiling. Now, next this one, you also need to go ahead and you need to duplicate this because this will not actually turn off our parallax. The only thing that this will do is it will switch around the way that we are using UVs. To actually turn it off, I'm saying this one, anti. No, yes, no, 50 50. Technically there is an easier way, but on the other hand, it does not really matter too much because what I can do is with this parallax, I can go ahead and I can set my pixel depth offset the true. And if it is false, I can add a constant node, which is zero. This one can actually turn it off. What I just realized, basically, why I stopped is because technically, even though this one is turned off, it will still read UVs. So technically, we do not need to actually switch around those UVs, and we can just go ahead and just do this over here. So this is the important one, the He parallax. If we plug this all the way into our pixel depth offset input over here, that will basically be able to turn on and off our parallax occlusion mapping. Now that we've done that, we still do need to have UVs over here. These UVs we can actually use because we can use them by going into our UVs to over here and simply plug them in. So that will still work the same. It will just link this UV and then it will output the same UV in here. Now what we need to do is we need to get started by just importing a bunch of different textures and settings. The first one is our height Map. Now, for height Map, if we go ahead and this is actually great to use our roof, we can right click New folder, Roof tiles over here. Now, our roof tiles is almost done. What you need for a height map to work inside of unreal is the height map also needs to be in the Alpha map. So what we need to do is we need to right click or right click space and go ahead and art an R, G, B, and an Alpha merge node over here. So the Alpha merge node, as you can see, I don't know why my senior so slow, but what we can do is we can hold Control and we can basically plug this into both nodes and plug this into my height. And then, of course, you select this line, press space and art the gradient map, and then you can just press D to docket. So what it will do is it will just add our height into both the RGB and into the alpha, and it will output this so that now we have a proper Alpha map in here in our roof tiles. Now that all of those things are done, what we can do is we can start by going into unreal and simply importing all of our roof tile maps over here. So the roof tiles will be like our base or base height map. Don't forget, go into your normal flip the green channel. And now if we go ahead and grab our roof ties, we can artist to our main master node. Now, this height map, it actually takes a object texture. It's slightly different from a parallax texture. But basically, all you need to do is you need to right click, and then you need to go ahead and convert this to a texture object. And then you need to right click again, and then you can convert it to a parameter and call this height Map. So this texture object, as you can see, we don't have any U V inputs and everything. You always need to do that in different ways. But this one, we just need to plug it in here. If we would use over here, like a parameter, it would simply not allow us to plug it in. So we got that one done. Our height ratio is going to be a scalar parameter that we will call height. And we want to set this at a very low value of 0.05. This will basically control how much parallax occlusion mapping we will actually have. Our minimum steps and our maximum steps is basically like a quality slider. So you basically go Min, and you duplicate this and also go MX. And what I tend to do, is I like to set my minimum often to 32 and then my maximum to 64. And basically, the way the parallax occlusion works is it will place a lot of planes very close together. And when you place all of these planes very close together, what will happen is that it will give the illusionist if there is height. You can even already, sort of see it happening in here, but this is, of course, not yet a good example. Now we need this one, which is our height map channel. That one is always a little bit strange. It is basically a constant three vector that is converted to perimeter, and it is called a V four, for example, doesn't really matter. The only thing that matters is that this one is set to read. And for this one, I cannot explain to you what exactly does. I just know that without it, it doesn't work. And then we need a note that is called an append note. Over here. We want to basically append the RGB with the Alpha and plug it into Hight channel. I know that this is a strange one. I don't know why, but it is needed. Next, we have our reference plane. Our reference plane, let's set is well, we can do like scale pemter and call this ref. Set this to one. The reference plane, it's almost like the illusion of where the height starts. That's how I always tend to say it. Something in that direction. So let's see. So we have these ones over here. Now, the last thing that I would need to do is our normal maps often have a more specific UV. So our normal maps, we have a note, and it's called the DDX and the DD Y value over here. And basically, the way that this one works, it is for the MD mapping to give you a better result whenever you do texture streaming. You basically plug we basically plug our tiling in here. Yes. And then once we've done our tiling, we can go ahead and we can move this down here. And then what you need to do is in your normal maps. That one looks funny. There's a different color. In your normal maps, you need to go and set your MIP value to be derivative. And then you can see that you have a DDX and a DDY input, and we just kind of need to do that for X, do we need to do that for all of them? Yeah, let's just in case just in case do that for all of them. Because technically, often when we use Parallax, we will most likely not be using any painted versions, but I don't know that. Who knows? I might change my mind again later on. I will most likely change my mind again later on because I know myself. So we now got all of these inputs over here. We got all of this stuff also done. There is another thing that they sometimes do, which they say gives a better result, and I think it does give a better result. That is that in our maximum steps over here, we basically add a what's it called Ditter temporal AA. And I can't for life, me explain to you why. But when you lurk, the ditter it controls sort of like the fade out, I believe. So again, I'm not a technical artist. I just know how it works. But that's as far as I go. So basically what you do is you lurp the ditter in the Alpha with a not a comment. Go away, you with a constant that is set to, like, one or like yeah, I think I believe it's like one or 1.5, and we then multiply this with our maximum steps over here and throw this into our MX steps. So let's see. Height Map check, control, min max, reference plane, high channel, textures, and we can turn it on and off so that it is set to zero. That should be everything. Everything should now be done. So if we save this, that should do the trick. So having this by default, it will be, of course, set off, which is good. So that's what I want, so that now if I go ahead and go into my materials, I can grab, for example, my Ooh, we have a error. That is new. The black structure of a vector type. What am I missing here? Could it be this one? Oh, samples exceeded. Oh, that the sampls when they exceed, basically what it means is that we have too many sampler maps, I believe. Although that is interesting that it has that. We can test this out to see by, for example, getting rid of some I like a sample map that I can get rid of? I I just temporarily get rid of these and then I just press Save. I need to see if it still gives me arrows because I need to wait for it to compile in shades before we can see about arrows because LSA might be like a setting. There's like a limited of 11 or 12 sampler maps that you can have into your graph before it starts to complain. Okay, see? So that's the problem. So if I now quickly do this. Okay, so that is a tricky one. That means that we probably want to go ahead and we want to combine some stuff in here. Mm. So we have our roughness and we have our roughness paint. What we could do is we could get rid of, like our roughness paint. We could go ahead and like get rid of that, and we can lurp it with, for example, our roughness damage. But I'm not sure. So is there any way base colors, base color paint? I just need to find a way to, like, basically reduce my amount of samples. Or ambient oclusion could be it. Often, the way that you can also reduce samples is by combining maps together. For example, you art your roughness map in the Alpha of your base color or something like that. However, for us, that is quite a paint to do at this point. So that's why I'm trying to see if I can avoid it because I'm so close. I literally need to save one extra map, and Base coolor paint clean. I think I feel like our paint mask, we can maybe do something with our paint mask over here. So, no way, because we control the paint with it. Yeah, I think the only way that we can do or we can get rid of, like, our AO map over here. Or what we can do is we can go ahead and, like, over here, only use one roughness paint map. And in that case, I'm going to use the roughness clean map. So let's plug this in most likely will not be able to see it. Although, no, you know what? I'm going to do it like this. So this one needs to go here. I'm going to just have the roughness clean in both slots because I cannot remember exactly where I painted out. So if I do this, let's go ahead and save our scene, and let's see if that works. So it's compiling the shaders. So I now have reduced one. Hopefully, I don't need to reduce two. I don't think so. It looks like that we were just at the amount, like the maximum amount. Okay, so that works. So that means that we have reached the limit of maps that we can use. If we want to change this and add more maps, we need to go much more drastic where we need to start combining different channels like you can see over here, where we like to have one channel for the ambient occlusion, the other one for the roughness, and the other one for, like, metallic maps. But we don't even have metallic maps right now. So just keep that in mind for now, this is fine. If we now go in here, we can go ahead and we have our let's do our wood planks. Variation. Let's duplicate this and call this roof tiles blank. And what I'm going to do is whenever I say blank, I'm basically meaning that it will not have any dirt masks or anything like that. So I can grab this one, and I know that this one will not have any dirt masks because I don't need it for the roof. Dirt masks are the way that we are going to do all the painting inside of substance painter is just for very important pieces like over here, the wall quays and our doors and everything. It's not going to be for plain pieces like this. So we have this one. We can go ahead and so variation mask is turned off. And then if we go into our roof tiles, let's see. So we have our ambient occlusion. Base color. Then we will have a painted version, but we don't need the painted version, so just turn it off. Let's turn off vertex paint removal. So we can just get rid of all of that one. It looks like that we probably, so we are walking against again, like some arrows, but we'll see. So we just need the normal and we need the we also don't need to bait mask, so that's probably like the where the arrows. So we have a roughness. Then we have a norm map in here. We have a height map in here. So base color, AO, height, normal roughness. And I think what is going on is that it is still referencing our paint mask. So here, if we turn off has painted version, there we go. That's more like it. I knew that I added that. So we got these piece over here. Then we have the height, min, and maximum. You can see over here it is very, very intense, so let's set this back to 0.01. And once that is done, we can start applying it to our model. Now, the way that we're going to apply final materials is by actually going in here and applying it in here. So we got this one. We can press Isolate to just make sure which one we need looks like we need the second one. Now we just quickly click on our roof tiles. And just press a little arrow button. There we go. So as you can see, this is the parallax. See, it almost feels like there is height, but there actually isn't any height. If you go why up close, you can see that it's still like the same plane. But then the general idea is that because we have already this height, everything will blend in together, see? And then, of course, up close, well, even up close, it holds up really well. But then from a distance, as you can see over here, it will blend in quite well, although we do seem to have some overlapping going on that we need to be careful about. So it does blending quite well. The only thing is that it is not completely tilable which I need to have a quick look at. So that's something that we also need to fix. But as you can see, that looks quite nice. So that's how we are basically going to do this kind of stuff. Great. So we now have some quite nice tilable looking materials. Now for the bottom one, this is the roof planks version. For the bottom one, we are going to go ahead and we are going to, let's see, right click duplicate the roof tiles, and this one we will call wood underscore bear underscore blank. And then the wood bear blank, this one will just have some bear wood. So if we go to our plain wood over here, it will just be like variation one. So first of all, what we need to do is we need to go ahead and oh, hey, that's not correct. The parallax should be off by default. Let's go ahead and so here are roof tiles. So this one should have parallax on. Okay. So it has parallax on, but then this one also has parallax on. That is. But this one looks like a better result in the parallax. First of all, let's go ahead and go to our reference plane. S. Does that do anything? No. No, it does not. Okay, let's have a look in our shade Let's see what's going on. It might be because we are just using a plane. So first of all, let's actually prototype this because I do want to make sure that the switch is working. So if we grab a simple cube over here, Tada, we throw on our roof tiles. So right now, the parallax. If it is off, Okay, so it looks like that when the parallax of it, it is not actually turning it off, which is interesting because we set up pixel depth offset to zero over here, if this is false. So maybe we after all, do need to do something like this. Maybe after all we do need to go hes parallax. If it is true, or, now, wait, sorry, let's hold control. Let's see if that works. So maybe I was white, although it does not make complete sense to me, but we'll see. And if it's false, it just does this. So let's see if we save this one. And let's have a look. So are you turning off now? Come on, compiling shaders. Oh, that's interesting. The compiling shaders window goes away when we have not done anything. So you do not turn off. Now, for the people that don't know about Parallax, this is highly unlogical because we are literally setting the pixel adapt offset to zero. So maybe no, they did not change anything on Unreal engine five, I believe. We can test it out. If we set the pixel dept offset to zero over here, let's see if that actually does something. I will just Okay, so the shading is done. So that is new. Normally, what happens is the pixel that offset what it can do? Is it can turn off our height maps. But in this case, it looks like it is not doing that. Another thing is that we can well, actually, no, wait, what if we just set the height to zero? Oh, it's a combination. It's a combination of setting the height to zero and then turning off my height maps. Okay, knowing that, what I'm going to do is so the pixel de offset does work because you did see some changes happening. So what we're going to do and the parallax, you can just leave it if you want. It does not really matter. So we are going to use this in the Pixel deep offset, but we are going to set our height by default to zero over here. That should do the trick. So having that done by default, we can turn it off. So what we can say with this one is that this one is 0.01, and it has parallax, and you can see that if I turn it off, Oh, okay, that's logical. So now it does work. Okay, I have no idea what's going on here. I do, but it's a little bit strange. In any case, it is working now. So when it is off, it will stay away, but then when it is on, it will get back. So another thing with the paralex although the parallax is actually holding up really well, I'm not used to holding up this well around corners. The only problem that we have over here is that most likely our plane is too low because the parallax often tends to sink in your mesh over here. And that's what you can see over here. Now, I don't think if I do minus, yeah, here. I don't think normally, you can use your reference plane to, like, mess around with it a little bit, but it does not work specifically in that way. Our minimum and maximum strength, we also cannot do, and our V four, whenever I change the color, it does do something, but it also doesn't work. So let's go ahead and let's see if we can instead compensate it inside of blender. And that will be the last thing that we will do for this chapter. So let's say that for this piece in blender, I will just ignore my extra shapes temporarily. Let's say I have this one, and I then go ahead and I can do an AldE and I just push it out like this. Let's see if that pushes it out far enough. So we export this and then we will, of course, just clean up the rest later on. So assets angled roof reimport almost, it is super, super close because like the sites we cannot see the sites anyway. So that's why I'm not too worried about them. Because they will be covered in assets or against other assets. So instead, if I go from global up here to local, Oh, it does not normal over here. I pushes up a little bit more. And then what we can also do is we can select all of these areas or these pieces over here, and we can go ahead and set this one to global carefully, like push this up also. Let's try that. Export, FBX, and got over it. See, this is just how it goes when, when we are creating our new systems, everything, just to make sure that everything looks correct. So now we go and see that now we do have a really nice looking roof, and you can see that it's super high quality. Even if I go super close, you can see how well it is. Now, what will happen is, of course, if you don't go in and you would set your maximum to 16 and your minimum to like six, you can see that the quality greatly reduces. It will be cheaper if you do that. But I personally, I always like to just go as high as possible. Like this to make sure that everything looks correct. So we got this one ready to go. Our planks are nicely oversticking. You can pretty much not see the difference anymore between them, also. And that is how you create really high quality looking roofs inside of unreal and other te games. So the only thing that we now need to do is we have our materials. We have our wood planks bare over here, and now the parallax has been turned off, and now everything is working correctly. So what we can do is we can go to our plain wood, and we can input it. I still don't know what made it work correctly. Maybe I just didn't wait long enough for it to recalculate. But in any case, we can just go ahead and save this one. And if we go into our Oh, wait, we already have it over here. If we go ahead and select our wood bear and art it, save, there we go. That should do the twig. So for some simple wood, that should be fine. And what we can also do is we can also go ahead and maybe dupld wood, bear, blank, score variation B. Over here, let's just say we add this one. And then for this one, if we open it up, we will grab the darker wood for this. Maybe that one looks nicer. Not the red wood, but like the dull wood. Here you see, just to give that little bit of contrast between the two pieces. Okay, perfect. That one is working totally fine. The only thing with Palex is that the shadows are often a little bit broken, as you can see. And for this one, that's always a little bit tricky because the only way to currently fix it because it's a bug inside of nul is five is literally turn off cast shadow. And then it tends to work if you do cast shadow. Yeah, so that works, but then of course, it does not cast anything anymore over here. So that is the problem. So it kind of depends on if it is bad enough, then we can fix it, but we will go over that a little bit later on because, of course, with the cast shadow here, you can see that there's not that much of a difference between them. So yeah, it is a bug. Just keep that in mind. In any case, I'm talking way too much right now. I'm going to save my scene, and the next chapter, we will just go ahead and continue by setting up all of our models. 46. 45 Setting Up Our Final Models Part3: Okay, so now that our roof over here is pretty much done, although I will see if I can somehow fix a little shadow problems over here, but right now they're not bothering me too much, and I think there literally is not a fix for it. I've looked online, and it seems to be just like an unnual engine five buck. That can happen. In any case, we have the angled overed spot, which is the next one, but that one we honestly can just throw on, like, a simple woods bear blank over here. Just throw that one on. There were going. That should already do the trick for most of these. And then of course, we probably want to do some nicer movement. Actually, you know what, for this one, it might be better if we do the variation B fit together. We got those ones also done. Now what we're going to do is we have a little bit more of a bigger one. We have our balcony fan beam and then we have over here this one. But then we also have the floor. I'm actually going to do is, I think, if possible, I want to combine all of these pieces and give them the same mask so that we still have a mask for it, but we will basically just give the same mask for all of them. Also, one thing that I did need to do is I had to, like, change this stuff. So that's the first thing we will do. We will first of all, change those things around, and then we can create like a mask for this. So if we go into blender, Let's add these pieces to our angled overhead generic. And then we have where are you? Balcony fence straight over here. There we go. And so, yeah. So for this one, what we're going to do is we are basically just going to go ahead and for these pieces, you know, let's press height on this stuff. And then for these pieces, I'm going to delete them. And it looks like that, yeah, all that effort that we put in, unfortunately, it was wasted. So it looks like it just doesn't work that way. I'm just going to right click and I'm going to add like a fill layer. Or actually, I believe that if we do like a bridge that it might give me or it might keep the same UV. So let's do Q and bridge. There we go. So yeah, like having that tiny little bit of, like, a dent. I don't really care about that. You can remove it or not. I'm just going to not do that just to save a little bit of time. Ah, that's unfortunate. So it looks like we do need to do redo our UV, because it looks like that it cannot calculate it correctly. So let's go ahead and just redo UV. So we have this one, Sure U V map, UV box, and I believe that we were going to set it to like two and 90 degrees seems to be fine, okay. Also, by the way, one thing that you can do is you can go ahead and do this, and now delete the edge loops. I guess that doesn't take too long. I should not cut corners this small. I tend to do that. I tend to cut really small corners like this where, like, really small stuff because I think that it will save me a lot of time. But if I really think about it, it would only save me like 30 seconds or something like that. But anyway, 30 seconds are still 30 seconds. And then just do another box map. Okay, so that one is now ready to go. So what I wanted to do is I wanted to add the different UV. So if we go ahead and press ALDH, we already have this one. Now, adding multiple objects to the same UV channel is a little bit tricky blender. So I'm going to get started by just selecting this and pressing CtraJ so that we have one of these, one of these. And now what I'm going to do. So we have these ones. Let's re add these back to our balcony fence strait. And then we also have a balcony floor over here. And for that one, I'm just going to select everything and do also Contra J so that we have one floor. Oh, sorry, before we do that, make sure to apply. So Contra A, apply your pieces. There we go. Now that works better. White? No, it removes it. That's a pain. Or not? Yeah, yes, yeah, so it removes it. If it removes it, in that case, just hide this and just do this one as like a contro j because I do want to keep my weight at normals in there. So we now got these pieces over here. Now, one of the tricky things is that I want to go ahead and I want to keep these all in, like, I need to move them away from each other, but I don't really want to do that. So if I have a look at this, yeah, I kind of like need to create some space between them. But it's very difficult to, of course, do that without moving anything away. Now, for this, we could go ahead and mess around with animation where we would turn on auto key and then we can set one frame and then go forward and set another frame to basically keep it so that we can easily switch between two positions. However, what I find to be a much easier way is to simply export it like this and then just quickly input this into a clean blender scene, move it apart, and then re export it again because we only need to really do it once. So all of the objects that we want to combine into one mask, we want to export. Let's see. So these ones we can all combine. Let's see how we are going to combine everything. So we will go ahead and our door is already here. So we will have our door and all of our windows combined into one piece. We will have our walkway and our walkway straight combined. The walkway sites there. I'm not actually going to do the mask because I don't think it's worth it for now, because it just does not art enough. And I think that's already it for all of our masks. So that let's do it in that way. If we go ahead and so for these pieces, what we need to do is we do need to go in every single piece, and that's why I want to minimize the amount of pieces as much as possible. We can go into our UV maps and we just need to press the plus twice and just call this UV tree. Now, let's go ahead and do the same over here, plus twice, UV three. Over here plus three times UV three. And here plus three times UV three. Okay, perfect. So they now will have all of the same UVs, and that should all be fine. So if I now go ahead and just double check by going to my UV editor, Okay, UV three, as we can see, A has these pieces. Another thing that I want to check because I think I noticed it. Yeah, see, I knew that, shift in and just quickly swap around. So this is something that we need to be a little bit careful about because inside of over here, it's very difficult to see. You can only see sort of like the reflections that they are the opposite way. But because we are rendering two sided, this is very difficult to see. So just keep that in mind that we do need to double check those things. In any case, now that we have all of these UV trees, we should be able to select all of them. Go over here, and now we are editing the UV tree map on all of these at the same time. So since as far as I know in Blender, we can multi UV multiple different objects. So we should be able to simply pass A, then go into UV. Oh, actually, let's go ahead and F one plus Q and just apply all of our transforms to make sure. And then we need to go to UV average Islands, UV PAC Islands. Now we can just go ahead and we can double check. So if we now go to UV Map zero, uh, I think the switching it will not do. So let's just switch one by one. So UV three, UV zero. So that one is fine. Let's do this. I only need to do this once, U three, UV Zero. Okay, so that one works. And then once I know that this system works, because I've never actually done it in this specific way because most time this kind of workflows, I always use in Maya. So this is the first time, not the first time, but the first, I mean, like a year that I'm doing it inside of blender. So just keep that in mind, whenever I just double check something, it's good for you guys to see. But it's also just me making sure that it works before I start messing up. In any case, all of these pieces are now done. That is good. So with these pieces, what we can do is if we go ahead and we can save a scene, and I think the dis stuff we can already export because we can also switch around the UV channels later on. So if we go to File Export FBX, And it was Mong folder. Over here, this is the right folder, exports to painter, and we will call this Balcony pieces. Okay, let's see. Turn off animation, geometry, everything should be fine, so it should export everything. So once we've done that, what we can do is because these are all still the same, we can just save our scene. And we can also now go ahead and select this one file export FBX. And this one needs to go to unreal. So this one is going to be our balcony where are you? Balcony fence beam, this one, export FBX, balcony fence straight. And this one export FBX, balcony floor. Okay, so those now all exported inside of wheel, so that should be fine. Now what we can do is we can simply create a new general scene. And then we go to File, Import and FBX, And then if we go to our EpotsFolder to painter, and in here we have our balcony pieces. We want to go ahead and import them, and that's double check to make sure that all of our UVs maps are still here, which they are. The only thing that is strange is for some reason, my plugin is not loaded in yet. So preferences, Adons why are you not loaded in? I even forgot what it was called. UV Underscore Map Tools. That's not the one. So let's just go ahead and quickly install UV map tools, Install don. Oh, wait, no, wait. I was called UV tools over here. Okay, for some reason, it was turned off. In any case, what we can do now with these pieces is we can go ahead and since this one only goes to painter, we can start by moving these apart so that they will not be affected by occlusion or by other masks or anything like that. And now that these are moved apart, what we can do is we can go ahead and most like, yeah, no way that it will do multi select. So just move up, move up, move up, and move up. There we go. And now we can just go ahead and re export this to the same FBX. If we go ahead and go in here, exports. And then to painter. And here we have selected objects, and this is going to be our balcony pieces. There we go. Okay, so that should just do the trick. So we can also now go ahead and if we want, we can go in, resent and open up our structural pieces. We don't even need to save the scene. So this one is now all good, and it's all totally fine. Now what we can do is we can go ahead and go to Substance Painter. Here we go, and then we can go file new. Don't forget our template. We created template so we can grab our Western mask, and then we can go to I'm just navigating through the folder. In our file, we can go ahead and we can go to our balcony pieces over here, open that one up. Document resolution k is fine, open GL is fine, and we can just press Okay. Perfect. So all of these pieces are now in here. We can double check to make sure that our UVs are correct by going to TD Vew and they look totally fine to me. I believe yes, because these are blanks, so they will all look straight. And else we will notice soon enough if something is wrong. So we got all of these pieces. All we need to do now is we need to go ahead. Oh, no, wait. Sorry, we have two materials. That's wrong. So we just need to go ahead and quickly go to blender, New General, and then go ahead and just re import once again our FBX. Over here, which is just going to be our balcony pieces. So we just want to quickly import them. And I'm just going to select everything, select one, go into my materials and just press copy material to select it so that everything is the exact same material, else, it will not work. So let's go ahead and just quickly re export this. Over here and let's go to our balcony pieces and Export. Now if we go back into Substance Painter, just quickly create a new scene, and then we can have our balcony pieces in here. Press Okay, disregard this. Let's see. Now we have this one, Bkiny pieces in our text set list, we don't need a layer. Now in our text set settings, we just want to go ahead and go down here. You can see that it has our RGBA channels, and we just want to go into our bake mesh maps, set this two k and add our low poly mesh as high poly and just bake everything nicely like this. Okay, now that those are done, all we need to do is go into our layers and remember, we have a SMRT material for this that we called Western, so we can simply type in West at the top. Go ahead and just input this, and there we go. Okay, so highlights are actually fine because that one was just like a mask generation. So those are maybe a little bit strong, maybe go into our mask editor and just tone down the global balance of them a little bit. But for the rest, like, here, that's fine. That stuff is not too special. Then we have our dirt over here. So our dirt is it has some nice dirt at the bottom. I feel like our dirt. So first of all, get rid of the paint because the paint is always specific. Let's set our dirt levels a little bit higher over here. And maybe what we will also want to do is maybe now go ahead and add the paint layer, and then if we go ahead and go into our brushes, we can grab like a first of all, No, wait, let's do like a dirt one at, like, quite a low flow and a high size and just kind of like, Oh, we need to go way low with the flow. And just like in one area, just kind of like, No, let's you know that. I kind of, like, just want to have it a little bit where you meet the wall, I just want to get a little bit more dirt like that. And also, what I want to do is I also want to go ahead and maybe, like, give it, like, a little bit more dirt. I like the bottom pieces over here. Like that. I may also you like a little bit over here. So just give it some random dirt here and there, stuff like that. Now, I can remember that our dirt that we had to go ahead and add the levels on top of this to really push out the dirt. So let's go ahead and do that also. That does mean that over here, this kind of dirt might be a little bit too strong. So you might want to set your flow up, press X, and just kind of like reduce it again a little bit. I don't know those streaks are a little bit interesting. So let's just, let's get rid of those also because I don't really trust that. And we still need to do our weight normals on this or weight normals, our smooth normals, but that's okay. Paint removal for these ones, I'm not sure if we actually need that. But just in case we want to have a white painted fence, we can go ahead and we can go over here on our paint removal and get rid of this one. So if we want to have a white painted fence, it would most likely be again around the areas where we have occlusion and stuff like that. Let's go into our smart materials, and let's see if we can find something. So for those, I kind of want to go for like a moss from top and see if that one works. So the moss from top, if you go ahead and invert it, does kind of like work here and there, but not the way that I want it to work. So let's not do that. Let's do a ground durt maybe. Let me just move this. So we have ground dirt over here. Get rid of the first ground map. I never like that one. But then if we go ahead and scroll down to our position map, here, it's basically arts like some extra dirt or some extra paint peeling in those areas, which looks like it works okay for, like, these kind of areas over here, although it does not work nicely over there. You know what let's do some hand painting. I don't think I can really find something I like. So for the hand painting, this is going to be paint removal, so we can go for, like, a harsher map. So let's go for the artistic heavy sponge over here. And this one, you can see that we can do this kind of hand painting. So what I can do is I can go ahead and just, like, give it some randomness, like, a painting like that. And also over here. So that kind just have some pain peeling going on. And then what we can do is we can if we only want to have the pain peeling in those areas, we can go ahead and make our p a bit smaller and see if we can remove some of this paint removal over here, and then also kind remove it on those areas in between. So that the paint removal will kind of stay in these areas. Normally, I don't spend this much time on masks, but seeing that we are only going to have two or three of these masks, I think it's this good if we just spend a little bit extra time. I might have more variations, but those variations come from whenever I will go in and do some custom extra pieces that I will time laps. Then I might also add those pieces to a mask, but that is something that will be done in time laps, so I'm not really in a rush in time rush for those. So we got the over here. Same over here, we can go ahead and we can do this. There we go. So that we'll just have some paint peeling in those areas. And then over here, maybe we can also go ahead and, like, press X and maybe, like, give it some kind of paint peeling. This is quite interesting. Stuff that we get over here, I'm not used to getting that from these areas. And then maybe over here, we can also go ahead and do the same where we have over here in these areas, where we can also just do some general paint peeling same over here, like that. And then if needed, we can also always have vertex colors. Of course. But this stuff is just here just in case. And then over here, I'm just doing it really messy like that, just to get like something in there. Over here, something like that. I don't know yet how good it will look, but that's something that we can see soon enough. And then maybe also actually here on the top a little bit, just because the top feels like one of those places where a lot of people will be touching the area, so the pains will go away. As you might have noticed, it is sometimes a little bit annoying to move around with this, and that's just because we have the piece is quite far away. So over here, I'm just going to have also a little bit on the top like that. There we go. Okay, so we got these pieces now done. What we can do is we can, first of all, start by saving scene, and we are going to save this one as balcony pieces over here, save. And I'm just going to navigate to my export folder, and then we can go file export textures. In here, balcony pieces in our masks folder, and then we can just grab our Western mask tutorial at the TGA and press Export. There we go. That's done. Now if we go ahead and quickly go into real engine, first of all, these balcony piece over here, reimport all of them. Oh, whoops. I forgot to do that. So let's go ahead and go open stock shop pieces. No. And then I want to just export this one as the straight version with the other piece. Export to unreal selected objects. So balcony fence straight. Try it again. Okay, great. So we got those now all done. All we need to do now is we need to go to textures, masks, import our balcony pieces mask over here. So that one is now also done. And now what we can do so these ones do need to have unique materials. So if we have as you can see, there's also like a white painted balcony. Yeah, you know what? Let's do that one because then we can use our paint mask to kind of like, have a look at it. So I believe that we already had, like, a painted here. So we already had, like, painted white wood. So what we're going to do, they all can use pretty much, I assume everything will be painted. So they can all pretty much use the same material. So we can go into our materials. We can grab let's do our um door A wood, and let's duplicate this one and call this one balcony pieces painted over here. And then for this one, we need to go ahead and just open up all these pieces, and we can get started with it's just going to be like a clean painted wood. So let's have our normal roughness over here. We need to have our balcony mask over here. He painted version needs to be turned on. Then what we can do is we also have our damage paint so we can go this base color. Oh, yeah, so that's the paint clean, which is also going to be the wood over here. And then we have our normal norm paints clean. This one needs to go in here. No paint damage, this one needs to go in here. Our paint mask is going to be this one, and our roughness clean is going to be this one over here. Okay, so all of these maps are now inputted, so that's our fine. We got all of that stuff done, so if we now go ahead to save it, and if we first of all, go ahead and open up our three models, I know that these chapters are quite a bit longer than normal, but yeah, I just need to get all of this stuff done, so it's easier if I do this in slightly longer chapters. So our balcony pieces, we can go ahead and go in here and just add them to here. We can have a look. Okay, so you can see that the paint peeling is already working quite well. So this is the stuff that we have over here with our painted versions. So that's pretty good already. Let's go ahead and just do some small tweaks, and then we can continue with that. First of all, dart amount. Okay, so dart amount, leaving it to one is fine. Highlight amount, our highlight amount, I'm going to set a little bit higher to maybe like 15 so that we have slightly more highlights going on. So that is fine. Our normal strength. Yeah, normal strength doesn't need to change. Our roughness does not need to change. So that's actually already quite spot on. Yeah, maybe, like, No, wait, our dirt color is also fine. I think the only thing that I'm going to do is I'm going to go back to painter. For this one, I'm going to go ahead and I'm going to just add my size, and I'm just adding some more random paint damages like that. And I believe if I have a look, Yeah, also, maybe like some more random paint damages here that I like sometimes go, like, a little bit higher in terms of, like, where all my paint and everything is. Yeah, see here. So we get some nice damages and maybe also have a little bit more in one area that we have over here, like one streak like that or something like that. There we go, that we also have one damage area like that. So that one is all fine. And then in my dirt over here, I was going to go ahead and I was going to go in my levels and just push this out a little bit more because if I also have look over here, it is hard to even see most of the dirt. So we are pushing that out, and now let's go ahead and export this. Give this a look, masks, balcony pieces re import. Here, see? So we now get like this dirt included in it, and then we have some more damage going on. Nice. And we got this dirt over here. So that's all looking pretty good. Let's save our scene. And I've lifted it over here. Here we can see like in full glory. So, see, that's looking quite nice. So we have some dirt going on. We have our paint peeling, so they're not all perfect, and that's all looking pretty good. And then what we can also do is we can also simply have a variation. So we have our balcony pieces painted. We can duplicate, call this balcony pieces. Bare and then for this one, we can just go ahead and has painted version we can turn off and we can simply grab. Let's say we grab y. So let's go for the darker wood again. So base color, normal roughness like this. We can save this. And then whenever we want to have a balcony with these pieces, all we need to do is grab our balcony pieces bare, drag them on here. And just like that, even this actually also looks really cool, where we have a difference between the two. But we can simply now drag on our pieces wherever we want to have our variation, and you can see that this all looks very interesting, especially with our edge highlights, we can just mess around with those. And like this, you can very quickly and make it very flexible to add really interesting look developments to your scene. So over here, what I can do is I can say, like, Okay, I want to have my highlights mount back to, like, ten, and maybe like even five, just to tone it down a little bit. I don't know, maybe ten. And then we still have all of our dort sitting on here. And just like that, we have two different types of balconies. Perfect. So those are now done. In the next chapter, what we will do is we will go ahead and we will continue with our door A, we already have, so we can actually just go ahead and art that. On not, we still need to add some more stuff to door A. So we will finish door A, and then what we're going to do is we're going to do door B and all of our windows all in one go. So let's continue with that in our next chapter. 47. 46 Setting Up Our Final Models Part4: Okay. So now that we have done our balcony pieces over here, let's go ahead and just get rid of them. The next one is going to be our door A. Let's go ahead and just finish this one off. So for our door A, we already did most of the wood. We just need to import the metal over here. So if we have this one, let's go ahead and well, first of all, let's close all of these pieces because every model will add some expense, and it will make everything run a bit slow. Safe. Close this. Now, in our materials, door A selected. Oh, open up door A. There we go select it, and then we need to go ahead and we need to add it over here. So that is totally fine. Let's go ahead and save our scene. Now, yes, so we had to do some metal over here and Oh, yeah, and the glass. That's another thing that we needed to work on. So for our metal, what I'm going to do is because metal is very easy to create, I do not really want to spend time on it for only a door knob. So I'm just going to go ahead and type in metal. Over here. And I am going to cheat a bit, and I'm just going to download a simple metal. So if we go to text.com, we can go to often to Oh, well, often PBM teals will be the one that have metals in it. And if you go down here, you will have metal. So what we can do is we simply quickly just grab a metal from here because these are all free PBM teals that we can use. And let's go for, like, so we probably want to go for, like, just like a simple plain steel or maybe like a brush steel. I don't know. Clean stainless steel. That's super like a plain steel over here. And all we need to do is you just need to create an account. And then what you can do is you can download up to one K, which is more than enough for what we need. So let's download the albedo normal roughness over here and simply drag that one into a folder, which I have over here, so I've drag it into a folder. And now the next thing that we need to do is we just need to import these over here. And then what we can do is so over here, these materials are very intense, but the metal. I don't really need to do all that stuff. So what I'm going to do is I'm going to just create a new material that I will call a basic underscore master, for example, and this one will just have some very simple materials in here. What we can do is we can go to our metal. You can just direct this in here. And then if we ever need some very basic materials, we can just use this one. So we can go ahead and normal roughness, Do like a scalar parameter that we call Metallic over here. And then also right click and just convert the parameter or map this is base color. Convert the parameter, normal map. And this one will be converted perimeter roughness map over here. So we got all of those done. We can just go ahead and save it. So there we go. It's that easy. So let's go into our materials, and then we have our basic master simply create the material instance and call this metal underscore polished. And the only thing that we need to do for this one is we need to go into our metallic and set this to one. And then you can see that we have now this polished metal over here. That's it. We can go into our door, make sure the metal polish is selected, and we just want to go ahead and artist over here and save it. And now what I can see is I can see that it is way too dark. So for this, we do want to have a little bit of control. Let's Go ahead and we can actually control it into our textures. Let's start by just opening up over here our base scroller texture. And then if we drag it down and scroll down, over here, we can set our brightness. So if we set our brightness a two, it can become a little bit stronger. Then we can also go at and do the same for our roughness. So I just want to kind of, like, balance it out. The only one that I do not really want to edit is going to be our metallic map because something is metallic or it is not metallic. The only thing 0-1 in metallic is dirt, but we don't really have dirt. So what we can do is we can grab over here our roughness. And if I said this the two or maybe five, you can see that it becomes less, even ten. Here seen then it becomes a little bit less strong. 15 maybe even let's do 12. There we go. So that is basically a way that we can adjust that, and I'm fine with that for now. Okay, perfect. So we also got those pieces done. Now, I need to make a decision on how I'm going to do my glass over here, which actually tricky one because we have a lot of glass that we probably want to do all at the same time. So what we might want to do for now is we might actually want to go ahead and do all of that glass separately into its own little thing later on. Another thing that I want to do is I think I want to change the material of my door to have a slightly different material. So if we go ahead and go into a blender, we turn off the balcony stuff and we grab our door A. What I want to do is in our door A over here. Let's see. So we have one material. I want to just go ahead and I want to select this door. 1 second. Let's just tag and select and then press four. Are you selecting? Wait, let's do this. Oh, yeah, wait, because I separated that material. I forgot about that. So we want to go ahead and just select our door. Let's do que and just separate our selection over here. Okay? The weight normals are still intact. So we have over here door, and what I'm going to do is for our door, I'm just going to go ahead and I'm going to change the naming to plain Wood 24. Oh, wait. Of course, that does not work. Um, close it. Let's go over here. Close it, New. Would be doesn't matter the name and then also artists who like the center bit. So copy them to like the there we go. Okay. So now that we have these pieces done, we can go ahead and we can just re export this. And that way, I can just slightly change my door color, which will hopefully break up the plain color a little bit more. So we re import this, we press done. And then all we need to do is if we go into materials, we have our door A wood door A wood underscore variation B. And then for this variation, what we're going to do is we are simply going to change the colors around a bit. Uh, let's first apply it to our scene. So here we have door A, door A wood variation B. We can just go ahead and apply it just like that. It should still have my vertex colors just in here. Or not? Let's go to vertex colors and set this to RGB channels. Yeah, yeah, so it still has it in here. So why are you not showing that is interesting. But let's first of all, have a look at that later on. First of all, we have this one over here, and I just want to go at and I just want to change the colors. So we have a base color, normal roughness, and that's the one that I want to focus on. And then in our plain wood, we can just basically swap around colors. Let's say we want to go for maybe like a darker wood or maybe older wood. I think the red wood looks quite nice. Let's go for our red wood over here. Our color overlay is fine, our dirt overlay, I'm going to make that one a little bit darker also like that, so that yeah actually a little bit darker even more. And I'm going to make my color variation. Okay, so it looks like my color variation. I decided to once again break, which is interesting. I don't exactly know why, but we will figure that out. Sorry. So we got over here this door, and the only thing that I would say is that if we just go right in our plain wood over here track it over here, and let's just set our color to our brightness to be a little bit lighter. So if we set this the two, Let's do 1.5. So we said this used to be a little bit brighter over here. There we go. And now that does like an interesting difference, see? So we go like this interesting difference going on over here. For this vertex color over here, that one is a little bit strange. If we go to our vertex colors, it is reading just fine over here. We just had it working. Let's turn off vertex colors. So Oh, no, wait, it is white again. Maybe it reset the vertex colors when Did this. So that might be the case. So if we go into object mode, we select this one over here, go into vertex mode, you need to be black. Paint set vertex colors. There we go. Okay, so I guess that it once again, just as soon as we separate it for some reason, it removes our vertex colors. I didn't actually know that. That feels a little bit strange that it does that, but OL we have fixed it, so now we can go ahead and we can re import this. There we go. And now we can see that now we do have a small difference once again between our verte scholars. So that's our door. So the window of a door we will work on a little bit later, but that's pretty good. So now that we have our door done, now what we're going to do is we are going to go ahead and door B actually does not I said that we were going to do door B, but door B is just like a copy of door A. So as far as I know, all we need to do is we just need to once again, like, replace this. So if we have the let's go outside of texture mode. If we have these pieces, if we do a Shift D or Shift D. Yeah, yeah, wait, Shift D is still fine or conto C or Contra V. Right click Move to collection, so this is going to be door B. And then if we go into door B, so we have this one. Now, the tricky thing is to actually differentiate between the two. I cannot really do that as easily. I can temporarily just move them to the site over here, and then I guess I could do that. So if I have this one, it's going to added mode, this I can get rid of this I can get rid of. This I can get rid of this one. And then for this one, it looks like that's all we need to do is we just needed to go in. Let's go into left view or something like that. And delete this stuff. Over here, so we were going to go ahead and we were going to delete this stuff. And then maybe what I can do is that I can avoid needing to, like, it. Oh, no, that probably won't look very good if we push this down just so that we do not need to, like, edit UVs again. Although maybe it works. It might work. Now I look at it. If we move this one also down? I'm just trying to save some time by not needing to redo my UVs because I want to keep my UVs very much the same for this one, because I also, of course, I have my mask UVs. So if I am able to just do some very small little bits of stretching and everything like that and just have it work like that, then of course, I would like to do that. So we have this one. Let's move this one up a little bit. And then it looks like that if we go to Vertex mode, we just want to go ahead and move this one up here. Move this one up here. Move this one up here, and finally. Also move that one. There we go. Okay, so we got this door. Now it's just a matter of setting the door in exactly the same place. Like this, contra I delete the old one, and that should do the trick. So if you just quickly switch back over here, yeah, that is not too bad in terms of stretching. So now that we have got this stuff done, oh, hey, um we are setting keyframes. Setting keyframes is actually quite bad because you right click and just delete key frames. If you accidentally set a keyframe, it can actually really mess up your model because it will try to keep setting your position back whenever you make a change and you do not want that. But in any case, let's save our scene, export FBX. So let's export this as Dorb let's see if this worked correctly. So right click, reimport Looks like it worked correctly. So now all we need to do is, let's just drag it over here. And then we have our door A wood. Metal polished and door B wood. Okay, it looks like that. Now as you can see here, it is using all the same UVs. So we once again saved a bunch of time by not needing to redo any of that. And now we will also have our wood just sitting over here. And that will all work totally fine. Perfect. So that is already our doors over here. We still need to create quite a bit of variations because you can see them all over the place. But for now, this is pretty good. So the next one is going to be. So yes, we want to do this, but let's first of all, just go ahead and just quickly open up because these ones are very easy, we will have a generic beam, and we will have a generic beam B, and you guys can just use a normal wood, and we're just going to start with like a base wood and then we can always swap it around later on. So I feel like for the generic beam, I will use a clean wood. So if I go over here, we will have wood bear blank, and then for lumber B, I will use like older wood over here. There we go. So that's already it for those ones, as you can see those are now nicely being applied everywhere, and then we can have more variations later on our generic roof over here. Okay, so that one is quite interesting. I believe because we've already done everything that all we need to do is just apply UVs to this because we do not need to have a mask for this once again. I don't think mask will be useful. We can just use some decals if needed. So we will have our planks for which I'm going to use the wood variation B, and the reason I'm using that one is because I feel like this would be the wood that would not be as maintained. We have the front and for the front, we can actually use parallax also. So for the front one, if we just move this out of the way, let's use not the angled version, but actually use the flat version. So if we have, where are you? Bare wood variation, is this the one? Plain wood? No, that's not the one. I want to know because we created like a version wood planks variation A. That's the one. So woodblanks variation A. I assume that you are at Angled Wood. Yes, you are at Angled Wood. So if we go ahead and go into our materials, right click duplicate this and call this Wood Blank variation B and apply this one to our scene. And variation number B U, I want you to have if we go to our Woodplanks let's see. I don't think we have actually exported that one yet. So I want to have one of my flatter planks. So if we go ahead and go in here, these are our roof tiles. If we go ahead and go to our wood planks over here, we can right away do this. And we also want it just for our height map. Per space Alpha merge over here, convert this one to a grade map. There we go. So that's already properly set up. And we want to go ahead and we want to export the following one, which in our preset is going to be are flat planks short. I think that one will be quite nice to do. And then all I need to do is I do need to double check because we might not have updated it for a while. So I just need to double check that all of these things still look correct. Okay, so it looks like that all looks correct. So our flat planks short has planks is true, has paint is false. And then in our base color, broken paint is, of course, also false, but that does not really matter. So that's all good. Let's go ahead and export this. Final. Oh, wait. Did I already export this? Hold on. I think I already did. I just did not input it. Wood planks, final flat planks bear variation B. No, wait. I did not I think I just did like a color variation. So if we have this one, let's just redo this. Flat planks bare, short. Let's use that one. And let's go ahead and also export the height map in here and do not export the paint mask. And yes, let's just go ahead and export this. And while that's exporting, we can go back in here, wood planks. Then we go right, click flat. And then in here, we can right click variation underscore A. See, maybe I should have managed the naming a little bit better, but it should not be too bad. So if we have this one, we can just go ahead and we can grab our Well, let's just grab all of our maps and just input them. Over here. Then if we go ahead and go to our normal, we just want to flip around the green channel over here, and now we can start by adding this. So we have our wood blanks, and we also have our painted wood planks. However, for now, we are not going to art our painted, but we do want to art our parallax. Over here. Has painted variation. Yeah, I need to have a look at that. So somewhere on a weight here we go. Turn that one off. There we go. I keep forgetting that. So now we can just go at them, we can drag in our planks over here, including our height. So we have our roughness, and then we have our height. And then if we go down here to a height, we set this to 0.01. Ah, the shadows are too broken. That's a shame. As I said before, shadows are broken with parallax mapping, unfortunately, and I feel like that, in this case, they are broken too strong. We can go into our normal intensity and set this to two. Oh, I think our normal intensity is flipped. So let's set this to minus S minus one or minus two. In the last tutorial, we also had this problem that sometimes we need to flip it around. I think it is minus one. I just need to very quickly go into my master material and flip the default around to be minus one also because else I keep forgetting that. So you need to be minus one by default and safe. Over here. So a parallax turned off, but I think it is still quite noticeable. So it's not too bad that we don't have parallax on this one. And for the rest, everything else should now also have a proper norm map sitting here. So yeah, that should be good. Maybe here the norm map can be a little bit stronger. If we set this normal strength to minus two minus one because we already set this up and that's why it is already overwritten. So we sometimes just need to go in here and just quickly set this back to minus one. Whenever we have overwritten it, minus one, Minus one, or you can a one minus to your scene. Kind depends on what you want to do. Roof tiles, minus one, Woodbre yeah, I am a little bit worried about the roof tiles and the parallax mapping. It's a little bit annoying that this happens, but right now, there isn't really much to do about it. I feel like that. What I feel like that basically unreal is just so focused on nanite that they are starting to forget about things like parallax, because they expect everyone to just use nanite, but I don't feel like that is the way to go. So over here, that does still look okay. But yeah, give Parallax some love. Epic, please. But in any case, so we got all of this stuff. So let's just go ahead and close it off just to keep my Project a little bit clean. Let's save scene and close this one. And then we have a woodlanx variation we can close, basic master, we can close, and our door we can also close. And now the last one that we need to do is so over here, as I said before, yes, we will need to get some shadows on this, which is a little bit annoying. So I have feeling that we also want to go ahead and go so we can use our roof tiles, but I feel like. Oh, here, no, wait, the shadows are probably not broken because it is not in shadow, while if I would do this, Yeah, okay, so it feels less broken. Okay, fair enough. But in any case, so that is working quite well. So we got our roof. It is looking nice. So that's why we really do need to have parallax for this. So let's just go ahead and delete this, and let's just have L. Yeah, see here. So that stuff is working quite well. So we got this stuff over here. It is not sinking through it's sinking through a tiny bit over here, which we can fix if we want to by moving it up. But I think for now, this should be fine to have. So let's save scene. And in the next chapter, what we will do is we will go ahead and let's see. Oh, wait, extra plain walls short. Oh, yeah. So in the next chapter, what we'll do is we will set up our plain walls. And yeah, we can also set up a roof window and the tops, and then we can go ahead and create another mask. So let's continue with that in the next chapter. 48. 47 Setting Up Our Final Models Part5: Okay, so let's go ahead and continue with our setup. Now, of course, as you can see, all the wood now looks very much the same because we are mostly using our plain wood, but don't worry. We are going to create variation materials later on. So we have, I think I actually need more space for this. We have our plain wall Short over here. Plain while long, and our plain while extra Extra short, yeah. I set it in the wrong order, but we do have these ones. And for these ones, I believe that we already have everything set up, don't we? So we have our Wood blanks variation A. Yeah, so Wood blanks variation A already has everything set up. So all we really need to do is we just need to open up these models. Typical unreal that it randomly opens one window somewhere else, select our planks. And then all we need to do is we just need to go ahead and go in here and apply them like that, and then we can go ahead and we can save. So instantly, all of our walls on our text shut, as you can see, it looks very boring, but that's where the vertex paint and all the other painting and all the variations and everything comes in later on. So for now, that is pretty good. We got those things done, and now it just looks like everything is just perfect brand new wood over here. Okay, the next one is going to be our little roof window over here. Once again, we are going to ignore the actual windows. This roof window because it is so far away, I'm not going to bother creating an entire mask for it. I'm just going to go ahead and open it up and just use defaults. So the first one, if we isolate, oh, yeah, we did not texture our actual plates for this. So we do need to do that first. We need to go in here. Door B, turn off, and then we have our roof window. And for this one, I'm going to add some of those pieces that are extended over it and all that kind of stuff. I am going to turn on Outer smooth on here and right click Shade Smooth, just to fix that kind of small stuff. And I'm going to go ahead and I'm going to select these pieces over here, Q, separate the selection. And then if we go into our textured view, we can go ahead and go in here and get rid of this material, new material, image texture, open it and textis roof tiles final, and let's just select that one. Okay. And then if we just go into our SRUV non, we can just do like a box map at five maybe or six. Let's do six, and let's just rotate this. Well, we don't even need to rotate this because this one is pretty much fine. So we just need to go ahead and we need to go into our UV editing once again. Go in here and just select, for example, this one, and see, for this one, we need to go to a transform, rotate this 180, nicely move this down, select this one. Um, this one, I'm going to move down. And then I almost want to maybe scale it up a little bit. There we go, and then move up a little bit. There we go, so that we have slightly better transition. So even though we are not going to, like, spend a lot of time on this because it's like a tiny roof window, I still want to just get the transition in. So we can now go ahead and we can export this and just export this as simple FBX once again, and it's going to be our roof window. Where are you? Roof window over here.'s press reimport. Done, and there we go. Now we have four materials. Okay, so the first material is going to be plain wood. So let me just scale my window a little bit over here. Wood Breblank. There we go. The second one is going to be our windows. We're not going to do that one. The third one is just going to be our wood blanks variation B, and then the last one is going to be our roof tiles over here. Can save this. Up close, as you can see, the roof tiles will not look very good, and they will be a little bit warped. But from a distance, they will look fine. So we will need to find a solution on what exactly are going to do with the parallax, because on the one hand, we do need parallax, but on the other hand, it does not look absolutely amazing. In any case, that's it for that very small little window. For now, that's just fine, because we're going to do a massive polishing phase after this later on, anyway. So we got these ones over here. Now for these ones, I believe that we also can just go ahead and we can add a very simple material maybe later on, I decide to make a mask for these ones, but if I do that, I will do that in a time laps. I don't really want to do that right now. So I'm going to go ahead and this is going to be so the basic one, I'm just going to do the blank version. And then for the ornate one, can we have, like, so Wood planks B Woot blanks variation, B, duplicate, Wood blanks variation. C, and then in number C, I'm just going to go ahead and I'm going to grab maybe, like, a painted woods as like a default. Yeah, I guess something like that will work. And then we can just improve it later on a little bit more. But I'm just so focused right now on just getting the basis done for these assets and just getting my masks in because it's so much easier for me to then go in, tweak around my shaders a little bit, tweak around my textures, and just make everything actually look like this in terms of, all the breakup. So we're going to end this chapter off by just doing the windows and doing a mask generation for all of these windows over here. So if we go into blender, save acne. Let's start with just like our store window over here. Now, we do not need a mask generation for these pieces, so I'm going to hide them. And for all of these windows, I'm just going to pass CtalJ to make our lives a little bit easier. Now if I just go ahead and go to my, where are you? Window Small. I can once again hide. Select all of these pieces, ControJ. And then we have our store Window wit where I can also I think I'm crashing no, I'm not. Save my scene just in case. We can go ahead and select this ControJ and also have this one. Okay, so that stuff is fine. Now I'm just going to go down here, and I'm just going to create once again two maps, UV three. And then do the same with the other ones. Select this one to UV Maps, UV three, and finally, another one. Where are you store window. Here we are. To maps, UV three over here. Now if we just go ahead and turn all of them on at the same time, although they will be intersecting, that does not matter because we can just go ahead and go into UV editing. We can get started by pressing and just doing transforms, and then make sure that everything is set to UV three. So when we do, everything is selected to UV three. That's fine. We can select all of them. We can go ahead and we can press A to select everything. Average islands, UV B islands. And it looks like that we have a small bug going on over here. This sometimes happens where it cannot differentiate between such a incredibly large piece. So we can just go ahead and select this, UV, average Islands, and then move this one back in. It does not really matter for a mask, so we can just kind of leave this in here. Of course, it would be more logical if it was scaled down. So if you want, you can scale it down. But as I said before, for something this basic, it doesn't matter. We just need to have a mask so that we have somewhere to place our data. So now that we have all of these things done, I just want to always go in, double check. Okay, that's all looking fine. And now what we can do is we can just go ahead and we can select all of these, file export FBX, two painter windows or let's say Window pieces and export all of that. Now if we just go ahead and we press ALDH to unhide everything, we can now go in and we can start by just also exporting them individually. So let's go ahead and export this one, this one, two in real. It's going to be store, window. This one is going to store Window wide, and this one is going to be small window A over here. There we go. That stuff is done, so we can save. Now if we go new general file import FBX, and we can go to painter window pieces, and all we need to do is we just need to move them out of each other and we need to go in here, go to our UV maps and simply grab UV Map three and move it up to UV Map one. Like that, and then we can just re export this once more. FBA, oh, wait, I forgot to do one thing. Make sure that they all have the same material, which we can do by going down here, copy material to selected, and now we can do fine Export. Don't forget to turn on selected objects again to painter, window pieces over here, so that's now all done. And now if we just go ahead and go into Painter, we can file save, and we can start by importing them to see if it works Western tutorial, window pieces. Everything else is still fine, BS default. Call it window pieces in our TexSet list. And after we go ahead and our text set settings, we can just bake all of our maps. Don't forget two K, use low polish high polen that's all we need to do. So we can go ahead and we can bake this stuff. These ones should be quite easy. They don't need anything special like the paint peeling or something. Although, yeah, maybe some paint peeling will be nice. In any case, let's go to our Smart material, type in Western. At material. And let's see. So our highlights can be a little bit less, so let's go ahead and set the balance of that a little bit lower. Dirt. We can get rid of the paint. But Fres dort is actually pretty good, yeah. Yeah, I'm quite happy with that. So let's just go ahead and add a simple filter. Oh, not a filter. At the levels. Push up the dirt intensity so that it will actually show up inside of heal. And finally, we can turn off this color. We can go to our paint removal. And for our paint removal, we can go ahead and we can close this, and we can mostly, once again, focus around the corners because that's where the paint would probably be removed. So let's double click on our artistic heavy sponge plus X to go into our color. And let's start by just doing some big strokes like that. Over here. And what we can do is we can go to smaller strokes like over here so that we can still add a little bit more variation. We can also press X to get rid of some of these areas to make it look a little bit more interesting, as you can see over here. And same happens over here. See, these corners where they meet, this is just where I want to start really adding my damage if I have paint just in case because I assume that I will most likely just add some painted variations here and there, just to break our scene a little bit more. So let's go ahead and do this. But we are getting pretty close to finalizing all of our base models, and then it's just going to be a bunch of polish. And it's just going to be that's quite fun doing the polish because we're just going to add more material variations and start adding those material variations in our scene. So that is going to look quite nice. But for now, this stuff is just might be a little bit tedious to do, but it is very important stuff to do. Over here, there we go. To do the trick. Perfect. So we got all of those done. We can go ahead and start by saving scene, and this is going to be window pieces, save file export. Set our export folder to be in textis masks and final. Output template is going to be our Western mask tooth, a TJ format and press exxport. And now nice thing is because we already pretty much set up a door. We just need to duplicate that material. So first of all, let'siport our mask, which I'm navigating to now. So window pieces over here, imported. Next, we need to go in here and we just need to go ahead and select our window pieces, right click and reimport them. Just to add all of those UVs back. One, two, and three, our window pieces, ready to go. And now if we go into our materials, all we need to do is we just need to go ahead and grab our door A wood, duplicate this and call this window pieces variation A. And then if we go ahead and open up all of our windows, over here. We can then go to our materials, and we have our window pieces variation A, and we can go ahead and we can add it's two here like that. Then lastly, if we open it up. The last thing that we need to do is we just need to add our own mask to this so we can go mask, go to masks, window pieces. And now we should have everything working. We can see the dirt in here so you can mess around a bit more with the dirt color if you want, maybe like 1.5, maybe make our dirt color a little bit darker. Alright, let's set this to one and then make it a bit darker. But you know the drill. So we got this stuff, so that's pretty good. We can also go ahead and we can set our highlight amount, maybe to like ten. And just in general, we can just play around with this. But those are our window pieces now also ded, as you can see. Okay, perfect. In our next chapter, we are finally ready for our last one, which is going to be turning the wil quas to final. Once we have turned our wall ques to vinyl, we will go ahead and we will first of all, do a massive pass where we will make it look more like this so that there's actual variation going on between the materials. And after that, we will go ahead and we will start by doing our windows. So let's go ahead and continue with that in our next chapter. 49. 48 Setting Up Our Final Models Part6: Okay, so we are getting close to having our base setup done. The last one that we're going to do for now, at least, is going to be over here our walkway. And we only need to do these two because this one, the short one, it's just this one cut in half. So I'm not going to also do that one completely. So knowing that we only need to do these two, we can go ahead and we can go inside of blender. And we just want to go ahead and open up our original structural pieces scene because we don't need to save that stuff. And let's see. So we will need to go up here. So walkways straight. And for our walkway straight, I'm going to go ahead and is this already Okay, it's not completely split up, but it's pretty close. So if we go to our left view and just select everything and press Contra J, I just want to split up the top piece over here that's working with the bottom piece. Next up, we can go ahead and we can go to our walkway stair over here, and temporarily turn off our walkway straight because I'm going to go ahead and select all of this. I think I need to, here, I need to press A on everything just to Make sure it is applied. Select everything contro J, and let's just add the quick weighted normals again after that because it did not apply the weighted normals everywhere. But in any case, so now we also got this one. So for this one, we can go ahead and do the same process. We add a UV three we then go to our walkway straight, we select this. Add a UV tree, select the bottom, and add another UV tree. There we go. Now if we go into our UV editing, we just want to go ahead and make sure that everything is at UV three, select everything in object mode, Q, apply all the transforms, and then go into the dit mode, select everything, and then we just do a simple UV average islands, UV pack islands. Look at that nicely densely packed. But that's what we want. So that is now all ready to go. Yes. So all we need to do now is we just need to go ahead and select all of this. Start by well, actually start by saving and then start by exporting this as an FBX, and we're going to export this turn on select objects to painter, and this is going to be Waal Quay pieces, export. And then what we also want to do is we also are going to export this already to Unreal. So to the unreal pieces, this is going to be Wall Quay stair. And this one is going to be export FBX, walkway straight, and then the short one we will do a little bit later. So we can now go at the save our sine, file new general file import FBX. Go ahead and import our walkway pieces, move them away from each other. Select everything, go to your materials, copy materials, selected to make sure that we have one material for everything. And finally, what we need to do is we just need to go in here, and then in our UV map, simply move up our UV tree. To the top. See, Easy does it, and then we can go ahead and export it. It's a little bit of a workaround compared to MoMax but it still works like a charm. So we can go ahead and we can export this selected objects, wllqaPieces over here. And now we just need to go through the same process over here inside of real, where we can start by, let's save. Let's go new Western tooth in our template, Wal Quay pieces in our file, and we can press open. The first thing that we notice is that we have some flip faces, which we definitely do not want. So what I'm going to do is I'm just going to flip them everywhere. So I'm going to first of flip them here inside our new scene, and don't forget. Oh, no, wait, this one, actually, I don't care about weighted normals for this one, because I just care about UV data. If you want, I guess that you can just add a quick weighted normals modifier to compensate, but it's not really needed. So we got this one. Let's just quickly reexpt this FBX, walkway pieces. And then just so that we do not forget, also go back into our structural pieces and then in here set this to text view. Phase orientation. We just need to go in here. Shift N, go in here, shift N. And then for this one, just add a new weight norms modifier, 100 and export this once again. So this one goes to export to unreal walkway stare and this one once again. And then I will just do a quick overview after we've done this one to make sure that there's no other flip faces so I'll just walk through all of the pieces. But first of all, let's go ahead and go here and just quickly recreate this scene, and we can just quickly grab our same object and just press Okay and discard the old one, and there we go. So let's go ahead and down here. Textht list, walkway underscore pieces, text set settings, bake two K used lowlis hypol and let's go ahead and bake this stuff. Perfect. And finally, we can go ahead and just add our smart material. Here's our Western smart material. So, now it goes nice and quick. Now we really got in the mood. We got in the mood at our very last piece. I'm sure that for you guys, of course, I'm doing this all very quickly, but I'm sure that you guys already know how to really streamline this and just get everything perfect. So over here we have our dirt. Let's get rid of our paint. And let's go ahead and in our dirt layer let's increase the dirt a little bit. Um, let's increase the dirt a little bit, but then I do want to get something else. Let's go into our mask and let's add a ground dirt on top of this. So if we add a ground dirt on top of this and then get rid of this grunge web, the only thing that you need to do is in your maske make sure to set this to multiply. And then I believe that we might need to invert our dirt. Let's see. Oh, no, sorry, we do not need to invert our dirt. Okay, it seems like multiplier isn't working. In that case, just right click and duplicate your dirt again. That does not matter. Then we can just go ahead and we can add it as its own little mask. I just need to make sure that it gets added on top of it so that I can now go ahead and go into my position gradient and you can see here, I can get some position dirt that comes creeping up from the bottom going to the top. Now, up here, I do kind of want to do something else. So let's go to our original dirt. Let's like a paint layer. And then if we go into our brushes, we can probably describe like a dirt brush over here. Tone down the size. Tone down also the flow a little bit so that this one is not going to be as intense. This one is not giving me. So I click and then I hold Shift. And then what you can do, but you do need to click correctly. Yeah, you can add almost like straight lines of dirt, but it does not always work as perfect whenever we have gaps in between our meshes. So what my plan was is to first of all, do this, where it is way too over the top, and then I was going to go ahead and go in. So click hold Shift, click. Then I was going to go ahead and I was going to go in and break it up a little bit more again. So we got these pieces over here. Okay, here we go. And then just make your size a little bit bigger, set on X, set your flow a little bit stronger, and then just go ahead and like randomly just paint out the dirt in certain locations like this. So it kind of is not all over the place, but it's just giving us some random dirt here and there. Something like that should work quite well. And I finally do remember to add the levels, push it up. And because we also have a ground dirt, we also need the levels here, push it up also. But that should do the trick. So we got these pieces. I think lastly maybe go in here and just, like, reduce the intensity on these areas a little bit more just because it's a little bit strong and, of course, the strong because of the ambient occlusion. So let's just reduce that a little bit more. And if you want, you can even, maybe, like, add some extra dirt around here and then, reduce it back a little bit more. Again, like something like that. Okay, in any case, that is the dirt, so we can now go ahead and turn off our colors. And for this one, yeah, we are not going to do any painted. So for our paint removal, right now it is just like this default stuff, so we can just leave this just in case. And the only thing that I do not like, so let's add a filter, and let's add an artistic soft sponge. Sorry, not a filter. Let's add a paint layer, artistic soft sponge, and then just go ahead and, like, get rid of that line as, in case that we are going to do something with paint peeling or something like that, at least we have something in this direction. This actually looks quite cool for our dirt, now I look at it. Hmm. I think that might actually look cooler than what we have over here. Let's go ahead and let's duplicate this. And then if we turn this off, set this from R to G. And then here we have our dirt. I'll turn that on. What I'm going to do is let's actually get rid of my paint layer. And let's go ahead and call this G top dirt. Let's just move it here at the top. So for this one, what I'm going to do is I'm going to get rid of my paint layer and add a new paint layer. And then if we go up here, we can use a polygon fill, and a polygon fills like an element select, where if we set this to black, you can see that we can click and drag and we can basically just Make sure that it only gets attached to one area. So doing this here, we can still have a dirt over here that I can turn on and off, but it has a little bit of like a cooler effect. So let's try that one instead. And else we can also always undo it if it doesn't look as nice. But let's do something like this. So we have quite an interesting looking dirt, and then we also have a paint. Let's save our scene, and let's call this walkway, on the scope pieces. Now we can also go ahead and we can also file export texts, and we are going to go ahead and export it to textis masks final. We want to use our Western mask tout at a Targa file and export, and there we go. So if we now go ahead and go into unwel, let's start by importing our mask, which I'm just navigating to. So we have our walkway pieces over here. So let's import our mask. It looks very green, but okay. Next, if we go to our assets, we just want to go ahead and re import these two assets. And finally, we want to go ahead and we probably want to grab the door A version. So let's duplicate this and call this walkway pieces underscore Old, for example, just to make them nice and old. And then what I'm going to do is I'm just going to, as you might have guessed, replace both the mask but also the textures. So in here, I'm going to, first of all, go into, like, my plain wood and grab my old plain wood. Like that, and then go into my masks and grab my walkway pieces mask, save it. These store windows we can turn off. And now if we go to assets, we can just go ahead and open up these two pieces and then go to materials, grab our walkway pieces old and apply them to here. Here we go. So we have our dirt going on, and what I'm going to do for this one is probably make my dirt a lot darker. So let's go ahead and set our dirt. There we go, so we are making it a bit darker. 1.5 maybe. Now, let's do one for the dirt amount. There we go. And now we have our walkway pieces, and then maybe set my highlights amount to like ten, just to bring out some of those highlights. Let's set my dart amount to 0.8 to make it a little bit less. But as you can see now over here, that will give us some nice dirt and as you can see that also applies everywhere else. So we have quite nice looking walkway. And even though these pieces over here do not have any nor baking or any weighted normals, because of our highlights and because of the good lighting, it still gives the feeling as if they are not as low ply, as you can see. So that's quite nice that we have also got that done. So we have our walkway pieces. All we need to do now is we need to go into blender, turn off our walkway stair. And then for our walkway straight over here, I'm going to go ahead and we'll temporarily turn it off because we want to have a walkway straight short. And for this one, I'm just going to press contro J. Over here, just to combine them all. And then what I'm going to do is I'm going to go to my Walkway straight, select it. Go ahead and do like ContoCKtoV. Right click, move to collection. Wal Quay Short. Turn off the straight version. And then in our short version, what we can do is we can get started by selecting this piece over here, press four and delete that phase and then just delete everything else. Over here. Oh, I x over here. And then over here, we can do the same where we can delete this one. You know what? Not completely. Let's go ahead and delete this one. But then let's grab this one and move it into its place. Over here so that we can just re use this mask. Oh, one thing that we do need to do for this is we need to go ahead, we need to rotate it 180 because now we will have the dirt. We will have more dirt at the bottom, so we do want to compensate for that. So we got that one. Now, if we grab our old walkway, we can just delete it. And here, just double check. And it looks like that for this one, all of these pieces over here, we can just press four. Delete the faces. Select all of this. Oh, led X, select all of this. Delete the paces. Let's go over here and let's turn off our face orientation. So there we go. Now we got this one also ready to go. So that should all be good. So having this one, we can file export FBX, and this is going to be walkway straight short. Now, one thing I am aware of is that over here, we have added weighted normals to these pieces over here, which might not look very good. So let's just press Q and separate the selection and then get rid of the weighted normals modifier on those specific pieces. And then we can just go ahead and re export this once more. Export FBX, walkway straight short. And then if we go ahead and turn this off, we can also go into our walkway straight. Same basic concept. We are just going to go ahead and we are going to select these pieces, press four Q separate selection because now we can do that. Now that we no longer need to keep everything separate, export this as our walkway straight. So that one is also done. And finally, one last thing that we're going to do is we are going to go ahead and we are going to turn on phase orientation, and I just want to have a quick look at everything. So I just basically cycle through all of my models. And if I see any very specific red, not on the inside, of course, but if I see any very obvious red, like for example, this one is one, I can just go ahead and select it and press Shift N. Here, C. Shift N. Shift N. And as soon as I've done that, I can go ahead and just export it once more. And we just need to keep in mind which ones we are exporting. So this is going to be generic Roof A. Let's go ahead and go to our trims over here. So that one is fine. That one is fine. That one is fine. Um, Okay, it looks like that we did not have any, it looks like that we did not have too much errors after this. Here we have another one, see? It's always good to double check. Even though we have double sided materials, it still will be quite bad because the lighting always just behaves slightly different whenever we have the backside of a face. So it just cannot be trusted. Oh. This is a lot. Let's go ahead and select all of it. Control J. Did I No, wait, I did not do anything on this one yet. Shift, so we are just swapping it all around. So for this one, I'm going to go ahead and let's duplicate this while I'm here anyway. And let's go ahead and just move this up here. Move this up here, delete this one, and select this site and just quickly, move it back in a little bit. Now it goes. Now it has a back. And this one is just going to have the normal stuff. So it doesn't have any special, it's just going to be sites there, does not have anything special in it. I do want to right click, move to collection sites there again. And finally, we have our roof window, which is also good. Perfect. So all of these pieces are now ready to go. So if we go back into unreal, we can get started by just re importing our generic roof, sits there, walkways short. Those are the three that aight and our generic B and B. So let's re import all of them. Over here. Press Done. I think the sites there actually messed up a little bit, but that's something that we can fix. First of all, Walway short. We are going to go into our materials, simply grab our WilquayPieces Old and Artists studio. And there we go. So now that one also all works completely fine. For our sites there, I think that we made a small mistake. Yes, we did, or I did. And that is that we need to go ahead and go to our sites there and just let's turn off our face orientation. I am going to go ahead. And I'm going to make so first of all, let's go ahead and select everything. Go to our materials and press copy material to select it. But I think what I want to do is I want to go ahead and I want to select all of these pieces over here. See. Is that everything? Yes. And I want to just give them a slightly different material. So if we just close, create a new material and just call it Wood B, for example, there we go. So now we can just do like, dark and light. And let's export this one side there over here. Let's go back into n reel, re import it. And then once that is done, what we can do is we can, yeah, just press done. We can remove the extra material that we had. So this one is going to be and see Wood bear blank for the first one and Wood bear old for the second one. There we go. F now that should be fine. So we now also have done the walkway, and I think that's it. Yeah, because this one that's just white paint. That's why it looks white. So we still need to, like, of course, do some balancing. But we finally have all of our textures. We have the masks done, and we have all of the UVs and everything imported so. Of course, right now, everything feels very, very plain. It looks like this is a brand new a town that literally got built like yesterday. That's almost like what it feels like. So what we're going to do next chapter is we are going to really like art, a lot of variation and just make it look a whole lot more interesting than what we have here. So let's go ahead and start with that in our next chapter. 50. 49 Adding Variation To Our Environment Part1: Okay, so the next few chapters are going to be pretty fun because what we're going to do is we are going to start by making our scene look a little bit more like this and have a lot of variation in the types of wood that we use and like the painting already and all that kind of stuff. So it will most like be a combination of this. And then next this, we will, of course, like, get some inspiration, for example, from Radd and just like some general inspiration over here from, like, other areas. So that is the plan. What I'm going to do is we're just going to go building by building. So this building over here is already pretty good, as you can see. So we pretty much already have the defaults ready to go. Now for this building, what I'm going to do is I want to get the red planks in here. Now, I do understand that over here, we already have a different look as you can see. So compared to like the planks that we have exported, I mean, I believe, from what I can remember. Yeah, see here. So these planks, oh, no, no, wait. Sorry, they are correct. I can remember that we did the flat planks and export them like that. So in that case, we simply whenever we want to change the material, we can just look up the material, right click, duplicate Woot planks variation I believe it is D. Yeah, number D. So we can go ahead and wood planks variation D. And then for this one, we can just go ahead and we can just swap out the base color for our red planks over here. After we've done that, it's just a matter of going in here and dragging on just like that. Wood blanks variation D. There we go. And like that, we already have quickly a different change. So all of this stuff over here is quite white, so we got like these pieces over here. For these ones, I think what I will do is I will just very quickly swap them around for the red boot over here, even though it is a slightly different boot, I think that should be fine. Now at the front, you can see that this one, it looks like it is painted, and then it is like a bit of like a grayish paint. So I do also want to get that one. Over here, if we have a look. So these are Wood planks variation A, so we are using the painted versions of this. So what I can do is I can go ahead and I can just duplicate this, and I do need to go for some good naming. So wood planks painted Gray. Let's do that. Let's do a naming like that so that it is a little bit better named. And then we can just drag this on here. And then the first thing that we need to do is so we can open this up to the site already. And for our vertex painting, we want to go ahead and go into our paint, and I believe that our green channel was the one that we then need to fill. So if we set this to the green channel and then press fill, oh, I think we need to go to black. Here we go. And then press fill. No, wait. We want to go to the blue channel because I want to have clean paints wood to get started with. So blue channel fill. Like that, we now have already some black or some red colors. Now, if I just press G, and then it's a bit annoying to do this on one screen, then go in here. And then if we go to our paint color, just go ahead and we want to make this like a bit of a grayish paint color. Maybe, give it a little bit of like yellowish tint. I don't know, like an orange tint. Now, you know what? Let's do gray. And let's just make this like quite dark. So I think something like this looks quite good. And then, of course, what we can do is once we have done a color like this, we can always just go into our painting. Although I will most likely not be doing this per building, but just do, like an entire vertex paint pass. But just for this one, what we can do is we can go to the green channel and we can, like, let's see, set this to black. I think we need to Let's see. I think we need to set this one to Let's make our size a bit bigger and our strength a bit bigger. I need to have a look like where I need to paint this. So Green? No. Yeah, let's try this. Let's fill our blue channel white and fill our green channel Black. So now if I set my blue channel to white or sorry, to black and then set this to white and then paint. No, that does not work. Okay, then another way that we can do this, we can simply add like a fill over here and then set this to black. Wally, wait, I can still not paint this out. That is a bit strange that I cannot paint this out. The reason why this strange there is a bug inside of EmulV that sometimes the vertex painting does not work and we need to re open up the window in order to basically get it to work. Looks like that this time it's not that problem. Yeah, here, because it's ignoring when painting. So that might be the problem, but it's a bit strange that it does it like that. What was the bug? So the bug was, I believe, that if we move our viewpoard when painting, it breaks for some reason in Unule engine five. And just like just one of those extra bugs that happen. So as soon as we swap to paint, let's not move our viewpod Okay, let's see if we now go to our blue channel, does that do anything at all? I don't think so. So I think I will need to actually go ahead and I need to have, look at this because yeah, I will need to, just do some prototyping. So for now, let's just leave it because I can remember that in our previous in the large environment, tutorial, we also had problems like this. So for now, let's just go ahead and leave it for now. And what I'm going to do is I do want to go ahead and I want to add some more changes to those pieces over here. So if we have our wood planks, I want to also go for some painted wood. So here we have Wood bear blank variation C. I want to go ahead and I want to duplicate this and call this Wood bear blank, painted, dark. And then for this one, if we go ahead and in our plain mood, let's turn this to be just some simple plain painted surfaces like this to get started with. And we just want to make the colors to be like quite dark. If we just go ahead and apply this we're basically just doing this one. The more materials we make, the easier it will become to line and later on replace them all because we just need to make less and less material. Right now, we probably need to make quite a bit. But let's say that we have something like this, and then we will have once again our wood planks painted, although I am using no wait, I'm using the same material. Then once again, we can go ahead and in here. We can swap this to gray and then we do need to go into our vertex painting and on black to white, you just need to fill it. Oh there. Okay, so we first need to fill it black on the green. Let's do it on both at the same time. Okay, so green and blue, remember that green and blue fills up black because I always forget the order in which I'm actually doing this stuff. And then around here, it does show that the doors also have like, sometimes just like a darker tone, which could be quite nice if we are there, too. So here we have door A wood. So if we just go ahead and duplicate this door A wood dark, for example. And then for this one, we are going to go ahead and we are going to go for, like, a painted wood. And then we can add some extra painting or something later on. But for now, it's just about the visual look of things. That's the most important thing. So that we have a general look of how everything will work. If I just go ahead and just quickly open up my dark material, I can go to my color overlay and I can simply copy over the SRGB. So contra Contra Z, sorry. I switch back to Dutch for a moment there. Contra V. Okay, so that's now darker. And then all we should need to do is we have a door A wood, which now becomes dark. And then now you can see that we also need to, like, for example, change our dirt. So we need to make our dirt like this more. It can be brownish, but it needs to be just like a little bit darker in general. Something like this. Okay, so we can go ahead and we can save this stuff. And just like that, we can very quickly also switch this around for our other pieces. So we have door A woods dark. Let's duplicate this and call this window pieces dark. See, as I said before, only in the beginning, we need to make so many different materials. And then for the window piece is dark, we just want to quickly swap around our mask because everything else can stay the same. So window piece is dark. Let's save. And let's add that one over here. Here, see? That's pretty good. And then door A dark, if we just do this. There we go. So we already get quite a big difference. Of course, we do need to play around a little bit more with our roughness. For example, over here, the roughness feels a little bit too strong. So what we can do is we can go to the painted versions. And then in our roughness strength, we can, for example, let's see. So this one is the dark wood. Let's set this to 0.7. And if we also go for, like, the wood planks painted gray, for this one, let's do 0.5 maybe, no, wait, maybe 1.5 to make $1.01 0.2. Let's do Let's say 1.4. And then we have our dark pieces over here, so our roughness, which is this one, 1.2, one. Let's do 1.2. There we go. So we make those a little bit duller. Okay, so we have already quite a nice contrast and quite a nice difference between those two areas over here, so that's pretty good. Another one is going to be that it would make sense to have this one also gray. So we already kind of did that for this where we did the dark painted. And let's say instead of dark, let's call it gray and apply this to this one over here. So everyone just owns their little house, and they are just adding their own variations to it. Same over here, we just need to add this stuff. And this stuff, they would probably, I'm just going to stay with my reference for now and then I can always later on improve it. So here we go. So let's make that just like nice and gray. And there we go. First house is already done, and it stands out like an eyesore right now, but that's because we, of course, are going to just add a bunch more stuff. Then the house next to it, and I'm just following my reference over here, we are going to go for some wood blanks painted gray for those ones, and then we will have our window pieces dark. So in here, applied. We will have our door dark applied, and maybe let's leave this door and make it like white later on. And we will have our gray painted versions over here, and once again, our dark painted versions over here. And then all we need to do is just quickly select these two pieces over here. Go to our vertex paint and remember green, blue black fill. And then over here, I just I forgot to add this one. There we go. So those are those pieces. Let's turn these also to there we go. So that's the first two. Now, yes, I can see that this is more white, so we do need to do some balancing later on. Although later on, why not just do it now? Come on, Emil, just do it now. So let's go ahead and just do the paint color. Let's make it a little bit whiter. But let's art a bit of orange, and it needs to be duller. It needs to be way duller because s it just does not look correct. I set us to like two. There we go. So we set a little bit duller. And then we do need art like a bunch of dirt and grime and everything to this a little bit later on because right now, of course, it is way too perfect, but we're also going to do vertex painting. The one next to it, we are going to go for our wood planks variation B. Is that the one? I don't think so. No, that's not the one. So what do we have now? Wood planks variation A. That's duplicated Woodplank variation C. And then number C over here, you will get variation A, B, C, D, over here E. I know that it's a little bit off, but after a while, we can just simply select the materials that we want, and we can, of course, see also the reference of it. So this one we'll have our darker woods going on over here. Then we will go ahead and oh yeah, that's quite nice that I already did that. So this one is also fine. Now, we have a dark wood blank variation B, which we can use over here. And then what I'm going to do is I'm going to do blank variation, C. No, I'm going to use my windows window pieces, window pieces painted white. Yeah, I think I'm going to change the names later on and just make them a little bit more logical. So window pieces painted white. Let's go ahead and just already add them over here. And for these pieces, what we want to do is we are just going to go ahead and just change this to our plain wood, and then later on, we will most likely also add vertex painting to this. Although we might not even need to because we have a mask, so we can probably add like here, if it has painted variation. Yeah, you can instantly see that that works. The only thing that we need to do is we need to swap this around. Oh, sorry, I'm adding wood planks. I need to add plain wood. So with this one, what we can do is our base colog. You, let's just add everything. So basically, we have our base color, which will just be plain. And then we also have the plain color over here that we just need to add just in case because I forgot in which order that we added. So plain plain. And then roughness and roughness clean is going to stay the same. And then what we're just going to do is go to number E, and we will have a paint mask, and then we will have a paint version and a base color paint version like this. And there we go. We instantly have all of our windows because I forgot that we did that actual mask painting, that is looking quite interesting. The only thing that I would say is that I'm going to make my paint a little bit darker for this one, because, else, it's a bit too intense. So let's go into our paint color and just tone that down a little bit more. Oh, hey, it looks like the paint color and the overlay color, they are still separate. That doesn't really matter too much, but it's something we need to keep in mind. And let's go ahead and set our roughness strength to maybe like 1.5 to make it a bit duller. Okay, great. So we got that one, and now we can just go ahead and we can arts over here, too. And that means that also from now on, we also have painted white windows, and what we'll probably do is do the same with the door. So here we have a door. We can just use this one and just say, like door underscore, A, underscore, painted underscore, white, and quickly just swap out the mask. That's faster than just setting it up again for our door. So door A mask over here should do the trick. So now if we go do a painted white tada. Ooh. Let's go ahead and just tone down my dirt color strength a little bit, like that. And do we also need to tone it down over here? Yeah, maybe, like, a little bit, also now, painted pieces. And later on, of course, whenever we change one of these materials, they will be changed everywhere, which is a good thing, but sometimes also a bad thing. So we got over here these pieces. So that's looking pretty good. We got those. I am going to make this red. Because I quite like that contrast, and that's also how it is in our reference. The backsides, if you want, you can put in the effort to also turn those red, but that is up to you. Make this side red. I will just do like a pass for the backside later on. And what I'm going to do is we have over here. Do we have a plain bare blank variation B over here? Yes, let's make it this color. I know that in a reference, it's like a red color, but I don't really feel like using red for the actual corners over here. So we got this one, and then here at the top, we have like white painted, which is fine, although maybe we just want to also for this one, tone it down a little bit, because else, it becomes a little bit too intense white, especially for such a dull, dirty place over there. There we go. Now it's already starting to look a lot more interesting. So we got those pieces done save our scene. I can see that we do need to add later on more variation to our walkways. So having these pieces done, I can see that over here, it might be nice to also add a window pieces dark to this one and a door dark to this one. Do I also have a door white? I do white, yes, door white. Cool. Let's do the same over here. Or not, or shall we go for m. Now, I think it would be more logical if they just use white. So over here, we can also do the same that we have those pieces done. Here at the top, you can just leave this stuff. Maybe for this one, we are just going to go for a simple wood, and maybe we go for, like, let's see. No that would not be logical. This looks like quite a new house. Variation C. So let's go ahead and duplicate this maybe Wood blank red. Yeah, I need to start really just doing the proper naming. Over here, we have the red version. So let's go ahead and add that one. Let's see if that looks better. Red, or shall we just go for, like, the default? Ah, that's a tricky one. That is a tricky one. Let's do red on the sides. And let's do red on these sides. Maybe, I think that will just like just enough variation to make it look a little bit more interesting. So let's do the same over here, red on these sides and red on the very corners. So we got that one done. We got that stuff. Then down here, we can just leave our windows normal. That should be no problem. Yeah, so I'm happy with that. Would it be logical to have this wood here? Or would we just go also red red? I think red would be more logical also for those woods. Okay, so we got those like they're almost in the middle of painting. So we got this one, this one. Now, over here, we can see that we have, once again, a very light color, but it still feels painted. These sights look like they are just like normal bear wood, but it feels like we want to almost go for like a yellowish wood for the rest. I'm going to get started, first of all, let's just go ahead and right click rename this to wood blank painted white. So I'm just slowly going to also improve all of my naming. So we got this stuff over here. Then we will have the plain versions over there, and then I'm going to go for a wood planks painted gray and duplicate this and call this wood planks painted yellow and apply this one over here. And then what we first of all need to do is let's go ahead and select all of these pieces over here, only the font, however. There we go. Vertex paint, paint, fill, and then we can immediately close it. And then for this version, we are going to go into yellow, and we are going to make this, as I said, yellowish. So let's make this like really like a light yellow or maybe like orange color. Now, I think I want to go for, like, yellow. Almost like I almost stands out like how bad it looks like a beige yellow color, like you can see over here, it's just trying to get that color, which is surprisingly difficult. A, yeah, it is surprisingly difficult to get exactly the color I want. I feel like this, I think is the color. So my color is FADEBA if you want to copy it one on one, but just mess around with it and you can find whatever color you want for this stuff. Let's go ahead and art this one over everywhere. The red house is pretty cool, so I do want to actually incorporate maybe some stronger red colors later on. But there we go. Now we have that one done. You can see our he works pretty well. Yeah, my roughness is fine. So now we got that one done. The sides also need to be yellow. So what I'm going to do is I'm just going to go ahead and copy this paint color. And then go to my window. Window pieces painted white, duplicate this window pieces painted. Yellow. And then for this one, we can go ahead and go down, set this SRGB to yellow and don't forget to also do it in your color overlay. Now what we can do is we can just add these pieces over here to this side. And over here, I don't know. Let's see. It kind of looks nice to actually have it. Maybe we can go ahead and, like, make it like a darker yellow. You know what? I think I like it more if we just do not paint those. Yeah, I think I like that more. So let's just go ahead and do that stuff. It just feels Oh, I I meant to go here. Yeah, yeah, it stands out a little bit better. I think I like this more. So let's go ahead and do that one. The only thing is that at the top, I am going to go for, like, yellow also again. So we just want to go for bear woods painted white, duplicate bare woods painted yellow. Going in here, set the color overlay to be the yellow color. And you know what? I'm also going to go ahead and I'm going to just add my plain paint over here. Let's see. Painted yellow. Let's do this and maybe make this one, slightly darker yellow. I know that I need to be careful with this because else, of course, you can see the difference between the two, in case I ever used the next to each other, and I need to have the same difference. But of course, as you can see, that already adds quite a bit of interest to this. So we got this one. That is quite nice. I still want to go ahead and mess around a bit more with stronger colors, like you can see over here where we have some red and then green, and then you have the plain version, then you have white. So we kind of like, I'll start to get some white in here. We start to get some default in here. Maybe we want to go ahead and end up making this one like a red or a blue or something. But this is looking pretty good. At this point, oh, wow, we are way over time. What we're going to do in the next chapter is we are going to just start by also adding interesting colors to the other side and just make sure that we have a nice whole of an environment. For now, let's here, if we set this to 200. See, that's already looking quite interesting. Still lots of decails and everything to do, but it is a start. Let's go ahead and continue with this in our next chapter. 51. 50 Adding Variation To Our Environment Part2: Okay, so now that you have a pretty good base of this side over here. Now, we're just going to go ahead and we're just going to add some changes to the other side. And once we've done that, we are going to do some vertex painting, and then we will add some more artistic changes, which is like dramatic colors and everything just to change things up a bit. So if we have this one over here, let's have a look. I think I'm just going to make this like a brand new building, which means that we will go like red blanks over here and red planks over here. And then maybe also like red on the corners. Yeah, let's leave that one over there. So I think that will look a little bit more interesting if we just have red on all of these sites over here also. And then, of course, at this point, you probably cannot even see the building anymore because we probably won't have an angle going from this area. I'm going to set my windows. So my door. Let's leave my door like this, actually. Let's leave my door like this, so we have this one. And then we over here, another default one. And I'm just going to leave it this default look. I am going to turn these into The older versions because I think I turned those into red version. So let's turn this one into like an older version. You know what? Maybe turn the top bits into an older version. Yeah, let's do that. Oh, way, that's Wood Bar blank. I need to have wood C over here in order to turn that. Then the Wood bear can go on the sides over here. And we can just leave this to also like a default site. So we have this one over here. Now, for our windows, what if we go for like white windows? To just kind of break things up a little bit. I think that will look interesting. So let's go for some white windows and also for like a door painted white over here. Yeah, there we go. That should do the trick. This one over here, I'm going to go for maybe also red. No, let's just leave it the way it is right now. Okay, so we got those ones and then here on the side. Let's turn this one also into brown and then at the top Um, let's turn top into maybe already like maybe it's already, like, painted. Or maybe we go for, like, a darker color. I don't know yet. Let's keep it the darker color for now, but I'm not sure yet what I'm going to do with that one. So we got this one over here. Yes, we actually, we have this side, but this side is fine for now, so it's almost like this building just is not finished yet. So we got this one over here. Right now, we have a white painted balcony, which I guess should be fine. And I think what I want to do is I now want to just have a quick look and maybe go for some green that I saw over here. So if I have some green, then maybe for this balcony, yeah, it would make sense if it is white. Turn these pieces also into white. Like this. And if we go for green, so that means that I'm going to go ahead and wood plank C. Let's do wood planks painted. So which one is that? Wood planks painted yellow. Let's duplicate that. Wood planks painted green. And let's add this one here and let's art it over here. Then the first thing that we want to do is we just want to go ahead and we want to start by selecting all of these pieces over here. Go to our vertex collars, paint and press fill. And now we also know where that we need to add more of those. And now we're just going to go for, like, a dull green color, something like that. So if we have this one, open it up. And for the dull green color, if we just go into our color, we go for like this quite dark dull green, maybe something like this. Let's see. Yeah, I think maybe something like this can work. We can always change it around if we do not like it. So let's go for this one. And then for our windows, what would make sense for our windows? If we where are you? Windows, window pieces, so we have this one, yellow or maybe just white. Yeah, I think then if we are going to do something like this, or black, actually, you know what Black looks a little bit better. So let's go for black. So let's turn these window pieces into dark. And then we can also turn door into a dark door with maybe like a white painted door. Here, also window pieces dark. And then door with like a white painted door over here. Okay, so we got those ones. Now on the side, do we want to just go ahead and turn this to the side also? Often, I feel like that they do often only paint like the front and see it even over here. They kind of just paint the front, maybe because it's just expensive to do something else, and then they go to the side. Also, what you can see is that over here, this is a lot rough looking paint, and I do want to later on just pilise that out so that we get something a bit better like that. So for the side view, let's go ahead and let's go for maybe like some duller planks like this, almost like they have renovated it. A little bit more just by giving it like a coating of paint. So we got this one. Then we got this one, then we got the dark versions to the side over here. W a white balcony here that gets an interesting look. We got those and then over here, these ones. Probably also just painted black. No, it would not really make sense to paint a black maybe. Oh wait, sorry, that's the Wacay pieces. Window pieces, variation A. Let's just go ahead and duplicate this. Windows pieces old strike that one on, open it up, and then we are just going to go into our plain wood and turn this into plain wood number C over here. So that is like the old looking plain wood over here. There we go. Instantly gives us old looking windows. So the side is just lt and then they just gave it like a coating of paint. And for our door, we probably also need to turn this into Alt. So let's first of all, do these ones over here. And then for our door, we can go door A wood door A wood underscore Alt and let's go ahead and drag this one on here, open it up. And if we go to variation C, we can just once again import these extra variations over here. There we go. So we got our old wood over here. These areas over here, I'm not yet going to spend any time on them until I know that I actually need to spend time on them, and else I will do that in time laps, but I'm not going to spend time on it in real time. For now. So we got this one. Oh, it looks like that our wall is kind of like clipping through it. So if you want, you can just kind of move this out a little bit. There we go. But yeah, so basically, if we have a camerangles, I'm only right now really focused on the stuff that I can see. So here like this camerangle I can still see all of these areas. And then I have a few more camerangles like one here, one here. So this saloon, I feel like the saloon would be cool if it is like red or something like that. So what if we do that? What if we go red and then maybe just a painted white on the top of it? So we have the painted white over here. Of course, saloon we still need to do an area that we need to turn into a proper color. And then the wood over here, maybe we would go for, like, a light red, but like a dark red. So let's start with the first one. Wood blanks. You know, let's see. No, I think I want to go for, like, painted. So wood planks painted green. Let's arose. And then, oh, sorry, let's not add those. Let's duplicate those and call this red wood planks painted red. There we go. Then we can go in here. And let's just only do this again, like on the front. So we basically grab the front over here. We go to our vertex paint, paint fill because it keeps our old settings reminded. And then we just need to, like, later on, turn these materials into a more well, first of all, we have vertex paint to make the paint look a little bit rougher. But I also just want to have the clean paint, and I think I'm going to just play around with the clean paint to make it look a little bit more logical. So we got this one, and then we are just going to go ahead and if we go down in our paint color, set this to be like almost like a deep red color. Something like that. And let's copy this color value, save it. And then if we also go ahead and go to our wood bear painted gray and duplicate this wood bear painted red. And then in here, we can just go ahead and go into the color overlay and just paste again our hex RGB. For which we can use this one on the site. And it's like a saloon. So it's a place of business, so they would want to make it just look really nice and everything. So they will probably do this and then they would do black windows or something like that, just to give it a sense of fashion or style or something. Then later on we just need to make everything look a bunch or a little bit more older and a little bit more worn down than what we have right now, but that's about it. So we got these ones over here. Saloon, you would almost feel like it's one of the first things that they would build. So the site would probably be quite old wood by this point. I can see some weird looking arrows over here, but that might just be shadow arrows, so we are going to give it like a roof later on. So we have our wood, and then we also need to have our wood bare over here. For these pieces, So I can only just fit in it. And now, what we're going to do is so the side is going to probably be window pieces old. And then over here, they say, like, Okay, these ones we actually want to have painted. So they would be window pieces like dark because I think even in those times they had, like, a sense of, Oh, yeah, so black kind of goes with red. Because it kind of does, see? It's kind of does. So we have these ones over here. Let's swap them all out. This one is going to be our door and then maybe like painted white. Nah you know what? Let's paint also black. And then we will go back to our window pieces over here. To add those. Those are the window pieces. Now if we go ahead and go down here, we will probably make this trim. Wood bear painted black around this trim. Then I want to go for a darker wood for Well, this one, I can add for now, but I'm going to remove it later on. Then I'm going to go for a darker wood for the side or for the pole over here. We have a bare wood red, duplicate this and call this bere Oops, right click and rename. Bar wood dark red. Add it to this one, and then just go ahead and go in here and just make this more like an intense darker looking red over here. Just to add a tiny bit of variation in between the color paints. So we got those ones over here. And then maybe this one is the one that I do want to make my walquay slightly different. But I'm not sure yet. Maybe we want to go for, like, a new walkway. So if we have wll quay pieces old, if we just duplicate this wall quay pieces, new let's open it up. And this is going to be plain wood, so we want to just have like our brand new plain wood. A the two this over here. And let's see if that one works a bit better. Wal quin New yeah, you know what? I think that will work a little bit better if we do for a new walkway, like, they just renovated the walkway or something like that. So this is going to be a bustling town. It is going to be like a town that is actually in use and not like an abandoned town. But that looks quite interesting. So we just have some near the edges. They are not really spending too much time on them. And because they are near the edge of the towns, you would imagine that this is the place where they would build new buildings. And then over here, it gets, like, the more older buildings that we have over here, just nicely sitting here, and then down here, we have another few. And for these ones, what we're going to do this one feels to me like a yellow house. So let's just go ahead and go for window pieces that are painted yellow. Let's go ahead and go for wood planks painted yellow. Also here to the side. I think by this point, I just need to go ahead and I need to actually select them because I cannot see anything yet. Oh, this one is going to be interesting. So over there, we also need to have the vertex painting going on. So let's start with these ones. Actually, let's also do this one and just go ahead and paint, fill, and we can close our paint again. At this point, let's actually save sin before we lose anything else, or not anything else before we lose anything. And then the sides. So there's this nice little yellow painted building settlers came here, and they just painted yellow. Let's rename this painted yellow underscore dark. And then if we also go ahead and we duplicate this and call this just painted yellow normal bright. For some reason, I think it is still remembering this name, and that's why we cannot add this name. But in any case, what we can do with this one is we can go ahead and go into our color overlay and just make this like a light or yellow color like this. And then we can use this one over here on the sides. And a cross. Oh, these are Did I never are those? So Window pieces painted yellow. Are those not these ones? Windows pieces vary. No, I think I never actually did, like, a proper yellow paint on them, almost. That's what it looks like. I wait. I did. Um I wonder what is causing that problem then. Let's have a look. So window pieces mask. So that's all fine. We have our wood over here. Wood planks. Wait, these are all wood planks, but they should not be wood planks. They should be plain wood because this is window pieces, so we need to go to plain wood, and we need art our plain wood base color paint clean, normal, normal clean roughness and Oh, wait, of course, they are all called wood blanks. That's one thing that's annoying about our naming is that they are all called wood blanks. So we can, of course, change the name later on if we want to. But no, that makes sense. So window piece is yellow, for now, let's just go ahead and use these ones before I change my mind. And then we have our doors. We kept our door normal. But for this one, I do want to have a door yellow. So if I go ahead and just have my door A painted white. Let's duplicate that door, A, painted yellow. And that's Artist two here. And then all we need to do is we just need to quickly grab our window pieces, copy the hex SRGB, go back to our door painted yellow. And paste this into our color overlay and the rest. Like that. So now we have a painted door yellow, which we can also go ahead and just add over here. Oh, and one I forgot that's a dark version. I want to have the light version. Is these overhead pieces over here. Let's also go ahead and just turn those into yellow. And maybe at that point, they kind of, like, just stopped. So that's fine if we then stop it there. There we go. And they, like, spend a lot of time just making this completely perfect. It's a brand new house. It's nicely painted, all that fancy stuff. Settlers are ready to start settling. And you kind of just need to make up a story behind all of this stuff. And if you would have such a pristine, perfect house, oh, that's a door. If you would have such a pristine, perfect house, you would probably also have a nicer walkway over here. So let's go ahead and let's say that they go for, like, some nice red wood along these areas. Or maybe they still needed to paint it, and it's just been this really clean wood. And then they went ahead and went down here, and I don't think, red probably doesn't look nice. Let's go walkway new. We're just going to go ahead and add these new walkway pieces to here like this. I know that we still need to fix some clipping, but we can do that later on. So there we go. That's like a nice little a roof over there or a nice little building over here. Now for the back building, I kind of want to make the back building stand out by making it old. So if we go for wood blanks variation C over here, let's make this back building like very old, or maybe it's almost like a barn or something like that. Let's also just add the wood blanks to these areas over here because nowhere that you can ever see those anyway from like Willi up Close. And then we are going to go at it and go for our window pieces old. Also, like this. And then we have our door lt. And you know what let's leave in the other door. And then finally, last one that we're going to do is just have some lt areas over here. Alright, and I still need to fix also the window pieces. So we got these ones, and the rest, I will just do in a time laps later on. So for these pieces, we are going to go for window pieces old once again. In a way, they use a plain collar, I believe. Yeah, because we did not use that. So wood Bar blank, that's the one that they use for this. There we go. So that from a distance, it will give quite a bit of contrast between new and old like that. And then finally, we have this one. And for this one, what I'm going to do is I'm just going to give this, like, a nice color once again. So let's do wood planks, bear yeah, that looks Wood. Wood, bare, blank. No, that's not the correct one I need to have. Wood, planks painted gray. That is the one I need to have. And let's now go ahead and go in here. Same for this one. It's just once again, art our vertex colors like that. And then add the correct material. So these ones are going to be gray, and we are going to give it some white walkways with some nice white pillars over here. Then the side bills are just going to be gray again, or maybe we want to go for a darker gray, not just like a normal Woodbar planks gray on this side and on this side. And then we have a darker version at the top and also a darker version over here. I'm going to move this one down a little bit so that it's not clipping as much and give them also like a gray version. And then on the side, I'm going to go for maybe like some red this one is still using the very old stair. So let's for now just go ahead and get rid of this stair. And let's see. So this is going to be a red door over here with some red planks like that, and some red columns on the side and on the top, Oh, before you know it, 24 minutes has just flown by quite quickly. Let's go ahead and turn this one into, like, the gray version over here. Don't know why it's so much darker, but okay. And then this one is going to be our red version again. Oh, no, you know what? This one is also going to be gray. Et's go ahead and select this. Apply our vertex colors. There we go. So that one is also just going to be nicely gray. So we got those once, and then over here, we can go for some red again. And then for our windows, we can go ahead and do window pieces. Variation A, so we don't have red window pieces yet, do we? But I think at this point, we can just kind of like leave those. And then we can do windows pieces dark over here. And also over here, and then we also have a door. So yeah, we definitely need to make everything look a lot older because else it just does not give me the same feeling that I want to get. So we have dark and dark, especially like this kind of stuff is also too dark. But it is, like, a pretty overall good sight. So as you can see, we have this stuff. And then down here will probably be the only place where we can actually see our stair. So if we go to Assets and grab one of our side stairs place it into position, move it down. Over here, move it in as fast as you can. So we got this one, and then what I'm going to do is I am going to probably go for, like, maybe, like, a painted look like that. I don't know if we also want to do like, now let's not do paint there. Let's just have a paint look on that one. There we go. We got those ones also. And then this one over here would then just become again, like a yellow house. But for now, I'm just going to do that in a time laps because you can no longer see it, it's out of view. This is the general look that we now have end up with where we have most of our buildings with some decent colors. In the next chapter, what we're going to do is we are going to do our vertex painting, and once that is done, we are just going to mess around a little bit more with the colors, see if we can maybe get create some more interest and some more variation. Let's go ahead and continue with that in the next chapter. 52. 51 Adding Variation To Our Environment Part3: Okay, so let's go ahead and continue. So what I want to do now is we are going to work a little bit more on variations. This is mostly going to be in the form of vertex painting, and then I'm just going to play around with the colors a little bit and see how we can improve it. The cool thing is because these vertex paints, they are inside the actual mesh, we can simply change our materials around and even change all of the colors, and it will not affect anything to the vertex paint. So last chapter, it's already been a few days because I had to do some other work. Last chapter, I can remember that we had some problems with our vertex pane. So let's actually have a look and see what is going on? We go to paint. Now, let's say we have our red. Our red on the white does nothing. Oh wait, let me set my strength a bit higher. My red on the white does nothing and on the black also does nothing. Then we have the green, No, that's interesting. So it seems like all my vertex painting is pretty much broken. Now, what we can do. So the first thing that I would then do is I would first of all, look at my RGB channels and then just make sure that I can actually paint. So when I have a look at this, it almost feels like I'm not able to paint. Here, if I set my let's say that I set everything to black. On the way, let's set my red to black. Okay, that might be it. So I'm setting red to black, and then if I paint in some green, Ah, that's the problem. Red seems to be overpowering everything. So even now go to blue, Okay, so red seems to be overpowering everything, and then blue seems to be completely gone, but is that because we did not do anything? I forgot what we added exactly to the blue channel. I don't think we did anything. So basic master main master there you are. Let's have a quick look. So our blue channel, in our vertex colors is taking care of oh, yeah, well, we use it for the clean paint. So something is definitely wrong. Let's turn off our RGB channel. So here we can see that when we do the red channel or sorry, when we do the green channel, we can paint. So when the red channels black, we can paint in emptiness. Then if I go to my red channel, start painting this in, so it does not overt. So it seems like that we have some problems going on with the actual blending, which is quite interesting because it's not like I've done a special setup with my blending. So let's have a look at this. I'm going to just go ahead and move this over here so that I can have a proper look. So the red channel simply blends. It blends between a color overlay, which is interesting. Yeah, here it blends between this color overlay. A color variation, that's it. So it blends between the color variation. If I go ahead and we have our root blanks painted gray, let's also go ahead and just open up this material, and then we can have a look. The color variation, that's why I cannot see it. Let's say that I do this, there we go. Okay, so that's good. We can do color variation. I'm just adding this darker that I can actually see what I'm doing. I am able to paint in my red channel and black means no color variation, and white means that we simply add some general darkening to it. That is good. So I need to keep that in mind. I'm actually going to write that down. So this is my to do list, by the way, vertex, paint Red, White is default. Red Black is color variation. And then what we are going to do is if we now have a look, let's go back to our paint. So the RGB channels okay over here so I can basically paint out. Oh, no, sorry. This one needs to be the other opposite. So if this takes second, but if I do this now, at least we know how everything goes, red black. So we always need to go for default for red black. That is fine. So if we do this, so black and then white, we can go rear. Now, for our green, green, black. So green black is main texture. Green white is bare texture over here. So with green black, we can go ahead and do that. And then with green white, we can just paint in this one. Okay? That is also good. And then the last one. So the blue, I assume blends between the two different types of painting. But what most likely will happen is that I maybe just do not have it turned on correctly. That could be it. No, no, wait. I do have it turned on over here. So if we go blue, what can also be the case is if I just go ahead and have a look. So my red channel, my green channel. Oh, no, so my green channel is not overpowering. My blue channel is arsenat. So if I now go in my blue channel. Okay, so I can paint in blue. Oh, okay, so now it does work. That is strange that it didn't work the first time. But, okay, so now Blue, white is old paint. Blue Black is clean paint. Okay, so now that we got all of that stuff, let's go ahead to Next, get started. Over here, what you can see is let's say that we use this ones like a good example. You can see that it kind of flows between the different pieces. So let's see if we can also introduce something like that. So what I'm going to do is I'm going to set everything to black. So fill, everything is clean, black. Then what I'm going to do is I'm going to go my green No way it's red, black. Oh, yeah, yeah, because this was color age, of course. So then I'm going to go green, and then we want to have white over here. And now if I set my size a little bit lower, let's go ahead and do something like this. So we basically go in here and we do something like that. Now let's set my strength a little bit lower. And then I'm just going to, like, paint this out in like a few locations, a little bit more. Something like that. Okay, so we got that one. Then what we can do is we can go to the red, and we need the red white and maybe just at your strength not too strong and then add your size. And then maybe add a little bit of color variation here and there just to make things a bit more interesting. See? So now we get some color variation going on here and there. Let's press X so that we can switch between the two colors. Okay, so we got that one. And then we want to grab a blue white. And then in some of these areas, wherever that it starts peel, so the paint starts to peel away because this is all like the old paint. We want to start getting some of this stuff going over here. And now the last thing is that we do need to, of course, make sure that it looks not as overwhelming. So what I got over here, Wow, it looks even worse with all the antalsing. But what I got over here is does not feel as logical. Over here, it is very strong, but that is mostly because of the color. So what I want to do with this one, I'm just going to now tone it down a little bit. So our paint is fine. I think what I'm going to do is in my green channel, set my size a bit stronger and let's set the strength a little bit lower. And I'm just going to go ahead and I'm going to, like, tone down and have it mostly, let's say, at one corner, instead of just having it going all the way around, let's try it like one corner. So this is almost like a prototype piece to just see and to get into the mood. So let's say we have this one over here. Let's close my viewpoint. Let's go to Camera one, and let's just quickly throw in like 200 resolution. See? Yeah, that works. So it is more a little bit localized. I think I want to just, like, get rid of the black color a little bit more. Let's save my scene first. So let's say that we go back into our paint. We grab our red color and we want to grab the black. Oh, I don't have the correct thing you selected. There we go. Black at, like, a low level. And then like here, tone down some of that really strong blackness over here. But there we go. That looks pretty good. Awesome. So that is number one that we're going to do. I think like here at the bottom, I am going to do some vertical painting, but I think I will do that as like a time laps because there is a lot of vertex painting that needs to be done. So that is the first tile. I first of all, just want to show you a few examples before I just kick in the T laps. Next one is, let's say that we do this one. So by default, we want to go ahead and fill it black in the red channel. And then if we go to white, this one is also quite nice if we set the strength a bit higher. And then if we just paint in here, oh, we need to go ahead and select the material over here. So that is something that I do need to keep in mind. So select the material, and then we first of all, just need to go down and in the color variation, we can also make this like a dark or orange, for example, see? So that's really cool. So it is subtle, but it will add a lot of variation because else it will just look perfectly clean. So at this point, especially down here, I can just go ahead and I can, like, arts and like a tiny bit, maybe like here at the bottom so that we get something like that. And you can see that it is very subtle, but I think that it will work great. If I now, for example, just keep messing around. So let's say that I will I don't really have a lot of space for this. But let's say that now I can just go ahead and I can not the dirt, color variation. I can make it darker or stronger, and then we will just do some general balancing for this a little bit later on. But that's looking pretty good. Let's say that we have this one to get start with. So that's when we go into our camera one, you can see that over here that looks a lot more interesting and subtle details like that. So you can imagine having these details everywhere else, it is going to look great. Now, we are going to add some more extra models later on in time laps. One of these models will most likely be a different type of wall that will be like our flat planks. That is something to keep in mind that. I might need to then later on just redo a little bit more of those models, and also like small edits like this over here where I just need to make sure that everything works. Okay, so we got that one. Let's have a look at like over here. So this kind of stuff is also crittical where we just have some bits of painting. I only I don't really need to show you that. That's quite basic. Here we have also like some planks. So we were going to go ahead and do, like, a variation mask for that, didn't we? Yeah, we were going to do that. Um, I believe that I already even put in, like, most of, like, the, um, Let's see, the clean paint, base color paint. Somewhere along here, I can remember that we added like a variation mask. Hm, that is strange that I cannot really find it anymore. In any case, what we can do is over here, we can, of course, is like say that we do some paint peeling. One thing I am a bit worried about now is the variation mask. I do need to have a look at that. So what I will do is I will just quickly over here show you that you can also go ahead and you can multi select the tiles, then go into your paint, go into the red char and sorry, the red channel needs to be black and just make sure to fill it. And if you go to your green channel and we are no, not green, blue channel and make it white. Here see, there we go. So let's set is a bit lower. Let's paint it out, but then we can go ahead and we can, for example, do some quite mess stuff and especially like around your windows, that's where you often want to just like have most of the damage. Here, see. Like that and like that, we can just get a bit more damage here and there and like here at the bottom. So that all looks quite cool. Okay, so we got that stuff. Now, for our variation, I do want to have a look because for this kind of stuff, having the variation would be perfect. Doing this variation mask, I can swear that we like it to here. But if we didn't I wanted to add it later on, that's most like it. I most wanted to add it later on, but I didn't do that. So here you can see our variation. Now, what we can do is we can multiply this with like a special mask. So if we go quickly into substance design, here we go. So here we are at substance designer. And as you can see, so these are just like our normal planks. We can quickly go into our wood planks and then we can go ahead and just set the preset. So I want to most likely just grab the overlapping planks preset for this to get started with. And now what I'm going to do is I'm just going to create an extra output. So let's type in output over here. And just call this variation mask and also copy this into your label over here. Preferably, I would like to steal from the variation mask. For example, this one, I would like to steal this one, for example. Yeah, that works pretty well. So it's just like our gradient map, and just use that one. So we should be able to just use this. And then if we go ahead and export this and I want to temporarily turn off my material and just keep the default variation mask and add this to your wood planks. That's the wood planks and final. And then yeah, let's just add them to the layered wood where are you? You know what? Let's just add it to the default because we have so many pieces by now, it's getting a little bit confusing. So texts, woodlanks, final. There we go. So here is our variation mask. Now, if we quickly just go ahead and go back into real. We can go ahead and first of all, it's save scene. Let's go into textures, wood planks, and just like added to the default one over here, because all of our planks will be following this type. And now another tricky thing is that I believe that we are already at our limit. So if I add this one, it will not actually allow us to do anything with it. However, this limit, as far as I can remember, it's a sampler limit, which means that if we right click and we, for example, do not actually expose this, so it's a parameter limit, I mean, it should be fine. Or maybe we need to convert this to an actual object parameter, but we'll have to think about that. In anyway, we have a color variation over here. Now, what I want to do is I actually want to use both. So I want to use my vertex color as like a color variation, but then I want to have this one on top. I'm not sure how it will look, but what we can try to do is we can try to do a multiply. The thing I'm worried about is that with the multiply, I have a feeling that it will always display. So we might want to do is switch. So let's say we multiply these two, and then we do a static switch parameter. And we can call this color variation mask. And then if it is true, we will use the multiply, and if it is false, we will just use the one minus node and throw this into our Alpha. Let's see if something like this works, and then the default will just always be false. Now, is it going to show me an error? I'll pass it until it is done. Okay, so yeah, because we are not exposing this as a parameter, it looks like that we can just leave it like this. So as long as all of our wood kind falls the same pattern, I don't think it will be a problem, but, of course, we just need to have a look. So let's go ahead and we grab this one and we have a Wood length variation C. Where are you? There you are. So let's have a try. Call our variation mask. Let's add this on top of it. And let's see. So what I'm worried about is that it will need vertex colors in order to basically get the painting. So first of all, what we can do is we can go ahead and we can actually know it might actually be that we just need the color variation. Okay, so the color variation is automatically turning black. That's not too good. Let's go ahead and quickly just try out our vertex colors just to make sure. So we're just doing some testing, and we want to go ahead and make the red channel white going red channel. Oh, no, no. We need to first of all, fill the red channel to be black. There we go. So if we fill the red channel to be black, we get our color variation. And let's see if we then go white. Nice. And then we can add the color variation on top. Perfect. Okay. So we got this working. So it does mean that we need to go ahead and we need to go into most of these pieces and just quickly like invert the vertex colors. But let's say that we have this. So if I just go ahead and here, let me just quickly paint this out and just give a quick example. So let's just only do it a little bit down here. That is number one. So if we go ahead and go in here, we can, first of all, just set our color variation to be a more logical number, and then we can see if we need to have control over how much we want to have a mask affecting it. I do not think I need my mask to be affected a lot because as you can see, here, it is not as strong here. I just make it a little bit darker, but it is working quite well. So if I would go ahead, and select all of these pieces that use this version. We simply go to vertex paint, paint, set it to black, and then just press fill. So now this has become a new variation. And as you can see that already adds like quite a bit, because if you can see before, and after. See? So it adds some general color variations. So that's quite nice. And now we can just go ahead and we can just paint this in. So great. Yeah, that is looking good. So then we can just add some extra darkening here and there. And for this one, that's what we would most likely do. We would select this. And then the only thing that we would do because we don't have any paint is we would go to our red channel, and I would just go in and start painting in some general darkening mostly around the windows also. Like that, just to give it some general effect like that, and then we can just nicely break it up. Okay, perfect. So I've now showing you how to do all of this stuff. What we're going to do in the next chapter is we are going to kick in the time naps. In this T naps, I will go in and I will just mess around with things, basically. This can take me an hour. It can take me 2 hours. I don't care how long it takes. I just want to make everything look really nice and just have pop up vertex painting. Once that is done, I will go ahead and I will also just like invert all of these vertex colors on the darker bits. And then I'm going to just play around a little bit more with my materials because that's also a little bit of back and forth to make sure that everything works correctly. But as you can see over here, if you simply look at these two bits over here, you can see that this already adds a lot of variation. The only thing that I can see also here is that it is no longer the correct color. So we might want to then, of course, mess around with the color, but that could just be color variation problem that's most likely it. Yeah, it's most likely just because we now have a color variation down here that once again, we just need to go in here and then go into the paint, and then with your red channel, you just want to fill the red channel and then it becomes white again. So let's go ahead and continue with this in our next chapter. 53. 52 Adding Vertex Painting Variation Timelapse: He I The I I I a 54. 53 Creating Our Window Glass Textures: Okay, so now that we are pretty much done over here with our vertex painting, for now at least, we can still, of course, improve later on, but it is starting to look really good and really nice. What I want to do is I just quickly want to create our actual window textures. And once we've done that, then what we can do is we can go ahead and we can do a massive time naps where I will create all of the additional pieces. Those pieces are just going to be variation pieces. They are going to be a different assortment of, like, pillar of, like, balcony, stuff like that, or just like some small variation in the way that the stair works, and they are just going to be add ons. So don't worry about it too much. It's just quite basic stuff. So for our windows, what I'm going to do is I'm just going to go ahead and we are going to keep this very easy because we have very little different window looks, so to speak. So it looks like that's what we have is, so we have this one, but this one can be in the square. So if I go to my store, where are you? Shop? No. Store window, there are. So basically, if I just go ahead and reset or do a quick Bivt the first one is that we just have a simple square window. This is not even the Oh. This is the one. So simple square window. That's the first one that we're going to do. The second one would be just like a longer version of this because we had our shop window white. And this is pretty good because once we've done that, we can pretty much just reuse these. So if we also duplicate this one and once again, get rid of one of these sites, there we go. And these two, let's right click, move to collection new collection Windows. Oh, no, wait. That's window glass. Let's do that because I'm not making windows, I'm making the glass. So this is pretty much it. Now, the nice thing about this is so we can basically do these and we can cover a lot, so we can cover any type of square window, any type of, like, long windows so that does not really matter. Now, what I'm going to do is I'm going to go ahead and because we have way more space in our UV to actually do this, it would be nice if we, for example, add a few variations of the windows that we're going to do. So let's say that we have, um one to let's say that, actually, no, I do want to keep these at same scale. Maybe we do like three square variations and two small ones. And basically, once you have these things, all you need to do is just quickly throw them into a UV. The windows that we are going to do are, of course, not going to be trough. So we are just going to go in substance painter and make pretty much like a unique material for this. So we got over here these windows. Let's just press U and press Unwrap. There we go. So yeah, that fits quite well. The unwrap is a little bit Oh, let's go ahead and just press S and just scale them down a little bit because they are a little bit too much in terms of, like, Scale. There we go. Let's just go ahead and move these out. And let's go ahead and then move this one over here. See, so just give it a little bit of room to breathe like that. So that is no problem that we have something like this. It will also make it easier for us where we are going to UV unwrap all of our other windows. So we got this stuff over here done. That is all good. Now, all that we need to do is we need to go ahead. Well, actually, save scene. But then once we've done that. Why does it take so long to save? That's right. We can go file export and just export them as an FBX. And I'm going to go into Turnal select objects, Export to painter, window underscore glass. And let's go ahead and export that. Now inside of painter, all we need to do is just go ahead a new scene. Well, why is my PC being so slow? Come on, you can do it. Thank you. New PC. Yes, PBR metallic roughness is fine. Then if we go into our file, we want to go ahead into painter, and then we have our window glass. Let's open that one up. Resolution, yeah, we only need 1024. So what I will do is I will do two k resolution, then I can right the way show you how to, like, downress your textures inside of substance inside of nil engine. So for now, all we need to do is we just need to press. Okay. And here we go. Now, these Window texts are going to be very easy. Let's go over here. I forgot to give it the same material. That's one of the things that I find quite annoying on Blender that whenever you duplicate it, it will not just reference the original material, but it will just create some brand new material. But anyway, I just did to copy everything to material. So now we can just go ahead and window glass. Let's tile it again. Oh, that's unreal. New window glass. Luckily, it doesn't take too long to create a new project over here, discard this one. There we go. And just call this window un score glass. So most of this window glass is going to be simply our roughness. Yeah, actually, our roughness. Yeah, maybe a little bit base color, but mostly just our roughness. So what I'm going to do is we can bake our maps. I don't think I will actually need them, but just in case we can go ahead and use low polis hi pol and just quickly, like, bake these windows. They won't actually have any data in them. It's just handy to sometimes have it, for example, for position data or something like that. Now for the rest, all of this stuff, we can keep. And all I'm going to do for these windows is, let's create a folder, window glass, and we're going to get started with, like, a simple fill layer. Base glass. Okay, then it's fill. The thing is that I need to rely mostly on the environment to light this. So we're going to make the roughness all the way up. Do we want to I feel like yeah, it might be better if we do metallic so that we really got that reflectiveness. And then on top of this, we are going to basically pile on roughness maps to make it look a lot more dirty. So we got this one I don't think yeah, you can kind of just keep the base color the way it is, and we don't need to height. So basically, we have this stuff. Now, the first thing that we're going to do is we will go ahead and we will have a roughness variation A. This one is going to be very simple, just going to be some leaking or something in that direction. So let's go ahead and just set this roughness to be if this is the roughness, see, we are just going to set it a little bit lower. Then we add a black mask. And now for our leaks, we can add it into a fill layer or we can go ahead and just paint it out. I feel like if we just add it here. So just add a fill layer, and I feel like if we just add it in here, it should be already fine. So let's scroll down, and then we should see like some kind of here, like leaks or stains or how's this one? Uh, here it is going to be sud on, maybe if we just increase our roughness a little bit, here see. So that's like the first one. So it's just going to be some general over here leaks. I am going to go in my base class, and I'm going to set my actual roughness also a little bit lower over here. And the environment that you see, it's simply the environment that's being used over here. As you can see if I hold Shift and right click, simply the environment being used. If you want to change this, you can simply go up here to the environment button and we can, for example, grab something like this. For example, this might be a little bit easier to look at if we do like a more natural color. In any case, so this roughness, let's tone it down. So this is going to be quite a dirty window, especially with all of the dust and everything. I don't think in the base color it will matter much. I don't think we can maybe see that a little bit if we just give it a little bit of, like, a base color over here. And then the second one, if we just duplicate this. So the second one we want to get rid of a filler, and it's more going to be like a localized dirt. So we are actually going to paint this in, and it's going to be something like I don't think I want to do dirt one because dirt one feels a little bit too sharp. Oh, actually, no, you know what? It does not feel sharp. You can choose. Or you can do a first soft white, which is this really soft looking, I said my flow higher. See, this is really soft looking roughness, or we can do our dirt one sharp. So I think I'm actually going to go out for a dirt one, and just around the corners, just go ahead and give it some roughness. This will give you that cool effect that you often see in video games where the corners of the windows are really dirty because that's where they meet the actual frame. So you can go ahead and you can, like, mess around with that over here, and same with this, just give it like interesting look. And and after this, I'm just going to mess around a little bit more with my leaks. But let's first of all, just see how this looks. This is one of those things where we just need to quickly check inside of Unreal engine to make sure that everything looks correct. But once we have this one, we know whether how our UVs are going to be, and we only need to UV unwrap like three models. So over here, we got this stuff. Now, if you want to go ahead and just change the scale of your leaks, what I like to do is I like to set my UV unwrapping over here, not the UV projection, but to triplanar projection. This is almost like world space projection where if you now press R, just like in many programs, you can scale this up and down, and you can just mess around to the leaks and you can also if you want, move it around. So it will simply no longer look at your UVs, and it will almost like project it as like a simple cube on top of this. So like this, I can just mess around with it and just see how it looks. And now we got quite a bit of difference. Okay, cool. So let's say that at this point, I'm going to go ahead and I'm going to save my scene, and I'm just going to save it. Let's go textures. And then what we're going to do is I'm going to go to window glass. And the final name is just going to be window glass, also. There we go. And now we just need to quickly export this. Textures, window glass. Let's make a new folic called final. And in here, we can just export this as a Targa file and just leave everything to default, so let's save. Okay. Perfect. Now, all that we need to do is we need to go ahead and inside of blender, we are just going to UVNwp our pieces. So first of all, let's right click, move to collection, Window glass to make sure that everything is included. And then we're just going to get started with the first one, which is going to be our door A, most likely. So basically with this, for your glass, what you can do is, yeah, we can probably just use this glass material. Let's do an image texture, open it up. And then what we want to do is we want to go textures, window glass, final, and I believe that our roughness is most likely going to be the easiest one to see this stuff on. So let's open it up. Let's go over to our textures view, and now if we go to UV editing, um is it located in here? It should be located in here, window glass roughness. No, that's not very handy. In that case, what I'm going to do is I'm going to go ahead and I'm going to temporarily, set my roughness over here. Oh, no, wait because my roughness is already fine. Hmm. Let's just temporarily do this. Let's just create a new fill layer. And with this fill layer, just make your color. Completely black. Create another fill layer. For this one, make the color completely white and set this to a black mask and then simply go over a polygon selected and just select these pieces. So I'm just trying to see if this will create a basic mask because normally I do this in different way, but that takes longer. Here, there we go. So now we have a basic mask. That's basically. And then I just temporarily export it. And then, of course, when we go to unreal, when we have everything Uv unwrapped, then it should be fine. So let's say we have this one. We can just go ahead and we can go in here and just reopen this textis window glass, final, and just pick the base color this time. Oh, actually, let's also remove it in here. Now what I'm just going to open it up in here too, instead of just trying to navigate to it because you can also open up individual images. Oh, really? That is strange that you do that. Okay, so it looks like it's getting to differentiate between the background. Honestly, what I tend to then do is I simply tend to go in here, right click and then just export mask. I'll export it to, like, a file. And then in here, you can just export it and just call it a mask. Fine. There are many ways to do this. I was hoping that it would just be easier for me to do it that way, but I guess that this way is easier. So now it has export like a proper mask, which means that we do have an extra texture file, not that we're going to use it, but it will just cloud our folder. I'm just going to save my scene and just, like, remove the stuff that we just did. So now if I go in here, I open this up. Window glass, final mask. Tara. There you go. So much effort for something so little. In any case, what I'm also going to do is I'm also going to go ahead textis window glass, final and set this one back to my roughness, for example, and open that up. Okay, finally. So now, all that we really have to do is we have over here our window. We just press and we unwrap it. And this one is actually one of the few ones that we are going to deform a little bit so that it kind of fits this one window over here. So for that, I just tend to go ahead and use my transform over here. And then if I hold what was it, control, no console shift. I forgot I forgot the shot gut. Okay, so amazingly, I forgot the shortcut. I know that there is a shortcut, but I simply even cannot find it online. And it's just not worth my time to try and spend half an hour just trying to find one shortcut when everything that I can do is I can just go ahead and go press one and just do this. Just select your vertss. So yeah, sorry about that. Typical. There are so many shortcuts in Blender, I just tend to forget them after a while. But in any case, this one should now just be totally fine. So it is now unwrapped, although you cannot really see it here because it is quite flat, it should work totally fine. So we got that one over here with our door. Now, what we can do is we are just going to also do this for the store window. So here we go, store window. And if I just go ahead and go to plus three to go into Phase mode, I'm just going to unwrap each of these separately like this. Then I'm going to select all of them, hold S, to scale them and then move them down. And these should fit perfectly, pretty much. Oops. I am going to, like, of course, move them a little bit in front of my edges so that I do not risk. Come on, move so that I do not risk accidentally going outside of the edges. Here we go. And then just go ahead and select them one by one and just randomly give them a different window. Like this. Here we go. Okay, so that's now fine. So we have those all selected. And now that you have these Windows Uv unwapp, we can pretty much just go ahead. Oh, why is my Sorry, my key shots are for some reason playing. What I can do is I can basically just delete this one and I can just go ahead and I can duplicate this window. Maybe for good measure, go ahead and rotate it 180 degrees to once again, add that extra bit of variation and then just move it into place. There we go. So that should do the twig. If we now go ahead and we just go in here and start by exporting these pieces. So this one, if we go to Unreal, to unreal, sorry, and this is going to be window or store where are you? Store Window, yes. Okay. And then we're also going to do the door. Oh, right click Move to collection store window also our door over here, File export FBX, A. And then what we can do is we can go into reel. We can go ahead and go to our assets. So we have our door A that we want to just reimport. And let's just go ahead and just load it in here so that we can have a look at it. And we have our store window or yeah, store window over here. And then this one, yeah, plus done. The reason why it's doing that is because once again, because I duplicated my window, I forgot to copy over my material. So I just need to go ahead and go back in here. And then in my store window, select select the bottom window then select the top window and just do a quick copy material to select it. Where are you? Well, I'm really blind today that I just cannot find My assets. Let's reimport this. There we go. Okay, so we've done this stuff. Let's move my keyboard over here or my shortcuts. Let's right click, create new folding textures that we call Window nscoreGlass. And in this one, you can go ahead and you can just import your window glass. Let's re export these textures so that they do reset. And now all we need to do is we have our we don't need metallic because it will be fully metallic, so else because the metallic is just like a white texture. So we have these three. Techie we also don't need a normal, but I will just input it. So now, now it is just a simple matter of setting up our material for which we had like a simple also version, right? I swear we have a simple version in here. Basic master over here. So let's create a new material instant called this class window. Let's open this up, and let's see the basic master. Ah, yes. Exactly what I need. Perfect. So if we go ahead and go to our window glasses, we have our base color. We have an map, not that it does anything. And the most important one are roughness and our metallic, we want to set to one. We can save this. And we do, of course, then of course, need to play around with it a little bit. But if we go ahead and just open up our window, we can give this a go. So glass window, let's artist to here. Roughness needs to be a lot more intense looks like, and I need to make everything duller. I'm also going to make my metallic. Windows are one of the few things where I cheat with the metallicness and set it to 0.5 sometimes. It just depends. Normally, you should not do this because something is metallic or it is not metallic and Windows is one of those few exemptions that I tend to make. So if I go ahead and go in here and I have my material, if I go and let's try first of all, setting the here, see. I'm setting this to, let's say, 0.7, maybe 0.6. And now that we've done that, what we can do is we can just go ahead and it looks like that we need to boost up our roughness. But as you can see, the reflections are working pretty decently. They're not perfect, so that's why we also want to make it very dirty, but they are working, at least. Oh, wait. I mean, my two E view. There we go. So in our three review, let's go ahead and let's set our roughness to be really, really strong like this. Let's try that. So if we now export it again, and we go in here and we go to our window glass and re import this. Okay, so that's starting to look a little bit better already. So we got that stuff. So now if we go ahead and let's see, let's make our leaks a little bit duller and then make actual base glass roughness, also a bit duller. So that's what I mean, it's really hard to see inside of painter which version is good. So that's why it's handy if you just mess around to things until you get quite a dirty looking glass. It almost feels like you can just see through it, even though you cannot. Also just look at it in context. So if we have era glass, for example, we just want to go ahead and make sure that it looks correct. So we got this stuff over here. I'm going to make the base color a little bit less orange on them. Like this. I'm going to make my base glass lighter over here. It's got to push out that lightness and re export and just this time set both of them and just right click and re import. Okay, so that's now a little bit lighter. Hm. You know what? I actually want to go darker. Yeah, I want to go darker. So my roughness is working pretty well. And I want to make it look even duller. So let's go into our base. Let's set the roughness down, and let's actually make my base color a lot darker instead. And let's try and export this once more. Okay, so we are getting there. We're getting there. I'm going to make everything a little bit duller even with my roughness. I'm surprised how much reflections it still keeps, actually. So let's try this one more time. There we go. So now we got like this Wi dull. We can kindness see through it. And what we see through, that's mostly the metallic, I assume. So if I go ahead and go in here, and I set my metallicness to like 0.4, for example, you can see that it becomes less and less. So 0.4, let's do zero point. Let's do 0.45. Now if I just quickly go into my window and if I make the actual base colors in here, also a little bit darker so that they are so that they fit a little bit better. Let's export this. So we are basically just toning everything down a little bit. Now we can go back to our window glass and we can just re import. There we go. So that looks a little bit duller and dirty. You can see the outside over here, but we can still see glimpses of the window sitting next to it. So I think that is working pretty well if we do this. Of course, over here, yeah, you would go ahead and do this. But I think that's working pretty well. I think a, especially like over here, it depends, of course, where the reflections are coming from. But I think in general, this is working pretty nicely. I think the last thing that I'm going to do is I'm going to go ahead and go into my actual stains over here, roughness, and I'm going to make them a little bit bigger because it turns out it does not look as nice unlike the smaller windows when they are so small. So that's the last thing that I will do. At this point, we can also go ahead and nicely save our scene. We can go in here, we can right click and reimport this one last time. We go. So now those are a little bit bigger. And finally, you might have guessed what we need to do now is we just need to go ahead and we have other windows that we need to here, so our store window white. We can just go ahead and we can select all of these, and then we can go into our UV editing, and it will still have the same mask over here. So if we just go ahead and go, unwrap unwrap, select you unwrap, select you unwrap. Here we go. Select all of them, press S, place them into the first window slot. Over here, and then just click on one and just carefully move it to the second window slot. And so we've done this one. So let's say that we also do, let's say this one over here. And, of course, what you can also do on a weight, we cannot rotate it because we have localized. I was going to say you can rotate it, but if you rotate it, then of course, the leaks will go the opposite way. So we do not really want to do that. So we got this one at this point. There we go. Now I'm in mode or in object mode. We can go ahead and export this. So this is going to be our store window white. So we're going to go store window white. And now the last one is going to be our small window, as far as I can remember. Yeah, that should be our small window. So if we go to UV Editing once more, we can just go ahead and you unwrap. You unwrap, you unwrap, you unwrap. Yeah, let's just do all of them. Oh, then I miss. Unwrap. Oh, maybe we need to just pass Q and just reset all the transforms. Oh, I should not do that. Let's try that again. Unwrap, unwrap, unwrap, unwrap. Because if I do them all at the same time, it will outer pack. So it looks like this one, we just need to go ahead and just, like, rotate it 90 degrees and then just move it into location with the other ones. There we go. It's just so that we can scale them all at the same time over here. And then what I can do is I can move them like this. Then if we go to Vertex mode, I can just go ahead and I can just move all of them at the same time. So there might be a tiny bit of stretching going on. But once we've done that, it is just a matter of, let's say, selecting the windows and moving them down. So let's say this one, I want to move down, this one, I want to move down. This one I want to move down and this one I want to move down. There we go, that should be enough variation. And with this one done, we can also go ahead and we can export FBX. This is going to be small window A. So we can go ahead and we can export that one. And now, it's just a matter of going in here. And we have our store window and small window A, and we just go ahead and reimport those also. Oh, am I missing something? How am I missing those? That's interesting because it's not like I did anything special to them. So that's store window. So let's also just import our small window. Even though I'm missing those, I can already go ahead and just open them up, select our glass window, and then just quickly assign our glass window to these pieces. There we go. So that's looking fine. It's just a bit strange that our store window is not here. I must have just messed something up. This was store window white over here. So let's try it again. File, Export, FBX, store Window wide. I know that we are quite a bit over time, but this is the last thing. Right click reimport, and there we go. Now we have some cool looking windows without actually needing to make entire interiors and everything like that. There is a way that you can fake interiors inside of a real engine. However, that is a lot of work, so I will not cover that in this zoo course. But all of our windows are now ready to go. So what we will be doing in next chapter or what you will see me doing in the next chapter is I'm going to add a bunch of variation assets. I don't even know yet which ones. It could be most likely variations over here, maybe some extradate ardons like this. I'm going to finish the corner over here, and just in general, I'm going to do a bunch of different small variations. Now, there are going to be smaller pieces that we are going to create things like some barrels and some wooden posts and everything. Those I will still do in real time. So don't worry too much about those. So let's go ahead and continue with this in the next few chapters. 55. 54 Creating Our Saloon Corner Timelapse: I 56. 55 Creating Additional Assets Timelapse: I I like that. M n. 57. 56 Doing Our Boolean Process: Okay, so now that we have created some additional assets, mostly focusing on just like some additional walls, and over here also like this extra bit, just to make it look extra nice. Now what I'm going to do is we're going to start the boolean process, and that's why the walls were so important. So at this point, you do kind need to make sure that your walls are completely correct. By the way, for this stuff over here, I'm going to move you in the center. I only just saw this. So for the booleans, they are the same as the way that I showed you before. Yeah, but that's why everything does need to be exactly perfect because if we would need to change this later on, that means that you would need to redo the entire boolean process, which can be a bit of a pain. But I do have found a way that we can sort of keep our process safe, if that makes sense. So basically, let's say that we have these ones over here. So we have a default door and we have a window. This is basically how we're going to do it. We are going to of course, double check, make sure that everything is in the right location, over here also, just make sure everything is in the right location. And then what I want to do is to keep things organized, I'm basically going to start by placing a bunch of cubes everywhere where we want to have our windows. So for this, let me just quickly, I need to clean up over here, I need to clean up just my scene. So this one needs to be in house 08. So I just grab the saloon corner and throw it over here in house 08. Let's see. Then we have some doors. I don't even know where they are. Oh, these ones, let's go ahead and delete the stuff. We don't need those anymore. The cubes we can keep. The shop top trim also needs to be in house 08 over here. And then we have our sides there, which is going to be this one, and you need to go in house 09. There we go. So going in house 09. There we go, see, so we want to keep the scene very nice and optimized. Now what I'm going to do is if we go back over here, basically for our booleans, we are just going to create cubes. Now, you can create cubes using your modeling tools, but I do not want to do that. The reason I want to create my default cubes like this is because what I can then do is I can actually duplicate these and save almost like a copy of them. So I'm just saving copy of them, and that copy will be perfect because that copy we can then if we ever need to redo a Boolean, we can use that. So let's say that over here. It also doesn't need to be too precise, so we do want to, of course, leave a little bit of space here and there. Let's say over here and over here, that's fine. Also of course, these cubes, you only need to create them once while if we would do it in our modeling tools, it means that we need to redo it every single time. I'm personally not really in the mood for that. So let's say we go over here. Actually, by this point, turn off your grid snapping. You do not want to have that. There we go. So we got this cube over here. And then what we're going to do is we're just going to go ahead and duplicate it and do the same over here. And we only need to do the door and everything. We only need to create this cube once, and then it's just a matter of placing and the placement, I will just do it in time laps because at this point, I'm pretty sure that you know how to place stuff. So I'm not too worried about not showing that in real time. So basically, over here, that looks yeah, that looks about fine. Maybe a bit higher. There we go. So we got these pieces. So my plan is that we're basically going to go ahead and we have these. We're going to add them to a folder and call these lockout underscore not blockout, Boolean underscore cubes, and we're just going to throw them in here. And then later on when we have all of them placed, we're just going to duplicate it and then save a copy of it. So for these cubes, and then we're doing the same process. So what I'm going to do at this point is I'm going to go ahead and I'm going to kick in the time labs and I'm just going to place all of these cubes everywhere, which will take a while. 58. 57 Doing Our Boolean Process Part2: Okay, so we have now placed a booleans. As you might notice, on some of the houses, I've not done it, and this is simply for me to save some time. So you can do it if you want, but I checked my angles, and so far, I can see that these houses, you just cannot see them. So they are more here for the actual shadows and everything. I can always change my mind. If I end up changing a different angle where I can see the houses, then I will just, of course, go ahead and I will add the Bollians. But for now, just to save time. So it took quite a while. What we're going to do now is we're going to go ahead and first of all, here we go. Let's have a look at everything. So right now in the Boolean cubes over here, so it already placed it into the folder because that's the last place that replaced everything. I just need to double check, just right click and then press Select Media children and just have a flight through, double check everything, make sure that everything is selected. Yeah, that's all looking fine. Okay, now we're going to get start with the process. Now, you already know how this process goes. The first thing that we need to do is we need to go ahead and select everything, including our folder, and then we're going to just go ahead and press Control C and Contra V. Once you've done that, we will have a backup. So this was the goal for this. So this one, we can just right click Edit, rename. Boolean cubes backup. And then we can just go ahead and turn it off. So this backup, whenever you restart your engine, it will be turned on again. That's just an unreal thing. However, for now, this should be fine. So we can get started and try this out. We are going to go ahead and go to our molingtols. And basically all we're going to do is e we keep going and we can select everything. One thing that we can try to do is if we select both of these assets over here, there is a new feature in n engine five. I've never used it, but let's try. So right click Merge actors, merge to a single static mesh actor. Let's see. That might actually be a little bit easier if we then throw this into geometry and meshes. Let's press Save. Oh, wait, it does not replace it. Then it's not worth it. I believe merge and simplify merge to an actor. Yeah, I think I can go into the settings to see if it replaces it, but honestly, I don't think it will actually do that. Yeah, that's too bad. So with this way, you can merge piece together. It's great for batching, but the reason I wanted to tile that is because now will need to boolean twice because for everything we need to boolean twice. So if we select the val, we can select over here this piece, and we can just go ahead and press Boolean. There we go, there we just need to press Accept. But then, ooh. That sucks. Looks like it removes our vertex colors. I didn't know about that. Split mesh into selected using second mesh. Nah, that also still does it. That is too bad. That does mean that I need to pretty much redo a bunch of my vertex colors. Oh, I'm quite sad about that. It makes sense because it creates a new mesh. So I just didn't I didn't test it out when I was doing all my testing. Um, okay, nothing to do about it. It will not take too long. I will do those vertex calls off camera because by this point, we've already done it. So we're just going to go ahead and Boolean, select a mesh again, Boolean again. Double check. Okay. So now if I would go ahead and move this back in, this should all work very nicely. Yeah, it does. There we go. Okay, so that's pretty good. Let's go ahead and just keep doing this. So yeah, Boolean, except Boolean, except. Luckily, the Boolean function is quite good here in real, ironically, because normally boolean functions are not very good even in three modeling software. But basically, we are just going to boolean it, and then we will just go ahead and move this back right away. Let's go ahead and turn on lid mode. Oh, you are. Can I just scale you like a tiny bit? There we go. Just scale it a tiny bit just that it's not clipping through. But okay, that is looking pretty nice here. See, now, it really does feel like it is all just part of one big thing. Okay, great. So let's go ahead and continue. Boolean, and I will also remember that I need to save my scene a little bit more often because, of course, this tool is in Beta, so it is a little bit more cash heavy sometimes. Also, one thing that I want to check is, yeah, okay, so it just keeps all of the materials. So we are able to change our materials after which should be no problem. So the only thing that we, of course, cannot change is the location of the holes. Then we would need to redo it. Yeah, that's about it. But over here, that looks quite nice. Okay, so let's save my sea, because you can see that it does create a new mesh every time we do a boolean. That is one thing. So it might make the meshes a little bit messy, and it will have almost like a lot of unique meshes, so to speak. But yeah, what do you consider unique? Because at this point, oh, this is an interesting one. I'm just going to move it over here because yeah, at this point, unique, it's relative. We are near the end of the project. We don't really need specific modularity anymore. So what we can do with these pieces is we can just go ahead and make them unique in this way, if you would consider this unique. Huh. That's almost like GI in Sea Sorry, I got distracted. So yeah, for these ones, Boolean Oh, it's a shame. I really like this vertex color. I'm lucky that I can keep this one because I really like that one. But it's a shame. I spent all this time on vertex colors. But that's just me. I should have tested that out. I do apologize if you are annoyed right now because you need to redo your vertex colors. But if, honestly, it's good practice, I would say. Oh, yeah. So over heres I overshot it a little bit. So I can move it back and forth just to make sure that everything still fits. So that should not really be that big of a problem. Nah, see? So that does fit nicely. Okay, great. Let's just go ahead and continue. Oh, this is another one. Another one of those where it is often when we have that kind of stuff, it is easier to just move it down a little bit because bullying around two different pieces that's just really annoying. Because then we would need to make use of our backup basically in order to boolean, so I will try to avoid that. But yeah, this is the first time that I'm using the Boolean function in such an extent. So that's often how it goes. I do my testing whenever I have a new feature. And the thing with unlogenFb is that there is no documentation will yet. So the testing is literally me just messing around and figuring out how to get everything working. And after that point, I just do the tutorial, and then we go for like a larger scale. Like, over here, we have another problem. So this one we cannot really get around, so I can boolean this one. However, at this stage, what I'm going to do is I'm just going to go ahead and I'm going to first of all, boolean this. And then what I need to do is I need to go ahead, I need to go into my backup cubes, duplicate the backup cube, throw it back just to keep it clean into our boolean, and then turn it off again, and then do another boolean. So that's the way that you would do that. And as you can see, that is quite a hassle. So that's why I'm trying to avoid doing it too many times. Okay. Nice. Ooh, what was that? Actually, quite like that. I'm going to make this scene a little bit more blue. Oh, wait, we need to do color grading anyway. The color grading is going to be cool. We are actually going to use a brand new tool also for the color grading, which is Da Vinci Revolve. So it's a tool that is actually being used by Hollywood to color grade all of their movies. But it is free nowadays. It used to be paste, but now it's free, and we are going to go ahead and use that for color grading to get really nice cinematic color grading. This one I again, cannot really get around, so I will just go ahead and bullion it. Unless I can push it far now. Yeah, here see. That won't work. So, in that case, we just need to go ahead. Duplicate it. Scull up, throw it in here. There we go. Just select all of these three at the same time and push it back. Oh, hey. That is strange. So it did push it back over here. Oh, there's something behind it. You are behind it. You know what? I'm going to just nuke you because I cannot see this anyway. So in my case, I'm going to nuke it. In your case, if you have an open world and you want to be able to see behind it, then what you can, of course, do is you can a boolean those other pieces also, or you can try and, like, move it forward as far as you can to kind of, like, avoid it. But in my case, for the putoil there's no reason for me to really do that stuff. It'll just add a lot of extra time. These ones are also quite interesting. So for these ones, if we are going to lose our vertex colors anyway, it might be easier if we select all four of them, right click and press Convert on our weights, and we cannot do the merging. Yes, we can replace it. But then I wonder if we are going to replace it. You know what? I have another idea. So for these ones, we're just going to kind of break our backups. So we will do this over here, and then we will just turn on our backup. And then do it again. Here we go. So we got those. Now if we just turn on our backup, I'm just going to go ahead and do this. Like if we need to replace a few of them, I am not too worried. This one is going to be is it going to be a pain? Yes, that is going to be a pain. I need to go ahead and I need to duplicate this, and then first do this one. Duplicate it again, then to the bottom one. Wow, this one is really like an annoying position. There we go. So the top, luckily that the Boolean functions go so fast. So this is still vastly faster than when we would need to actually go in and create all of these unique modular pieces with windows in them and have the windows at different locations and everything, that kind of stuff. I would take so much longer than just doing this. And, of course, I just want to show off this cool new technique over here. So we got those ones. That's fine. These ones seem to not be too special except for this one. Let's go ahead and bool in this. Bull in this. Oh, wait. I'm doing the backups, I believe. Seems like it doesn't matter if I did the backups because everything is now working fine. I think this one can be moved forward a little bit. And I will turn off the backups because oh, yeah, okay, so I already turned them off, because else I just get confused by which ones I already did or which not. So yeah, not too difficult. And it is looking pretty cool. So once we've done this one, yeah, okay, so with the verte colors, we cannot get the full feeling yet. So we will need to redo those. But that stuff I will just do off camera. This also getting quite late where I am right now. So this will be the last part for today and then tomorrow fresh new day, we will go ahead and we will continue. By that point, I will have already done the vertex painting, and then we're going to continue by adding finally our decals. And finally, once our decals are done, then we can start moving our focus towards the Ah, it looks nice. We are going to move our focus more towards the terrain and everything and finalizing our environment, adding extra props and everything, stuff like that. So that's also going to be quite cool. So I don't know. I think we have another seven to 10 hours to go. There is also some extra stuff I want to the let's just do this. There we go. I'm not going to worry about that. See, there is some extra stuff that I want to do at the end. However, I still need to test it out, so that's why I'm not telling you yet. But if it works, it is going to be quite cool. If it doesn't work, then that sucks. But then OL, it's because it has to do with transferring assets from Unreal Engine four to Unreal Engine five. And that's why it is tricky. I know, I know I'm really a tease that I just do not tell you, but I don't want to get your hopes up because it's something I literally just came up with yesterday that I wanted to do this. So it is not yet in the planning. It's just, like, an additional bonus thing. Oh, turn off my backups. I just realized that I might be able to merge pieces together. Let's try. Let's say that we have these three because this one does combine Selexi into new static message because this one does replace it. If I press Except Ooh. This one does replace it, which means that now I can just do this. And if I don't do Boolean. Well, wish I tried it out first or earlier. But that's the thing. This tool is brand new. I'm also learning it, but this is quite handy. So we can basically it does mean that we have even more meshes. But we are basically able to save quite a bit of time like that, and we still have a boolean backup, so that's no problem. So we got those. So the next plan is to simply select these. Hopefully, some of you guys have already figured this out, so you were not doing this nonstop. But then these meshes, we again, have that problem that do we really want to append them? Because then right now they are modular pieces. So I feel like right now I do not want to append them. I can duplicate this mesh. So see, I'm also evolving this time, now what I'm thinking about, is that I no longer use my backup. I simply duplicate the mesh and boolean it because I expect it when I boolean it, it will basically remove the original mesh. So just like that, I just keep improving and improving, also myself while doing the tutorial in speeding things up because that's often how workflows work. You do it a bunch of times, and then you start realizing like ways that you can speed things up, and then you just slowly make it better and better. Yeah, just like that, we are now already really speeding things up. So here over here, I can see this one, and what I'm going to do is I'm just not going to bother with having that small seam and I can just go ahead and do this. And let's just go ahead and append these and these because they all kind of stay with their own little wall. I know, they do not. In that case, we will duplicate it. Boolean Boolean. Move this back. We have this problem again where we just need to and I'm just going to go ahead and delete. This back side over here. Oh, yeah, we do need to be careful because the roof is very close to this one. So just like move a tiny bit forward like that. Okay, so that's working. And then over here, I guess we need to do the same thing. So Boolean and Boolean here's again. It's nice to move this back. So, these materials, we can change because I feel like I don't know if I want to do the darkness everywhere, so we kind of have to see. And here I can check, like, Okay, so this one is halfway. So when it is halfway, it does not really matter because I need to do double the work anyway, so I can just as well append all of them, duplicate them, Boolean one. Boolean number two. And if you cannot see it, because we have not yet done, really, really proper lighting and everything. So there are still some dark areas that are very difficult to see in. This is stuff that we will also fix later on. Although the lumen system does have a tendency, and I'm sure that they will improve this later on. It does have a tendency to almost like art the same effect that we turned off with lightness. When you get closer, everything just becomes a bit darker. So that is something that you just need to always keep in mind. It's appendees bullying them. There we go. And because we are bullying them, even though we append them and we add another mesh to our scene, because, of course, too many mesh to your scene will also slow down your scene. But because the boolean removes them again, it actually makes no difference in the end. Oh, cancel. Append Let's do this one and this one. And here are also these angled wood pieces. I think they look quite cool. You can see that some of them work a little bit better than others. This is because of the way that the shadows work and the direction of the sunlight because if you rotate your sunlight, the other one would work better. So it is what it is. But I think it's still like arts quite a bit of an improvement. Oh, wow. We have already been doing this for 20 minutes. Sorry that it is taking so long. Trying to go fast, but it looks like I'm not that fast. Although with the append technique, things are going a lot faster. Oh, wow. Let's save our scene, actually. It's been way too long since I've saved my scene. There we go. That's better. So we are going to appendos and appendee over here. Perfect. So now we can just use these balls. Bullying everything. And then our saloon is also ready to go. Yeah, I think once the vertex colors are back in, this will look really nice. So then we will get this really cool look. And I also quite like that we're got to go for a little bit more realistic and not for this classic or classic, I should say, typical, like, really dusty, really hot looking like western town that is just completely, like, crumbled down and it is just broken up and everything. So I quite like that we more go for like something that is still in use, and people are still going around and, like, maintaining everything and stuff like that. I think that will look quite nice, especially once we have our how you say it, especially once we have our tray materials, because the tray materials are going to be darker, so they will actually add a lot to our lighting because we will have light buildings with a dark underground. If you want, you can already, make the train. Right now, I think it is using the plain color. So if you want, you can already make the train darker so that you get a feeling in terms of lighting, how it will look. But of course, we will do another lighting pass a little bit later on after we've done our train to make sure that everything is perfect. AppendeeFor this one, it does not matter, so we can just append them again. Oh, immediate press append. Okay. And then for these ones, because they are like a seam, we're just going to duplicate them, Boolean one and Boolean two. And because it does not boolean when there is no mesh, it will not give us any arrows. I was a bit worried about that that it would just throw in an arrow saying, Yeah, this boolean falls outside of the mesh so, we're not going to do anything. Over here, a few more that I forgot. Although these ones you can most likely not see, but it will only take a second, so we can just as well just in case because they are still at this angle where you might be able to see them just a little bit. So let's go ahead and just push it back. There we go. And these ones, I'm not doing the sites. I don't know why I'm not doing the sites. I think I'm just going to go ahead and do the sites anyway, because I must have forgotten to arts. However, I think that this one is still quite important because you can see it literally off that side. So it would be a little bit more unlogical if it was not included. The only thing is that the door frame will be a little bit thicker because of stair. But that should be fine. There we go. Here, our door frame to see how far back you can go before it starts showing you the end of the door. And, of course, the window can just kind of, like, do whatever it wants. Oh, we have another double. In that case, let's just append all of them, duplicate them Boolean one, and Boolean number two. Bendis bullying them wide away. And I think this is the last one, so let's append these and final boolean. Okay. I think that does it. Yeah, looks like everything is now done. So this all now feels a lot more grounded, as you can see, so that works a lot better. I quite like that. Oh, wait. For these ones, I already did the booleans, right? Yeah. It was more that I needed to push them back in because they did have some problems, but it seems that that goes far enough. Okay, perfect. Quick fly around, make sure I didn't forget anything. It all looks fine. Everything looks like it is meant to be in these areas. So that is all looking great. Okay. Awesome. So we got that stuff done. If you want you can fill in this hole, that might be better because we do have these windows. However, for the windows, I'm just going to go ahead and if we go into our basic master, just turn on two sided. And I will just fill in this hole a little bit later on. It's going to be part of the final polishing. But I've been talking for way too long already. So this is looking great. Let's go into our cameraangle. In the next chapter, what we will do is we will go ahead and we will start working on just some extra decals. These are going to be nothing special, just some small little bits of leaks and some little dirt buildup here and there. So let's go ahead and continue with this in the next chapter. 59. 58 Creating Our Decals And Placing Them: Okay, so the Boolean process is now done, and as you can see, I've just re added some of the vertex painting again. It might not be exactly the same, but it's good enough. So what we're going to do now is we are just going to go ahead and add some details. And that will be the last thing before we start focusing on the train because right now, of course, train looks very boring. These decals, they are going to be quite easy. We only need some very basic looking decals, and all I really want is, I just want to get some general, like some leaks here and there and just maybe some grunges just make it look extra dirty. And we will usually build in system inside of Unwel for the decals. So I don't know if they're like, here you can see, like, a little bit of, like, a grunge, but let's actually look in the game because in a game, it's often a little bit better. Yeah, I guess you can see, like a little bit of leaks here and there. But yeah, we kind of just need to improvise most of this, so that should be fine. Okay, so knowing that, what I want to do is I want to go ahead and I want to go to textis.com. This website provides a lot of free content, which is really great, everything from reference photography to tree materials to scan materials and everything. But of course, they also have paid content if you want to go for higher resolution. All we need to do is we need to go to decals, and in here, we already have a nice little library of some decals. So let's say that we are going to go for maybe like one leaking, one bottom dirt and one that's like a stain. I think that should be enough. So we can go to leaks, and let's say that we have dark leaks over here, and then you get like a bunch of these dark leak decals that we can use. So knowing that, I just want to go ahead and grab one that is not too repetitive and that looks quite interesting. So I'm just scrolling about this one looks quite interesting, but let's just quickly continue. This one looks too specific. We want to get something that just looks very nonspecific, actually. I know that this one is specific, but this is quite good. But let's go for which one did I have? I think this was the one. I then just middle click and I just open it up in another tab so that I can just quickly already find the rest. So let's say we have a bottom decal. For the bottom decal, stuff like that looks quite cool, although it might be a little bit soft in terms of, like, the strength or maybe something like this. I don't know. Um, yeah, the bottom decals are quite a bit stronger, as you can see. So I don't think there's much left that I really think like, Oh, yeah, okay, so we got some dust. But now let's go for something that's a little bit more subtle. We can just increase the strength of it inside of heel if needed anyway. So it was this one. So let's open up this one. And finally, we can go ahead and we can go subtle stains. And in here, we can try to find one that also looks a bit interesting. Maybe like this one over here. Okay, so we now got our three candidates. First thing you need to do is you need to, of course, go ahead and open up an account, and then you get 15 free credits per day, and you can use these credits to basically get your textures. So let's just download the leaks to get started. Now, I'm going to use Poteshop for this. You can use whatever you want, even substance designer, but Photoshop seems to be the easiest thing for me. So over here, I have just like a simple new hotsho file, and I just have a 2048 by 2048 Canvas that is brand new. That is this one. Now, all we will need to do is we need to go ahead and go in here. Click and drag your leaks, and then you just want to go ahead and you want to make them very large. Now the thing with these leaks are because we are using the system inside of Photoshop, it does mean that we can only use one decal per canvas. We cannot have two decals on here and then split them up using UVs. That's simply not how it works when we use the system inside of unreal. So we are just going to have this one canvas. Now, there's two things that we need. We need a mask, and for this one, we need to, of course, have also a proper background. So let's first of all do the background. We click on the backcount and then we go to the little circle icon down here, and we simply press solid color. When you press the solid color, you just kind of want to grab a solid color just by clicking on your decal that is roughly the same as the color of your decal. The reason you want to do this is the same as what we have with the paint, which I still need to fix, is that there isn't like a white outline around it because of the mask. So we got this one over here. Yes, it has, like, some little holes and stuff like that, but I'm not too worried about that. So, and if I haven't, then I can always just remove it. So the next one is going to be to create a mask. The way that I tend to do this is I tend to go ahead and just hold Control and select these two layers, right click and then press duplicate layers. And then once you've done that, in your duplicate, double click on your color and make it black. And then on the top layer, which is your leaks, right click, go to blending options, go to color overlay, and then click on the color and set this to be white. C, Instant mask. So now that you have this mask, I just tend to select both of them, right click, and then I like to merge my layers down into one. And then it's just a matter of throwing this into your Alpha map. So you press Contra, you press C, sorry, contro C. You turn it off, and then you go down here to channels. Click on the Little Plus button to create an Alpha channel and press Contra V. That's it. So now we have a texture that has a base color and an Alpha map. And that's all we need for leaks because the leaks don't really need anything more specific. So once you've done that, what you can do is you can go ahead and let's just go create a photo called Tcals in here. And we can just go ahead and we can get started by just saving the PSD. So let's do a saves. And let's get started by just saving this as a PSD. So leaks Under score 01. Like that. And then what you want to do is you want to immediately do a save a copy, or for the earlier versions of PhotoShop, it is just save as. But for later versions of Photoshop, it is save a copy. And it will just open up the same folders that you saved your PSD, and you want to save a TGA file and just make sure that Alpha channels is selected. Oh, and by the way, you can also get rid of the naming that it says copy. So we save this, and there we go. Our first decal is now done. Now what we can do is we can just go ahead, and if you want, you can reuse this file. So if we go to textures, we can use the bottom one, download. Drag it in here. And then for this one, you can see that it has this really strong background. I don't want that, so I'm just going to hold Oh, hold. I'm just going to carefully move this down. Now having this one just turn off your leaks. You can also delete it if you want and delete the old mask. In your color, just try and match the color of your decal. And once you've done that, you can just go ahead and do the same process where you duplicate your layers. Set the bottom one to black, right click blending options, color overlays at the top one to white. Right click merge layers, Contra A, Contra C, go to your channels, Contra V, and that's it. Then for this one, we might then want to like later on, increase it a little bit. But we can also do that using the actual shader. This is number two. Make sure to do a saves this time and not safe because else it will just overwrite our original file and call this bottom underscore 01 and save and then also save a copy, and this copy is going to be a TGA file, bottom underscore 01. Here we go. Perfect. Now, the last one was going to be like some general grunge. So let's go ahead and go to that one and just do the exact same process once more. Yeah. So this one is not very decal heavy. So, luckily, we only need to do three of them. If you have ever followed my post ocalyptic game environment, then you know that Decas are very handy, but in those we made like 20 of them. So then, of course, it's a lot more time consuming. So for this one, I'm going to go ahead and let's say that I'm not too happy about the color. You can right click and press Rest Rice layer. This basically allows you to edit it. And then if you go to image adjustment and the hue and saturation, we can, for example, tone down the color to make it a little bit more gray scale in the saturation over here. So this is the same as an HSL node inside of substance designer. Now, at that point, just select your background and kind of match it up. Right click and let's duplicate these layers. Bottom layer black, top layer blending options, color overlay, make them mite, select them both, merge layers, Contra A, Contra C, Contra V. There we go. And this one we can do a save as, and this one is going to be generic dirt under score 01. And then we can finally do another save as copy and just save this as a TJ file, Generic DRT 01. Perfect. So those are now all done. Now, if we go ahead and go into Unreal, then I accidentally move my camera. It was about here. I will, of course, later on, just replace the cameras with a better version. But let's go ahead and let's go into Unreal. Now, what I'm going to do is if we go to textures and then create a new folder that we call decals. In here, you just want to import your TGA files. So I'm just selecting all of them and importing them. There we go. Now, of course, what we need to do is we need to create the material. For this, what I'm going to do is let's just make a new folder that I will call decals just to keep things nice and clean. And I right click Create material, decal underscore Master. Now for open this up, this material is going to be a lot simpler than most other materials. All we really need to do is we need to import one of our decals. Let's say that we start with the leaks over here. And you basically want to do this. So let's say what kind of control we want to have. Let's do a multiply, and let's give it some color overlay control. So add a constant three vector. And then for this one, you can right click, convert and just call it decal underscore base color. This one, right click, convert the premter and call this color overlay. And of course, make it white just to make sure that it does not do anything by default. So that's like the first one. We can throw it into a base color. Next, what we can do is we can add a SClick scale pemter that we call roughness and set the default to one to have it quite dull or maybe like 0.8, just to have it not as dull but still quite dull. So that's the roughness. And then the last one that we need to do is we need to go ahead and have a scale perimeter that we call mask underscore intensity. And if you set this one to one, I believe, then we simply want to multiply our Alpha mask, which is this Alpha button over here with our mask intensity and then we need to art it to the mask. So that's already it. It's very basic. We have a color overlay. We have an actual map. We have a mask intensity and a roughness. Now, the last thing that we need to do is we need to go to our decal master, and then we need to set the Oh, that's a bit annoying. Then we need to go ahead and we set the material domain to be a deferred decal to tell it, A, this is a decal. The blending mode needs to be translucent because else you get an error. And then the decarblend mode, you want to be de buffer, translucent, color roughness. This way, what we are telling it is this is a decal. It is translucent, which means that it is a little bit true and that the decal accepts color and roughness maps. So we don't need an actual normal map. You then simply plug in your mask intensity into your opacity, roughness in roughness and base color interface color. And that is all you need. So now you can just go ahead and press Save, and that's it. So at this point, all we need to do is oh let's close that one is we need to go into our decals, and then we have a decal master. We can right click create one that we'll call leaks on score 01. Right click create one that we'll call bottom On score 01 and right click. Oh, sorry. 1 second. Oh, yeah, so here now it's referencing the Wong one. 1 second. Let's delete that bottom 01. I meant to say duplicate the leaks. Score zero. Because if we create an instance from an instance, it will always reference the original and we don't really want to do that. And let's duplicate and call this generic underscore 01. Perfect. Now at this point, we can just go ahead and we can open them. All of them over here. Great. So we've done that. And most likely we only really need to change the base decal and then maybe do some tweaking. So this one is going to be generic dirt and this one is going to be bottom 01. Okay, so those things are now done. Now, all that we need to do is very simple, drag in your decal. So if you have your leaks, you simply drag it in. And as you can see, in the leaks, they will kind of like display on top of our mesh. It does mean that on the side, you can see over here that it goes against sight. This is because if you press G to go back into your editor mode, you can see that it has like a box that goes with it. So let's say that we have our decals here, generic gringemp and we have our bottom over here. Now the general idea is that we just basically we add them on here, and then we can mess around with it a bit and just make sure that everything looks correct. So at this point, I'm just moving my window over here. Let's say that we have this building. I want to grab some leaks, so I drag in my leaks. I don't need to rotate this arrow towards the building. So if we rotate it, nine degrees, and I can see that I need to rotate it another 90 degrees like this. Over here. Now, what I like to do is I like to always just scale this in a little bit to avoid any arrows because if this is really large, it can sometimes start to overlap. And then what we can do is we can simply scale up our Digal to kind of like fit this roof. And there we go. Now we have some very simple leaks over here, which if we need to, we can always go ahead and go into our color Oval, and we can say, like, Okay, I want these to be a little bit darker. And we can also go into our roughness. And let's say, do you want these to be shiny, actually, instead of, like 0.3, for example, so that they are a little bit shiny, but I'm not going to do that. I think I'm going to make them quite dull. Also, your mask intensity, let's see if that works, if I set this to two. A, I see here. So the higher I set this, the stronger your mask will be. But we're just going to stick with. So that's great. So we have these leaks over here. You can just reuse these leaks wherever you want. So if I just duplicate it, just Control C contro V. I can add them over here, and I can just go in here and do this. Now another cool thing is just like with meshes, we are able to now duplicate this and then drag in a different material into our deca material. For example, this one, the generic 01. And let's say that I just add this one and I just kind of like rotate it. Now for generic 01, it looks like that we cannot really see it. So what we can do is we can go into a color overlay. And you said it's a little bit darker, like you can see over here. Another cool thing is that you can kind of improve or you can kind of control the intensity simply by moving your decal further away from the surface, see? So you can kind of, like, control how intense you want it to be. So use all the tools you have to your advantage with that. So let's say I have this one. It's a bit too intense, I just move it back a little bit instead of changing the material because then if I change the material, everywhere, it will be less strong. So this kind of stuff we mostly want to have on, like, the more obvious buildings where we can see it. So like maybe over here, we also want to have it and then maybe tone it down a little bit just by moving further away. So it is quite subtle stuff like that. So we can now kind of just go ahead and just mess around to this. So over here, there's no point in doing leaks. You won't really be able to see them. However, what we can do is we can go ahead and like over here in the larger one and then just make the leaks also a lot larger. T it will look cool if we sometimes just have the leaks at like different sizes, and then have this one quite subtle because it's a really light surface. So you kind of just want to be careful with it. You know, scale this in a little bit so that it's not extently overlapping too much. And also, if you want to have more control over the opacity, then you can scale it out a little bit so that you have a little bit more control over how strong it is. And it's just that we can, suddenly, if we can even go over here, it's just that we can, like, kind of suddenly see like some leaks sitting here and there. And that's, like, quite cool if we have that kind of stuff. Also, what you can do with your leaks is you can also duplicate them and, for example, place them on your roofs. Like this. The decals go on everything. It doesn't matter if it is parallax or if it is some kind of special surface, they will just simply be on everything, which means that over here, you can see that they are being included, which can also be nice, for example, over here, if you want to do your roof, you can just duplicate this. Rotate this 90 degrees. Move it over here and then just kind of, like, rotate it. Until it fits. There we go see and then you can also create a really dirty looking roof. And if you duplicate your decal and just moves off the surface, it will simply not render. So yes, it will render like over here, but it's not like we can see that. However, from this distance, we can kind of see those small little bits of leaks coming off the roof. So this one I'm once again, not going to spend too much time on just because it can be quite time consuming process for just simply placement. You know, it's just like one over here. Also, like some of these leaks. Sometimes you can see me over here switching pivot mode so that it is easier for me to place. Okay, so we got some leaks over there. We got some stuff over here. If you want, you can ty mess around with like a generic dirt here and there. Say that I place one over here, for example, and then I can move it in or out just to make sure that it's not too intense. For this one, I'm going to maybe only have the leaks. Here, let's grab this one over here. Especially because it is sideways. This is a bit of like an annoying place to place them, but just in case we can see it, I will go ahead and I will just place like some leaks down here. And for this one, I think I'm once again just going to, like, scale it up a little bit and just have them not as intense, and then everything should kind of, like, just fit together. So we got this There we go, see, just like have some leaks over there. Over here, I'm not sure if maybe I will do something with like the top. Let's say that we do this one next. So we got over here, these leaks, let's just rotate them 180. Let's say we place like a few more over here like that. Maybe have them not as intense and maybe the nozzle rotate them 90 degrees and then move them down here. Also have them fitted. There we go, see, subtle details. But those subtle details often will look quite nice in, like, the bigger spectrum of things. Over here, like a generic one, what we can do is we can have this generic one rotate it a little bit, maybe even scale it up quite a bit. Kind of like have it like plastered over the roof. And then if you just scale this in also, here, see, we can go ahead and we can maybe have this to the side. And then maybe have another one. And there's another one, we move a little bit up, and then we just make it like a bit stronger like this. See? And just get some general details in here. So I think I'm going to actually leave it at this. As I said before, I don't need too many. Oh, wait, maybe like one over here on the side, and that's probably the last one that I will do because it is the side you can see very well. So it would be nice if we can maybe push the detail a little bit more in here. Simply by adding some leaks. And also feels like this would be like a logical place for some leaks, especially because the wood is going in a downwards position. So if I do this, see, it feels quite logical. Okay, perfect. So we got those things all done. That's looking pretty good. I know that I said one more, but I'm going to do one more down here. And maybe like push it in a bit more. There we go. Okay. So those decas are now done. So our overall buildings and everything are looking really good. It still needs a lighting pass, but it is looking really good, especially when you would go to your screen percentage of 200. Then you can see that everything looks really nice and crisp. So that's great. Now, what we're going to do in the next chapter is we are going to finally get started with the twain. We will start by creating our tain material. And we are going to do this in basically a couple stages. We are going to create a tray material, and that material will have a few variations. It will most likely just have a floor variation, and then it will have an even messier floor variation that we can have like around the water and stuff like that. Maybe as like a stretch goal, we can also have one that has like hay scattered in it. Now, because I want to go ahead and I want to go for quite a messy look like you cut over here, we are going to that's a little bit different. We are actually going to go ahead and use decals or DgalsUse Alphas from mega scans. And there was Alphas we can use to basically imprint on our twain. So we are going to use a little bit of mega scans because else you would need to create Alphas for, like, footprints and Alphas for, like, things like over here, and that would simply cost hours for something that will not be a very large detail. We've done all of our material preparation, then what we are going to do is we are going to start by applying a basic material. Then we're going to do terrain editing, then we are going to do some more painting of our material. And once all of that is finally done, then what we can do is we can do another lighting pass and then everything will look very cool, and then we are getting near the end of our tutorial course. So let's go ahead and continue with this in the next chapters. 60. 59 Creating Our Terrain Material Part1: Okay, so let's go ahead and get started with train material. Now, I went ahead and I found a few more references from art reference.org. And in here, as you can see, yeah, it's just like some muddy references that I got. And also these ones, they do have like modern tracks in them. But it is just, it's just a good idea to get, like, something like this. So we are going to go for muddy. So it's basically going to be like quite a plain material like this, but then we're going to randomly throw in, like, some extra like larger bumps and everything. And then on top of this, we will have our actual terrain inside of unwel, which will do most of the heavy lifting. And also, later on in unhel we will also add probably like some water, which is just going to be something very basic, but it should all work together quite nicely. So let's first of all, get out and make something that's more in this direction. What I quite like is that you can see over here it's almost like the rain has created almost like a pattern. So we got these ones, and then on top of this, we, of course, also can go ahead and look over here. Over here, you can also see that the train. Well, I don't know if I don't think they will have done train painting. I feel like that they would use decals on this. So these are most likely just like parallax occlusion decals and stuff like that. But their system is way better than the one that we currently have in real, at least the one that I will set up. So that's the idea, and then we will also add some hay and everything to that. Okay. Inside of substance Ziner we are back again. Let's go ahead and create a new substance graph, and let's call this train Let's do muddy ground, actually. Metallic roughness, and let's just do nice four k by four K, and let's press okay. Okay. Once again, let's get rid of our tree view, and let's have a look. We don't need a metallic, we might want to have the rest of the maps that should not really be a problem. So, going from big to small shapes, let's get started by just creating mostly like some larger shapes. So we will have some general bumps and then some larger shapes. If we go ahead and we go into our noises, we can have a look and I want to go, let's see. Let's go for the base. What cloud spots 03 maybe? Well, then, let me just fix my UI a little bit over here. There we go. So if we do a clouds clouds spots 03, and if we would then go ahead and we do like a histogram range, and this can just kind of like, as you can see, tone down the range a little bit to not make it as intense. And now if we go ahead and on top of this, we are going to blend. And I want to blend like maybe like clouds two. That might be a little bit smaller. Yeah, let's Clouds to that's a little bit smaller. And then let's use a multidirectional warp or we can do a slow blur. By the way, come on. Multi direction wop grazer. By the way, so this specific material, it is not being rehearsed. We are doing this completely from scratch for the first time. But I have, of course, created Mud materials before. So we got that one. All we else we can do is a slope raceel. But yeah, the reason I'm telling you that is because of this kind of stuff where I'm just messing around with things. First one is always trying like a slope blu rascal into both outputs over here. And what that will do is it will create almost like a blow up. Here, if I go see minimum, here, see it almost creates like it blows everything up a little bit. No, no, I think blur might actually look a little bit better. Yeah, and then we can play around with that, or we can use the multi direction warp gray scale, where if we warp it with itself, then you can see that it does also like a little bit of, like, a softening, but it will most likely look a little bit more liquid. One way that we can test this out is we can art andal map, open GL and set the intensity to three. And let's see. So we got this one Oh, we got this one. So this one actually feels more like a rock, while this one does feel a little bit more like it is just being blown up. So let's go ahead and use this one. So we got this version over here. It is getting a little bit, bumpy and everything. So now we can very simply probably like a blur, high quality grayscal over here. Have a look at our normals, and then we can go ahead and we can over here, we can, like, soften this out quite a bit. And this is mostly going to be the height map. The norm map is going to be a little bit more simpler. So we got this version. Let's go into our slope, Gray Count. Let's just see if I Hmm. If I push this down, see minimum, maximum. Okay, so that does not really matter too much. You can sometimes play around with your samples, and it will actually make a change. Okay, so I think that we are already at its limit. So another thing that we can try to do is to actually have this blur in front of our clouds over here. And that does sometimes also just give like an interesting effect. Oh, yeah, you can already see it where it shows us a little bit more of like this will like cracked looking ground almost. And then if we just push this blur, you can see that now we get like some more softer bits. So let's say that we have this one over here, that already starts to look quite a bit better. So at this point, we can even go into, like, a clouds and, like, said, Oh, wait, our scale does not really matter because we are blurring it, so you won't really be able to do much of it. But let's just mess around with it a little bit more. So what I want to do is I probably want to blend in like two versions. I want to blend in this version over here, which is like this really large version. And then what I want to do is I want to go ahead and I want to let's swap this around because I really just need a nor map to see this. Then I want to have a sharper version, a little bit like this. Then maybe play around a little bit more with your intensity. 0.05 maybe. There we go. So it's like a version a little bit more like in this direction. So let's say that we got these two versions over here. That should be quite good. So to blend between them, we can simply add a blend. And we do need to have something very soft to basically blend between them. So let's say that we pick, for example, like a pearling noise, throw that in there. I don't know why I remove my normal because I will need it right away. But anyway, so we got this one. And then if after Pearl noise, we are like a HCRm scan, we can at least, mess around with it a bit more, see. And we can just get like, there we go. So we get, a little bit more of an interesting look, and everything is just kind of like blending together. So let's say we have these pieces over here. We then go ahead and we add them on top. Swans can add my normal. And let's say for the blending mode, I'm going to go for maybe like a multiply. No, you know what? I want to do the other way around. So I want to have the Hcam range on top so that now if I go ahead and do a multiply, it will just add some of those bumps. Or maybe what we can do is we can just do like a copy. No, let's not do a copy. So multiply. Max ten. Or Min darken. N you know what? Let's go for multiply, but just leave it very low. I do I think I'm just going to use it for surface noise. So let's just add that very low, like that. Okay, so let's say that we got like this as like a base. And then the next thing would be that now we are going to create these little bits that you can see over here. Here you can see it really well. So it's almost like a pattern that we want to have. For this pattern, it almost looks like an inverted like bubbles. Oh, wait. We actually have acaustics here. I've never used it before, but Oh, no, you know what? I don't think it actually will. Yeah, it does not work like that. Sorry, I got thrown off by the actual image. In that case, for the bubbles, it's like a cells over here. And that's kind of what it looks like. So it's like a cells like this. And then you blend your cells together. Oh, it's been a while since I've done this one. So we blend it together, and then we subtract it, I believe. But then if you like, mess around with your cells, and I play around more with, like, the intensity, no, that's not the one. I think instead, what we need to do is let's get rid of these. I think we simply need to invert it. Let's zoo invert grayscale over here. Yeah, and then what we need to do is we need to add a histogram range in between. There we go. That's more, yeah, that kind of looks like this, and then we break it up a little bit. So we just set a range and we want to have the range that does not give too strong of like an effect. But then, of course, right now it is way too sharp. So now what we want to do is we'll probably do like a multidirectional warp, I think that one will work quite well. And then for the intensity, we can simply reuse our clouds too. There we go, see. So that kind of breaks it up. You can see if you can go for, like, minimum or no minimum actually makes it sharp. So yeah, let's just do average. And then we kind of mess around a bit, and then for your directions, you can also you can kind of mess around to see which directions you want. So if we do two or four, I think we actually want to go for four because it does add like quite a bit of softening to it. There we go. Let's now go ahead and add a blend on top of this. And let's just have a look at this. So this is currently normal, so now in my blend, I set this to be I think it's just going to be a copy. Yeah, I think I just need to do like a opate no, you know what? No, nopacity probably won't work. Instead, what we can do is we can also add it just in our normal map. Because I'm not sure with art, we can see it a little bit. So if we go and make ourselves quite a bit smaller, you can kind of see it happening. But I have a feeling that it's just, like, a little bit too strong, maybe. It does you can see, it does start to look like it. Maybe it will work. We'll see. Let's just go ahead and let's set the intensity a little bit stronger. Actually, let's go into normal and then mess around with our multidirectional war. There we go, so that it does look quite messy. So let's say that we try this out. And I do not know yet if the height map will look very good with this, but we'll see. So if we just temporarily just get rid of all of these pieces, we have our normal over here, and else we might want to just use this one as a height map. That's basically what I mean. That's a nice ra trace embiticgltion, for height, and let's also throw in our actual height map. And now for ra trace embitGltion, that does look really nice, but let's just set the height scale a little bit lower. But that does start to look really nice. Okay. So we got these pieces done, right click and save a scene. And now what we can do is we can already just check it out. So let's just go ahead, create a folder called final into our muddy ground texture folder that I already created. TGA, ometriEport and Export. Easy does it. Okay, so now if we go ahead and we go to Mm set over here, and this is just our normal rando scene, I'm going to go ahead and let's just create a fresh new material that we'll call muddy underscore ground. And let's add this material to here. Now, having that done if we go ahead and I'm just navigating to my muddy ground on the other screen. Let's add a displacement over here, and let's add an ambient occlusion, like always. And then let's just go ahead and drag it height into displacement, normal into normal, AO into AO Huh. That does look interesting. It's a little bit too sharp, but honestly, that actually looks really interesting. Let's set our ambitoclusion map a little bit lower. Maybe set our Bedo map also, like, a little bit darker and now mess around with your displacement a little bit more. But to be honest, that looks pretty cool. I'm not gonna lie. Why would I lie? I made it. So it would not Makes sense if I say that it's not good. But no, that does look really nice. So I'm quite happy with that. Let's just tone down maybe, like, my displacement a little bit lower. So we just need to make this a little bit softer. But especially like this is also the kind of stuff that I wanted, where we get like some of these cuts. So we're going to make the bits a little bit. Actually, no, we don't need to make them larger. We can just go ahead and do two over here. Okay, and then we need to adjust our displacement again. Okay, so we need to look at this like a bigger tiling mode, because if we don't do that, it will be a little bit more difficult to really get a grasp of how everything looks because on a train, this will, of course, be tiling a lot of times. That's why we most likely will create a few different seats of this. Okay, so I'm going to go ahead and I'm going to set these small bits a little bit less strong And then just turn on and off your displacement, just to see. Okay, so when it's a little bit less strong, we don't really need to make them sharp again. And then we still got, like, this really muddy look over here. So I'm quite happy with that, actually. Yeah, I am. Um, it is pretty spolen. I'm not used to that. Yeah, so these are piles are quite a bit bigger, and you do have like flattening sitting in between with some softness, I guess that we could try something like that. Let's see. What if we so the softness will most likely be in your ambient occlusion. So what if we add an ambient occlusion node and just like the cheaper one? Go in here and then set our radius to be lower said this to be a bit stronger. So now we have an ember occlusion of will like the in between bits. Now if we add a Hum scan, and this hiscom scan, we'll just kind of like push out just those little bits over here. Then if we are to blend and we blend this using a mask basically to break it up, maybe I'll set my Hiscrm scan then a little bit lower. So I need a mask for this. I don't want to reuse my clouds two again, so let's just grab maybe like a Clouds one over here with also once again, scrum scan because we simply the clouds notes do not have contrast sliders. So we basically do something like this. Art is on top and set this to be art. And then based upon our HCRM scan, we can, of course, just increase and decrease it. Okay, so we now got this stuff over here. Now, if I would go ahead and I would simply blend our height map, and we are going to blend it with a blurred version of itself. Not too blurred, but just add some softening to it. And we are going to blend this using a mask. However, I believe that we need to set our mask Yeah, the opposite ways. Lets do an invert gray scale and press D to dock it. So now you should be able to see here, especially if I go here. See if I really soften this out. You can see that it just like art like a softer version. So it kind blends between the two. Here you can see it. So if I would go ahead and would set like zero. Yeah, so that does work. And now all I want to do is I might want to just go into my HCM scan and maybe or maybe go in here and just give it a bit more to work with. Here we go. Let's set our radius up a little bit. Here comes Ken there we go. So now it has a little bit more to work with. Just to, like, add some general softening. Oh, that looks very different. It's Oh, no, wait, that does not look different. Okay. I cannot remember it looking like this, but let's have a look. So if we now just turn on of our displacement here. So now it has like some of these soft areas sitting in between here, in between the cracks, and the soft areas are now created because that's where the water basically flows. And because the water flows there, it kind of just makes everything a little bit softer. So I think that this is a good point for us to pass. So what we're going to do in the next chapter is we are just going to go ahead and create our base color. So first of all, the frame over here and call this height Map. Height map. Like that. And so in the next chapter, what we're going to do is create a base color on our roughness map, which are going to be quite important. I'm not sure we will most likely not add the water in here. So we will make the roughness map really shiny and sticky, a bit like you can see here. But we will not add fill on water because if we do that, you will be able to see it repeating too often when we tie it. Yeah, so let's go ahead and continue with this in the next chapter. 61. 60 Creating Our Terrain Material Part2: Okay. So what we're going to do now is we are going to get started with our base color. Now, looking at this, our base color should be very easy. It looks like it's most like a plain color. And if we have a quick look over here, you can see there is some small color variation, but even here, it's like, quite a plain color. So we will also have a few variations that we'll paint on the twain to basically break up the tiling and all that kind of stuff. So seeing this, I'm going to go for something like this. Okay, let's see. Let's use the gradient map technique. So we have a gradient map. Now, for a color, I still want to grab something sharp. And one of my favorites is the B&W spots because it's this really sharp looking noise. So let's grab this for the color. Now, I don't know how much we will get out of this, but we'll see. So if we do this, yeah, most of it is roughness. So I'll see what it does. It most like you will just look awful. Oh, I do not I do not stand correctly. I don't know the opposite. I stand correctly, sorry. But that's actually that works. That is nice. That's cool. Okay, so we got this one. Now, what I'm going to do on top of this is I'm just going to add some blending and I'm just going to blend a simple black uniform color and just give it like some of this we do like an inverto no, wait. We don't even need to do that. We have an invert color here. If we grab this one, let's arts to here and just like to give it like a black color tone down the intensity. So that's just going to be a little bit of a black color on there. And then if we simply blend this once more, and now as I said before, we need to be very careful. This needs to look very, very tlable even right now, you can already start seeing a few small bits. So I'm going to add and let's so HSL note and grab my gradient map over here. I'm going to make this like a slightly bit lighter, and maybe if I can also go make it a little bit. No, I do not have enough. You can mess around with your saturation to try and get into a different color, but I don't have enough of, like, a color difference. There's no problem. I was thinking of maybe making it like a warmer, like a bit of an orange color, but that's not really needed. So we can throw this into the top, and now in the bottom, let's go to, one of our custom grunches. And the one that we've used before, the grunge map. What was it 004? Yeah, I think that was the one. And let's see if we just go ahead and use this at the bottom, yeah, just like for that tiniest bit of, like, variation. Yeah, that's all too much. Let's tone it down a little bit more. I think we're honestly just going to keep it at this. So as I said before, the base color is going to be very simple. This why it's also not a big stretch for us to also create a hay variation, one that has, like, hay and everything in it. So we got this one. We just need to make sure that we make a few more variations later on. For now, what I'm going to do is I'm going to go ahead and let's go into our roughness over here. And let's see. The roughness, how does this look? It's, so it's like the tips, like the higher points are less rough than the lower points. So we can use that. So we can go ahead and lad a gray scale conversion node to get started with. Throw in our grading map over here, and then add a histogram range note on top of that. So white, it looks dull, black looks rough. So we are going to go for maybe a little bit darker. Something like that. And now to really at that shin, let's add a blend. And let's see, I think we can just reuse our ambient occlusion, but we want to use this one in this case, for the ambient occlusion over here. So we have this ambient occlusion. Now, if we go ahead and let's say, if we go into, you know what? Let's leave our radius quite low. Let's do an invert gray scale. Throw this into the top and set this to be like a subtract, correct? Um, I want these tips. Wait, I'm not doing this, White. I do not need to invert it. Do I? No, I do need to. Oh, wow, this is confusing. Okay. Anyway, I will just mess around with it, and I will just check it out inside of Momset. So just art this on top. Yeah, so this is the cavity. So yeah, this is correct. Oh, I don't know why I'm being so difficult. In any case, let's throw this into our roughness so that we have, like this version over here. Save our scene. And now let's go ahead and go back into marmoset over here. Set our base color back to white. This will probably be way too dark, but we'll see. So we're going to art our base color, and we're going to art our roughness over here. And let it render. Okay, so right now, the paste color is actually pretty fine. I do I want to add some variation, but I'm so scared to add more variation because I know that inside of unreal, the tiling will be worse. Let's add a little bit more of like some darkening and maybe let's add, like a little bit more of like the lightning over here. And now for this one, what we need to do is, first of all, let's go at the set is really, really dark. And the reason I'm doing that is just that I can double check. So here, now we really get like this muddy look. Let's go into our main camera so that we can kind of double check where the mode comes from. Yeah, I'm going to make the base dollar. So we got this. So we already get now a little bit more color variation, a little bit more darkening and everything like that. So let's for now leave it and we will go at and what we are and real. We will just, like, balance it out. What I'm going to do is I'm going to make this one Here, let's set the range all the way up. Let's make this one a little bit lighter. Oh. What the hell? I thought I added my roughness. Oh, okay. So that's why I didn't see a lot of changes. In that case, let's undo this and let's tone this down. I swear I directed my roughness. Okay, it looks like in that case, we want to make this one quite a bit lighter. So over here, it is working. Now let's go into my main camera. Just have a look. Just in case I'm going to also see what it looks like before the invert to make sure that I am actually adding the right one. Before the invert, it does. I know that now before the invert, it is the opposite ways. Now the insides are duller, but it does make it look a lot more clear. See? If you look at this, compared to when I do the invert, the invert, it kind of takes away the details. So I think in this case, I'm just going to take an artistic choice that I'm not adding the invert, but instead just going the opposite direction, might not look as logical, but as you can see, it does work a lot better. It's just tone down the intensity of the shine a little bit more. Maybe a little bit more. We just need to check all of this inside of in real to make sure. But okay, so now we have quite an interesting looking dirt going on over here. So let's say that we have this one. Let's for now, let's save our scene, and let's say that this is already a very solid base. So what we can do is we can go ahead and go in here, art frame, base color. Et's go ahead and going in here, art frame outputs, and over here, art frame roughness. Now, later on, we are going to just create a bunch of different presets of course. However, for now, let's just go ahead and start with one. The only thing that I now want to art that already will be in a preset later on is some hay. So let's art a blend. And then for the hay, I'm talking about, how do you guys might call it stra something like that. There's like different names for it. It's like this stuff over here. So doing this stuff, I am tempted to simply go to substance source and simply download, like a Hay texture over there, which is going to be like a deGal version, or maybe go to mega scans and do it. That is quite a bit easier. Um, however, because these are technically paid resources, I will not be using them, and I'm just going to create my own version. So for my own version, basically, what we're going to do is if you go to your patrons, there should be a scratch generator in here. So here scratches generator. And let's actually go ahead and artist here at the top. So this one we can use. It does need a little bit more work, but as you can see, we can sort of, use this one. So we got this one over here. Now, if we go ahead and set a spline number quite a bit up, maximum segments post spline can be up, spline rotation random, can be all the way up, yes. The scaling, here you can basically control how long you want these pieces to be. Scale random is quite important to have that on. Distortion is quite nice. So we're not going to go too intense, but we still want to give it some distortion and also give our distortion random, also a little bit more size. The spline width is quite important. So we want to set this all the way up. And then the random version also all the way up because you can see over here also that there's different versions and everything. So we got those done distortion width position is fine because else it will actually, you know what? Else it does do something like this. That could be quite interesting. Let's set the position like this. Now, that might seem strange, but just hang on. I'll tell you why. Now, for our fade mode, if you do none, they will not fade. If you start and end, they will kind of fade in and out. Quite like the start. Like, it starts thick, and then it goes into, like, less thick. So let's say, what do we have? No, it doesn't really matter. Let's go start. Okay, so let's say that we now have this hay over here, so that's looking pretty cool. Now what we can do is we can make a tile patch gray scale is a node that we can use, which will basically allow us to scatter a bunch of stuff around. Now with this one, what I was hoping is that if we tone down the octave, which is like the tiling amount, over here, you can see that we get quite a bit of, like, hey. And then what we can do the cool thing about is that we can add size variations, disders over here, but also rotation variation. So like that, we can very quickly and here play around with like a size variation. We can very quickly just give it a really interesting looking look, as you can see like this. So that's quite a cool thing that you can remember because you can do the same thing for grunges and everything. So we now got some, we got quite an interesting look. Now what I'm going to do is I'm going to go ahead and maybe add like a bit more variation. So let's say that we add like a blend note, and then we grab, for example, noises, and I'm quite liking the Grinch m001 for this one. So let's grab Grunge M Ser one, and we're just going to fade in and out a bit more. So let's tone down the balance. Contrast. Yeah, I think it is fine if we fade it out. You can also see it over here. Here you can even see that they used vertex painting, just like as if it's like under the mud. Under the mud, under the mud. Wow, Yeah, mud. I can't pronounce the word anymore. In any case, we're going to artist to our blend. And then what we're going to do is we're just going to set this to subtract, and then you know the drill, play around a little bit more, maybe, like, tone down your contrast and just in general, here we go see. So we get quite an interesting look. Let's do something like this. Of course, we are going to do some vertex painting between this. So let's say we now have this version. Now we're going to do this in two parts. The first part is going to be a gradient map, and we're going to add this version in here because these are all gradients, so we can perfectly use them. Now, what I'm going to do is I'm just going to go ahead and I'm not doing the same thing where I just like, drag it out. Instead, I'm going to just grab two versions over here, and let's delete the center one. And let's start with the first version to be like a darker brownish color. And the second version to be a more lighter yellowish color. Now you can go in and you can try and go in here in the center and give it a bit more variation. But for now, let's say that we have something like this. So it's just going to be like this typical str color. I still need to play around with it. I feel like maybe it's a little bit too colorful, so let's just go ahead and set this one. Let's set this a little bit duller, just by moving it to the left a little bit more, and that might actually look a little bit better. Here, let's see. Let's try that. So we artist to our blend. And then on top of this, we add a histogram scan, and this Hcoum scan. Although I don't know if we even need a Hcum scan. Let's first of all, try a mask. Okay, we need a histogram scan. So we just need to use that to push it out a little bit more, but I want to be careful because I still want to capture some of these details. So the default is this 0.5, here. So these details, I do want to have them softer, but I feel like we do need to go ahead and we need to push this out a little bit more so that it actually shows up in here. Yeah, let's just do something like that. So we got some stra going on like that. That's looking pretty cool. Now, what we're going to do is we are going to first of all, also artists do our normal map. I don't think we want the artists to our height. So let's do a normal combine. No, we want to do a normal blend, most likely. And then we want to add a normal modifier. And once again, we can just grab this mask because it's a height map. OpenGL. Stone down the intensity and throw this into the top. And for our mask, we can throw this histogram scanning. There we go, see? So now we get all of these pieces. Maybe, I would say, give it like a tiny bit of, like, a blur high quality gray scale before we add this to our normal, just because it looks a little bit too sharp. Yeah, let's at this to like 0.1. Maybe 0.15. There we go. So give it a little bit of, like, a normal detail like that. And finally, we can also go into our roughness, blend. And in our roughness, we might actually use our original mask. And we are just going to artist on top because this one will always be a little bit duller. So we kind of like artists on top over here. Let's give this a go. Okay, so we got our straws over here. You can see that it is quite a bit more dense in these areas, and there's also quite a bit of a size difference. Plus the color is not completely correct. And so now we are getting in a territory where, you know, we just kind of need to mess around with this. So let's say we have a scratch generator, let's duplicate that one. And let's say for this one, we set our spine, not so much a scale, but maybe our width can I set this higher four. Maybe even five. So we set this a little bit stronger, and then we set the spl number down a bit more, and you can also mess around with your random seed. And let's go ahead and blend these two together. So we're going to blend them using probably like a Max ten. So that will add hopefully a layer of variation on top over here. You know what? I'm not even sure if this mask over here will work, because we are kind of painting this out later on anyway. So I think we already have enough of, like, a breakup going on. So we got this stuff over here. So now we got, that str. It's a little bit thicker, so that's good. Let's set our normal map to be a little bit stronger. Over here. And you know what I want to do is I want to probably set a size, let's see. So we have a spectrn width and height. Let's set this one a little bit higher, which will basically just push out the colors and everything. And luminosity variation. Now, let's leave that. Now, you know what? Actually, I'm going to I should not have done that. I should have gone not that big. Yeah, you know what? Actually, this might actually be fine. Maybe we even want to go a little bit smaller now I really look at it. So let's set this to 150 by 150 in veteran size. And then I'm just going to set my scale variation. Mm. Also play around like a mask precision and the mask warping if you want to. But that's not really what I'm on about. Just about filling this stuff up. So we can fill up by setting our octave higher or lower. I'm not sure. Well, actually, we can fill it up by setting our patron size higher, but I'm not sure if I really want to. Let's see here because I quite like the size. So we can set our petrol size higher and then tone it down or we can just leave it at this. But I'm not sure if I'm happy with that. Another thing that we can do is we can try to add a blend and then add a transform on top. Come set this stuff to be a max lighten and then click on your transform and then here, move it around until you get more of the area covered. And then we do over here art bunch more stuff, play around my transform a little bit more just to make it just until it feels a little bit more natural, something like that. A one thing I'm going to do is I'm going to add an HSL note after I've done my bits so that I can easily go ahead and just tone down the saturation like that. There we go. So see, so now we have some straw. I think this is like a good start. We still need to play around with it, but I first of all, just want to check inside of Unreal engine because this one is a lot harder to really think about like, Oh, yeah, this will work or not compared to Unreal engine. Also, maybe one cool thing just for rendering that you can do, like a tiny bit is to art a blend and to art your mask in here. And then set this to be an art, but set it like a very low level. And I also wonder if I do this. Yeah, here see. So very low levels in both of our ambient occlusion and the other one. I think it can go a little bit higher like this. Here we go, see. Just to give the tiniest bit of height, but that's mostly just for our final render inside of MamosetTolbag. Okay, so that's looking pretty good. What you can do is we can once again, as always, go in here and let's see this one is not the correct one. Let's go ahead and go into our source files. Textis images. And this one is going to be muddy ground. That's safe, and let's create a quick image. And while that image is creating, we can go ahead and already set up some switches. So we want to go ahead and set up a switch for over here. So let's do a switch color. And then we just say, basically, if it is true, if he is true and if it is false, although maybe we can just turn this off. Just let me just double check. So if I add a uniform color instead and just do this, let's see how that reacts. Okay, so that gets turned off, that gets turned off, that gets turned off. Oh, yeah, see, that's a lot easier. So then let's get rid of a switch color and instead add a switch grayscale. And we just say I he is true, hold shift and swap that one around. There we go. Expose it has Hey over here, and we can go ahead and if you want, you can set the default to fills. I'm just going to leave it on for now. So that should all be fine. And then we can just go into our muddy ground and we can just quickly, R just quickly turn it off once the image creation is done, it is. So let's go ahead and turn this one off also. It's like let us reload. And then what we can do is we can create one more image over here. So let's give this a look. So first one, muddy ground. Hmm. I'm not liking the thickness over here. So that kind of stuff I need kind of, like, play around to it. So, this one is great. This one is looking really nice. This one I just think, like, yeah, the thickness is too much. So that's the last thing that I will quickly fix. Let's set this back to true. And let's just go ahead and go in here, and we're just gonna, let's see. For the thickness one or for the ticker one, let's set our fade mode to start and end. And yeah, let's set our spline width a bit down. And then maybe another thing that we can do on top of this is we can add a multi directional web gray scale, set the directions to one and the mode to minimum, and just give it like a clouds two. You know what? Maybe give it like a clouds two that is blurred already. Over here. And then just kind of like, okay, maybe blurred, not the w one. How about this one? Is this one still blurred? Yeah, okay, then maybe do the unblurd version. And Yeah, so we're basically going to tone this down a little bit, but just give it some general messiness going on. Like that. See? Yeah, that works a bit better. And I'm going to just make it like a tiny bit lighter. But for that, I can use my HSL note and just set a hue to be like a little bit more lighter like this. And maybe also set the lightness even up a little bit. See? And now it does feel like a little bit more like this. Of course, it's nowhere near this quality, but for that, we would need to spend quite a bit of time, and this is more like an album one. So I will most likely spend a little bit more time later on. But first, I need to see how it actually looks inside of Unreal. So we got this version. I'm just going to go ahead and by default, turn off the hay. And what we will do in the next chapter is we will import this into Unreal, and then we'll start by setting up our landscape materials that we at least can already get the base texture in there and see how it all looks. 62. 61 Creating Our Landscape Material: Okay, so let's now go ahead and go into Unreal, and we are going to get started by, of course, importing our material. So textures, let's create a new folder called muddy ground. In here, we will just create another folder called variation underscore A. For this texture, I do want to once again do proper exporting. Let's go into exports and turn off the automatic export when outputs change. Press export outputs once more just so that it saves the setting. And then we can go ahead and go in here. In our final folder, we will do variation underscore A, and I learned from my mistakes. I'm just going to say clean, and then I'm just going to do underscore different names, basically. We got this one, export. By the way, it does mean that we need to go in here, right click and rename variation A underscore clean. Variation A will just state the variation, and then the clean version is just like in this case, just normal clean version. Then we also want to probably do a new variation underscore A, underscore light so that we also have a lighter variation because in order for us to test out our material, we will need at least two of them because we want to be able to blend together between materials. So knowing that, what we're going to do is we're going to go ahead and go to substance over here. And for the lighter version, I'm simply going to go ahead and add an HSL note. So let's add an HSL, and let's expose the lightness. Call it base underscore lightness over here. And I'm doing this quite quickly because I'm quite excited to get this into New Y and see how it all looks. So in our muddy ground, we can now just go ahead and go into our presets and call this one variation on score a score clean and press new. And then say variation on score a score light. And then press new again. So this time we have a clean and a light version. And then for our light version, if we click on our base color, we can just go ahead and just set the lightness up a little bit more, and I'm going to set quite intense now just for testing purposes. And then I can go ahead and go in here. Variation A clean, New folder, variation underscore A, score Light, select folder and export. And that should do the trick. Okay, so Art way is not going to have any height. We're just going to keep this nice and simple, and we are going to have a base color, roughness and normal map. So for this, if we just go ahead and start with our clean version over here, we can go ahead and import that one. Just give me 1 second because I went out of the folder. And we want to just grab our base color, normal roughness. Here we go. And then our light version, we only want to grab pretty much like a base color because the light version does not have any specific changes, so else it would just be a waste of textures. And then, of course, in our normal map, just go ahead and turn on the flip green channel. Okay, so we got that stuff done. Now, if we go ahead and now go into our materials, we are going to create another folder that we'll call terrain or landscape. Unreal is unreal really likes landscape. But I just call it Train. I'm just going to go ahead and create some new material that I'll call terrain underscore master. And let's open this up. Over here. So with our Trainmster, there's just a few small different things that we need to do. First of all, if we go ahead and just grab our textures, we can drag them in here. And let's also go ahead and grab in the light variation over here. So we have our roughness, normal, and then the base color. We will have the clean version at the top and the light versions at the bottom. And of course, these ones, because they reuse the same thing, we don't really need to worry about that. Now, the first thing that we need to do is we need to give it some UVs. The UVs do work quite a bit different in here, and that is because we need to use a landscape coordinate node for this landscape layer cords over here. There we go. And so this one is the one that we can actually use. And let's set the mapping scale I always do like a default of two. And then what we want to do is we simply want to now do the same thing as always, where we multiply this using a scale parameter that we'll call tiling. And set this one to be A two. So we're tiling by two as a default, which for such a large landscape will probably not be that much, but something that we can check. So we basically arts to all of our UVs to make sure that they are correct. And of course, you can have multiple different type of UVs depending on your texture. Now, next that we have over here, we have a nice little layers and stuff like that. And what I'm going to do is I'm going to start with, like, a Constant three vector. Convert this pemter and call this color overlay, map, underscore A. Set to white. Then let's simply duplicate this and call this color overlay map B so that we have control over the colors. And then it's just once again, simple multiplies. This stuff is all the same. So we basically multiply these maps using the assigned color overlay over here like that. Okay, now comes the actual blending. For the actual blending, we need to have a landscape blending node. We can do this by just going to landscape, and then we want to have a landscape layer blend. That's the node that you want to grab. And then in here, we basically set how many materials you want. So if you selected, you can go up here to layers and you can press the plus sign, and let's press it twice. So Index one, Index one, we are going to go ahead and we are going to call it just like Mud underscore clean and then index you in the way. Then index two, we will call Mud underscore light. Over here. And this is basically a name that will correspond when we are painting, so we know exactly what we are painting. So we got this one. Let's see. Layer blend is fine. Preview weight, let's say, 0.5. This is just default values. It's a bit tricky for me to explain exactly what I mean by it. It's just like a default that I always use. So we got this one because I'm not a big expert in landscape materials. That's why I like to keep this nice and basic, also. But we can basically plug in multiples in here, and that's it. We just plug this in here. We go ahead and copy and then paste the layer blend. And then in this case, for this one, we are just going to paste the same roughness into both of them like this. And for the roughness, we probably also want to do a multiply, and I think we want to do this after. So this is just going to be a general roughness amount, so you scale a perimeter. Call it roughness amount with a default of one to make sure that it is just default plane. And then we can do one more layer blend over here, which for now, we will just use the exact same normal maps. And let's go ahead doing like flattened normal that we also have a normal strength node with a scalar pemeter that we'll call normal strength and set this one to minus one that should be the right direction. Although with unreal, I never know because every time I think I have the right direction, it seems like I'm mistaken. But the main goal is now we have this. So we have our UVs. We have the amount of textures that we want to add, and we can add a lot of textures on here. So I think up to eight or 16 or something like that. So they have a color overlay and this layer blend will correspond with how we are going to set up our actual material later on. So we save our scene over here. Now, if we go ahead and go into our WestanTwn western town, if we just go into our main level, we can go to our train, right click and create an instance and call this Train underscore Maine, for example. And now, if we just quickly click on our Train, I want to go into my train editing mode. And actually, not even my train editing mode. I just want to go in, for example, I need to see like a wireframe. Okay, yes, so we made this really nice and dense. This is very, very important, although we can always, of course, just add a new train later on. But it is very important because we want to be able to handle, small footsteps and everything like that. So for that, we do need to go for, like, a really dense train. Normally for games, you would most likely use specific train decals, but those are quite complicated. And those are really, like, built into the engine and real engine five, because they have changed the way that they do their testlation, it is not as handy anymore, so that is something that for now, we will not be covering. We will do it a little less optimized, but it does give us actual geometry, which is really cool. So we got our landscape over here. We scroll down and over here you get your landscape material, and you can just drag in your train master. Did I said something wrong, roughness. Maybe do like a constant that I'll call metallic, that is zero. I don't know, it almost feels like it's metallic, or maybe it just needs to generate. I'm not sure. That is strange Twain master, come on. Oh, wait, Twain Maine is the one that I need. That still does not really do. That is interesting. Why are you looking like you are metallic? It's just like a complete plan. Let's go into our actual textures, and maybe we just need to set up our textures, although this is not response that I expected from that, but we can see. So if we go ahead and over here to our train or our landscape editing mode, we can go to paint. And now in your paint, yeah, there we go. You can see that you have your layers, mud, clean and mud light. This is most likely the problem. So what we want to do is we want to go ahead and press a plus sign over here, and we want to create a weight blended layer. Now, these weight blended layers, what they will basically do is they will simply just tell the system like, Okay, this is going to be your mud clean. This is going to be your mud light. So in here, we can just by default, just press save, and then it should give it a second. There we go. Now it works. And then over here, do the same mud light and just press safe. So you can see that now over here, they are in here and they are all generated. Oh, you will see my name in the generator, but okay, and here you can see Ableans. I thought I had that one somewhere else, but must have been my test. So if I go ahead and just set my brush size really low so that I can actually see what I'm doing, or I can go to my sculpt or even just go out of it so that I can actually check. Okay, so right now, the tiling is way too small. So we can go ahead and we can go in here and set a tiling. 0.1, looks like I had to go a lot lower. 0.00 0.01. Let's go into our perspective mode and then just mess around with it. So if we have this one, 0.02, 0.02 does feel a little bit better. So we got this version over here. The next thing that I'm going to do is I'm going to go ahead and set my, which one, variation A over here, color overlay. Let's make it a little bit darker. Oh, I think I only have Oh, no, wait. You do need to press. Okay, it does not update in real time when we are talking about our overlay map. So we got this one over here. Now, the next thing I'm going to do, let's set the to 0.025. Let's go into our roughness amount and set that to 1.5. 1.3 maybe. There we go. Just to tone it down a little bit. And also, one thing I just remembered is that actually for the second for the light version, we want to go at and we want to export everything because what we are going to do is for the light version, we are basically going to just change the seed a little bit, and that seed is most likely going to be this one over here. So what we can do is we can just mess around with the random sad of this cells and of the clouds and this cells. And that will just ever so slightly change the order, which means that now we can go at and if we export this once again to our light variation. There we go. Go in here and just import your normal and your roughness A. Don't forget, flip green channel. I think that will give us a tiling breakup, so that's also good. And then we can even do another variation. One of the variations is going to be like a darker version, and the other one is going to be a lighter version. So for now, let's do this. Over here, and maybe we can even use the darker version. Later on, let's do so light is this one. Yes. And then if we go ahead and go into our layer blend and let's add another member and call this one Mudd, clean underscore variation B. Copy that name and don't forget to set a weight to 0.5. Go in here and then press the plus sign. M variation B, and also here the plus sign. Mud variation B. And now, what I'm going to do is I'm actually going to use the second norm map in my variation B because the second norm map, actually, for this one for the roughness, the first roughness, and then for this one, I'm going to use my first base color. So the reason I'm doing this is that they will kind of like, oh, sorry, pick this one. The reason that I'm doing this is that we will have those two variations that have slightly different positioning in our noises, and that will be able to give us more variation. So I'll show you. It's easier if I just show you. So we go over here and we go to our landscape materials, go to paint. And then create a new weighted layer blend. Now, if I set my brush size really small over here so that we can properly see it, this basically out it goes. So we have a mud clean. If I click on my mud clean variation B and paint on it, give the second to compile. You should be able to see over here if I set my brush or actually, not my brush far off set my tool strength be fairly on. Yeah, you can see. So you can see that there is a difference. Am I missing something? Because it Oh, that's what I'm missing. I'm missing the UVs. So let's make sure that we dd the UVs Lh do the trick. Oh, and that one we already did. Safe. Because, of course, s does not really matter. There we go. Now, it's a bit slow, but now give the second to load. There we go. Now you can see that we are being able to break it up. If you see this line over here, if I just go ahead and do this, you can see that all of a sudden because I'm just changing it around randomly, like very small increments, it gives me a different breakup. And then over here, I can do this. So you can see that we are now breaking up our mesh. So we can nicely just paint in this version, and then over here we have another version like that. It will be very subtle. And then what we also have is we have a mud light. Give it a second to once again, like arts in. And then over here we have a mud that is like light. And this will be great for small variations, but also if we ever create like any hills like over here, it will be great to just artist like on these tips over here. Yeah, I do need to probably also work a bit more on the material, but because this material over here, I'm trying to find a balance between this and this. Our material right now looks a little bit too shiny. So we will coat and mess around with that. But with these painted, what we can do is we can teparate just close this. We can then go ahead and we can go into our train material over here. And then for the second version, let's not tell it this light. So we basically, I suppose, okay. Let's make it a little bit darker. Little bit dock. It's going to be like a subtle difference over here. Okay, so that's pretty cool. So we got those pieces done. Now there's one more thing that I'm going to do that I'm going to also show you, and that is that you actually have the option to use masks whenever you are painting. So right now this is a perfect round bit, and it just does not work very well, especially for variation. However, what we are able to do, if I just move this down again, is we can actually use a mask over here. So if we go Alpha precious, we can enter a mask. Or a grunge map. Sorry, I should say grunge map. So what I'm going to do is I'm going to right click on my textures and call this Granges. And now, if we go into designer, let's save muddy grounds. And by the way, what we can also do is we can already presets variation B on the score. Hey, press new. And then for this one, we are going to set the H true and the color 2.5. Let's go ahead and just quickly export this. Variation underscore B, underscore There we go. So we can already export that one. But basically, what we're going to do now is we are just going to export a few different grunges. So if we go file and just create a new substance graph, make it empty and just call this Train underscore grunges for example. Now with this one, let's pick a few of them. One of them is going to be my custom one, which is this one. Maybe mess around with your seat a bit until you get something interesting. The second one is going to be maybe like a grunge map zero, zero, one. And the third one is going to be maybe like a grunge map 013. Okay, so this one is already fine. Maybe like play around with your contrast a little bit more. This one, let's mess around with our seat and with our balance a bit more. And this one Ah, yeah, let's leave it at the default seat. And once again, I'll mess around to a little bit more like a balance in your contrast. Now, there's one more thing that we need to do right now. It is really sharp around these edges. So we just want to use the brush pattern down here to basically break up that sharpness. So I'm actually going to set this quite low. So as you can see it will just break it up quite a bit. My original version does not have this, so what I'm going to do is I'm simply going to blend my original crunch using this crunch map, but then set the balance all the way up. And just lower down your brush size like this so that if you set this one into the four counts of your blend and set your blending mode to multiply, for example, you can see that over here and you can play around a little bit more like your balance to make it softer. But as you can see, so this will just blend. And that's it. We just go ahead and we add a few outputs. So let's add one, call this grunge underscore A. Duplicate this three times. Call this one B, we are a bit overtime, but I'll show you this one last and C, plug in your designated crunch maps over here, and that's it. Can be any easier. So we are just going to go ahead and save this, and we will save this in textures. Let's make a folder called Grunges Save. And you know what? Just right away, export this just as a TGA, doesn't really matter. Like this. All I care about now is to get it into my engine quickly. So we have our grunges. I just grab those DJ files, we just export it, throw them in here. And that's it. Now if we, for example, grab the first one and throw this into the texture that we have just created, you can see that now it is using this texture. We can then play around with the brush eyes and look at that. And you can even turn off the auto rotate so that it is a little bit more targeted. Now, let's say that I want to, for example, have some general lightness. I can now go ahead and click ones. And as you can see, it will use my grunge map to add some general lightness. So I can go ahead and I can, for example, click on this a few times like this so that I will add some overall lightness to my scene. Now what I can say is, okay, now I want to have variation V. I can turn on out a rotate, and let's say that I grab, for example, a different texture. I can then go ahead and I can now, for example, set my brush eye a bit lower, and I can just randomly click in here, which will automatically add some general variation to our scene. At which point, if we go over here, you can see that there's no very obvious tiling anymore. Yeah, if you see a bit, you can just click in it, or you can click back on your mud green just to make sure that it's okay. But as you can see, this is a very powerful way that we can start by just painting on our train and just look very interesting. Now, you might have guessed what we're going with. So what we're going to do next chapter is we are actually going to paint our train, and as you might have guessed, we can use the same style with like grunges but then use height maps in order to actually paint that train and make it look really, really interesting. So let's go ahead and continue with this in our next chapter. 63. 62 Adding Terrain Details Part1: Okay, so now that we have a basic material going over our ground, what we're going to do is we are finally going to start with some train painting. Now rain painting is not going to be that special. Most of it is going to be on this side where I do want to add like these little bumps and everything and maybe have some water in there. And for the rest, as you can see, yeah, well, of course, we are going to do the height maps. Don't get me wrong about that, so that one will be special. But the actual, big heights that you can see over here, yeah, it won't be that much different stuff. So let's use this one as like a nice reference also. So for train painting, let's go ahead and go into our landscape sculpting, and we want to go to our sculpt tool over here. So to get started, what I'm going to do is if we first of all, just create the biggest details, which is this one. I think what I'm going to do is I'm just going to, like, end it over here because you would think that over here, they would make sure that there's nothing in between. So for this one, this is just going to be a simple one. Just going to be a brush size of maybe, maybe a little bit higher 100. And then most of this if I have a look, Oh, it would be nice if I actually hold control or shift. Yeah, hold shift. And then you can see that now we can paint it down. I'm going to set my tool strength a little bit lower because if I set it lower, then I have a little bit more control over it. And let's see if I do this, what I'm going to do is I'm going to set my brush size maybe to, like, 80. So we just kind of need to make sure that this is correct and that this is all working. So let's say that I go ahead and start over here, and here it will have multiple different bumps. And then it kind of just goes over here. And also, one thing that we can do that might be easier is if we go ahead and just quickly turn off our landscape editing tool and already mimic the water to be there. So for this, we can go ahead and we can go and grab a plane. And it's very simple. So we basically just grab a plane and we scale it up and we just move it down to roughly where the water level would be, and then just a matter of screening this out. So this is also how we are later on going to kind of, like, create this water. But this is a little bit more handy so that we can properly see what we're doing. So now I can go ahead and I can go in here, hold Shift, and I can just carefully you can see mess around with the water. Maybe let's give it a little bit more of a something like this, and we can then have some planks going across these areas. That's pretty cool. So let's just do something like that. Let's make this nice and uneven also like that so that it's not, not as perfect. So we got over here, we got something like that. That looks quite interesting, then maybe have it go a little bit more out maybe a little bit more like this. There we go. Then we kind of just stop it over there. So that's looking pretty cool. So we already got a few little bits here and there. Yeah, I think I'm going to leave it at this, actually. So if we have a look so we can see, like certain areas we can see you know, especially in this area, we can see those bits. And I don't know if maybe we want to go ahead and this over here. And I know that there is no plane over here, so we might want to just quickly close that duplicate this and have it over here. And I don't know. Let's have a look. So we can see like a tiny bit over here, and we can see like a little bit over here, so that might also be nice, but I'm not sure. Maybe if we then here also just make the area around it quite messy like this, just by carefully clicking a bunch of times because else it just feels like way too perfect. Same over here. Just randomly click a few times next to it, just to see some general bumps sitting in here. Now, there are more tools that we can use to like art variation. This is like the simplest one. And those are tools like if we just go ahead and, you know, so I just had to adjust my microphone. Over here, we have erosion and hydro and everything, but these tools are often quite strong. If I, for example, do hydro, Okay, that one doesn't do much erosion. Oh, yeah, here, over here at erosion, you can see that it does add some small changes. Maybe if you set your tool strength a bit higher. But it kind of depends on where you art it. So those are things that you can do or you can also play around with, like, noise, which should give us some noise or not. Oh, not in this case. As I said before, it works better, like mountains and everything like that. But anyway, so this is fine for, like, something like this. Now, what I'm going to do is I am going to go back into sculpt. And if we didn't go ahead and just use an Alpha brush, maybe what we can do is we can just probably reuse just like these type of Alphas because they are technically alza heights. We don't need to have an actual height map for this. And if we just go ahead and make this like here, let's set the brush scale a little bit lower. And what I'm trying to do is if I hold shift, I just want to see if I can give it some very soft variation. Let's set that tool strength a bit lower. No, that still does not work. Also, if I have a look over here, I'm a little bit worried if we will actually be able to art our footsteps and everything the way that I want to. I should have probably test that before doing all of this stuff. Let's undo this, let's just set this to 0.05. Let's set our brush size a little bit bigger. And the goal is that we go in and just give it some very maybe brise a little bit small, give it some general, very soft variation here. You can kind of see it a little bit. Over here, you can a special see it if we like set a bit lower. But it's just going to be like some general variation. That's way too much. So I'm just clicking once or twice. But I need to have a quick look at my terrain to make sure that I can also add those extra bits. So I will show you how to do that after this. Here we go. So this is like some general variation here and there. Here, I'm also clicking like twice. Maybe make this one a little bit higher and then go down here. There we go. So it's just like it's very small variation. So as I said before, the thing that I'm a little bit worried about is if we have a dense enough piece, because we can change it over here, but we will most likely not be able to save our sculpt on a weight, maybe. So we can do a copy paste, but what I assume is that when we make our geometry denser, the copy paste will not actually work as well. So, in any case, for the footsteps and everything to see if those are working, what we're going to do is we are going to, first of all, save our and now we want to go to quicks.com slash Mega Scans. The reason we are not going to use the Built in mega scan tool for this is because the building tool does not often export a height map, and we need specifically a tmp. Don't worry. You can simply go up here to log in and you can simply log in with your Unreal engine ID. So everything is still for free for Unreal engine. So if we go ahead and go to our well, actually, we don't even need to go to services. Just type in, like, footsteps, for example. And then we can go, Okay, so these are not very good. Tracks maybe. And else we will need to do some more custom searches here. So we have a dirt road. It has some tracks on it, but I'm not sure if that's like the tracks that I want. But you can see that we can find different types of tracks and all that kind of stuff. It just kind of depends what we want, because most of these are, of course, modern, so we need to be a little bit careful about it that we don't go for, like, really specific tire tracks or something like that. No, that also does not work. Ooh. This is not looking. This one might know it's too Oh, wait, here, we have snow. Snow actually works quite well for this kind of stuff. So we can actually go for maybe like here. So let's do some snow. And then what you basic want to do is just set the resolution to like two K we don't need a lot and then simply download it. So let's do this one. And let's also do the lesser one, this one. Let's also download this one. Oh, hello. Okay, I did download. For some reason, it just gave me an error. So we got that stuff. So if we now go ahead and let's go into our surfaces, and let's find snow because snow seems to be quite a good one because it just really retains all those shapes that we want to get. So we have some tracks over here, but I don't really want to get specific tracks, but it might be a little bit difficult to find specifically, like the Cat tracks and everything like that. Yeah, here, because they are just like these indents, and else we might want to just do those separately. Although this one might work. Let's just give it a try. I'll download this one over here. And let's see, is there anything else that we can do? No, that's snowmobile. Oh snowmobile Snowmobile. Alright, and that's just, like, icy cliff. So Nah, but okay, so this is working pretty well. So we already got some stuff here and there that we can already use. And these trikes, they're not too difficult if we really need to make those. So we got this stuff. I'm basically dragging these all into a folder. Over here. And then with these win as, if you just go ahead and just right click and just extract all of them in here. What we can do is we can basically, first of all, just press delete and then select everything and then only deselect your displacement maps over here, and then just delete everything else because we don't need all of those other maps. Okay, so now that we have those displacement maps, all we really need to do is we need to go into in now if we go to our textures, let's create a new folder that we'll call Twain underscore height. And in here, we can just drag in our displacements. Now, we are going to give this go. I hope that it works, and else we will need to make our twain even higher geometry to properly get it working. But if we now go into our landscape mode, we have over here a sculpt tool, and this time, we can just replace this sculpt with a simple, let's say we do the footsteps, for example, and then turn off our outer rotate. Now at this point, we need to set, of course, the brush eye. And then when you click on it, Okay, maybe set the tool strength a little bit higher. Let's try something very high to get start with. So when you click on it, it does. I was hoping that it will give us some I was hoping that it will give us some footsteps. We just need to play around with things. So if we go ahead, so this one does not seem to work as well, let's try this one. It's almost like it needs to be way smaller for it to look correct, but then it, of course, becomes too small. So that's a little bit unfortunate. And if this really does not work, then we will need to go at it. We will need to use decals for this. So if we would use decals for this, it does mean a little bit of extra work, but I guess that it should be fine if we do that. So let's see. I don't think I'm going to be able to do it with geometry, unfortunately. That was my plan. It sometimes works, but I think that we just don't have exactly the maps that we would want for this type of stuff. So if we would go ahead and do this with decals, it is not that big of a stretch because they are actually normal only decals. That does mean that what I'm going to do is I'm simply going to still use mega scans because I got to save time somewhere. We have already spent quite a bit of time on this course, and if I would need to go in and make all of these decals completely from scratch, it would easily cost me like five plus hours. So I don't think that you guys also want to do that. And you already know enough about design for this now. So let's go ahead and do an empty, and let's just call this Train underscore decals, and let's just press okay. Basically what we can do in here is we can actually go ahead and grab, for example, here, we just grab these import resources. And then what we can also do is we can also immediately get those curved roads. So let's just drag these in here and call them Import resources. And then you simply want to add a norm map behind it. Also turn these resources to a gray scale simply by clicking on them. Here. And then when you turn them into a norm map, it should still show us if we set it a bit stronger, here, see. So should still show us our norm details. So we have this one. This one, I'm not sure if we want to use it. I don't think it will actually look very good. So let's delete this one. And then we have these ones, which are the tracks. The tracks, I'm not sure. I don't think I'm going to actually use the tracks also. So let's say that we only have the footsteps that is really like the one that we want. However, we can just go ahead and just have a quick extra look. Oh, that was already the end of this. But we can still just go in for example, sand, and then we can, for example, try beach sand and see if there's maybe something in here with lots of footsteps and messiness and something like that. You can always just go ahead and just have a look. Over here, you have pretty good footsteps also. So we might use that one or we have this one. That one I don't really like. But just try to find something and mostly focus, let's only do this one. Focus really just on your height maps. So we have this one. I'm going to just drag this into my folder. Extract here. Now, unfortunately, I will include these all into unreel, but I cannot include them into our actual texts folder. So all of this stuff will be removed, and you will only have to unreel texture. The reason for this is that is simply because copyright. Mega scent is from Unreal. I can use it in unreal for tutorials. That is no prom, but I cannot specifically use it outside of Unreal. And unfortunately, this is one of those areas where I am technically outside of it. So I can just edit it. That's no problem, but it needs to be used in unreal. So I'm just going to go ahead and let's see which one? The Thai beach, which is, I believe this one's Imported. So let's do two types of footsteps and two types of swags. So the tracks we are going to make ourselves, but they are only going to be norm map. So we got this one. Yeah, I don't honestly, I don't think that one will do much. In any case. So we got a normap over here. All we are going to do now is we are going to blend this norm map with a simple normal color note over here. And you guessed it, grab your grunge map 01, add a brush pattern and throw up your balance and just throw that into the bottom. And then what we most likely want to do is we just want to do an invert gray scale in between. So the footsteps are only here, but they are softening out and we can play around to the balance to make sure that they are here so that they are nicely softly flowing over. Like that. So that should be no problem, so we got that stuff done. Okay, so footsteps check. Now, for those card things over here, what I'm going to do is I'm going to keep this very easy just as like a ptotype and we're going to go ahead and go to our patterns and then simply go in and grab probably like a tile generator should be fine. Let's grab a tile generator. Let's set Y amount all the way to one. Let's set our X amount to maybe like five. Set the pattern to be a square. Set the interte I hope I say it correctly, quite low and also just do random notes that we add some random bits of thickness. And then what we want to do is we just want to go ahead and do an offset random. Really, maybe position random. There we go position random. And then we will kind of overlay a bunch of those at the same time. So we got this one over here that is looking fine. Now what we want to do is we want to add a directional warp and maybe just add like a pearling noise, for example, doing this, if we set up pearl noise quite a bit lower like this, here, see, we can just give it some unevenness, like you can see over here, maybe give Berlin noise a little bit of like there we go. And then what we're going to do is we're going to blend this once more using the same mask. I set is to be multiplied. So we got these ones over here. And we can also go into our tile generator and we can, for example, change our seat maybe get a more interesting look, something like this, for example. It can be very, very basic. So we got these ones, and then for the round bits over here, that one is a little bit tricky because you cannot just bend stuff inside of substance Zina. The only way that you can do it is you can kind of war bits. But then what I feel like we can do is we can maybe just fake it with like a bunch of different decals. And so for now, let's just use this one and then we will go ahead and fake it a little bit later on. I first of all need to make this into a proper height. So we got this one. Let's add a bevel note. We're basically going to bevel this inwards so that oh, no, sorry. Yeah, yeah, we want to bevel this inwards. That's fine. We just need to invert it later on. Like this, give it still like a flat bit, but don't go too intense in it. Come on. Zero point -0.015 maybe. Yeah, there we go. We got this height. We are then breaking it up. Then if we add a normal note to this, we can go ahead and after we've done this normal nodes, we just need to do a blur high quality gray scale first just to give it some softening. By the way, you can also go into your bevel and set the smoothing on. There we go. That will also work a little bit. Then what we're going to do is we are going to just do an invert gray scale here. There we go. So now that they are inverted, now we have these track lines. The only thing that I do not like is that over here, this is not working very well. So what I'm going to do is I'm just going to blur this mask a lot until you'll see until it almost like fades out so that we don't have those really strong details. So this is like a very simple version of this one. Let's just go ahead and give this a go because we are a little bit over time and then we can just improve this in the next chapter. So we are going to add an output note on both of them. So this one we'll call footsteps, underscore N, and also in the label, duplicate this. And this one call wagon tracks underscore N. There we go. Okay, so we got these pieces done. Now, in our Twain height maps, we can just go ahead and save this scene. You know what? We can just go ahead and we can also export it in here right way. So we just export all of this. So now we are left over with these two norm maps. These text show here, we can pretty much just delete them because we no longer need those. And then in here in your resources, if you want, you can also delete these bits because you also don't need them anymore. Okay, so now in reel, we can just use a train height folder. That's no problem, and we're just going to go ahead and import these train decals and then just flip the green channel. Like this. Now, the last thing that we need to do is we need to go ahead and go into our materials. And then we have our train decals over here. No, sorry, our decals over here. And just duplicate your decal master and call it decal normal master. Let's open this up, and so we need to have two things. So first of all, this one, let's just go ahead and delete it. We also can delete the base color roughness. We only will need a mask and we need a norm map. So in your decal normal master, set your blending mode to be D buffer translucent normal so that it only accepts a norm map and an opacity map. We can then go ahead and we can drag in let's say our footsteps to get started with. We can drag in our footsteps. Convert this to peremter and call this normal. And just throw this into your norm map over here. Now, the next thing that we want to do is we just want to go ahead and go in here, and we should be able to use the alpha map of our norm map for this. So if we go in here and just add a RGB Alpha merge over here, we can have the RGB in the top, and in the Alpha, we can basically just grab actually, we just want to grab this one. So this is going to be like our Alpha map, and we can do the same over here, RGB into the top, and then the blurry Alpha into the bottom. There we go. Now that should include it. So we can just go ahead and we can export this stuff. By the way, if we get this, this is because we removed some resources, so we can just go ahead and select them and press remove also inherent substance to get rid of that error. But in any case, so that's one where those are now imported. So if I now right click and reimport, there we go. They should have an alpha Map pot. No, they have not exported with the Alpha map. They show up as the day of the off Map. Maybe that then in that case, I think that unreal just does not accept the off map into a norm map, which is a bit of a shame. It just means that we need to export our Alpha. But honestly, maybe we are able to simply use our grunges, aren't we? They might need to be a little bit strong, but let's just try that out. Let's see if we can just quickly use a grunge map that would save me some time. So let's just throw this into my grunge. Right click, Covert premor call it mask. Save this. Sorry that it's taking so long. We're almost done, and then we can just move on to next chapter so that now if we go into our material decals, we can create an instant and call this food steps under score A. And if we drag this on here, you can see the food steps. They're not very strong, but then we can go in here and we can do a flatten normal with a scalar peimeter that will call normal strength and set this to minus two by default, so that it's extra strong. Throw this now in our norm map and we can also open this up. So here, if we go ahead and set the mask intensity to two, there we go and normal strength to minus five or even or just minus three, you can see that that now does work. So you can imagine that now that we have this deco, we can decide how big that we want it to be, and we can now just go ahead and we can duplicate this around to basically create as if a lot of people have been walking along here. And what you can also do is you can also overlap the decals, like this. And then you can have them like that they are also walking over here, and then it will just blend in quite nicely. So just like that, although from a low perspective, it might not look as interesting, it does give us, like, a very good look in just creating, all of these details. What we'll be doing in the next chapter is we are going to go ahead and we are going to just add a few more details. We are going to improve the ones that you already have. I'm also going to create hopefully a system that we can have them going around the corner and stuff like that. That should all be fine, then we can just keep the train as it is. Although I do want to also add some general bump to the train first. Let's go ahead and continue with this in the next chapter. 64. 63 Adding Terrain Details Part2: Okay, so let's go ahead and continue. So we are just going to put more focus on all of this stuff. And now, of course, we might not get the extra water in here. If you want to get that kind of stuff, you need to make the entire decal, including the base color roughness and just have a decal like that and have everything matching up, then we can do water. But yeah, I'm not going to have it that intense. I think I'm going to go more in, like, a bit of, like, this direction and just have, like, the water sitting around these areas. I'm going to get started by just going into my train over here, and I just wanted to go ahead. Don't think these grunges will really do much. Yeah, so let's just go to a norm brush type. And just at a very low tool strength, I'm just going to give it some general heights. You can kind of see me doing it. It's Undo, that one, and that's at the brush size a little bit lower. And then sometimes just press shift, and the other times just press do not press shift. And it's basically just to give it some extra bumps here and there. And then what I can do is I can also go by the houses, and I can also mess around with that kind of stuff. It's just that we need to make this rain look a lot more interesting. So I'm just holding shift in this case, see? And I'm just adding some random bits and pieces here and there. And then what I'm going to do is I'm also going to go ahead and just go into closer to the houses and actually do some stuff. I don't think, if I do this, like if I set my brush settings like very low, I don't think I can just do, like, a line Yeah, see, we don't have the resolution if I wanted to create actual lines that are for the tire tracks and stuff like that. But that's no problem. Set your brush sis a little bit lower. Go over here and just, like, mess around with it a little bit more. Maybe like these larger bits, just set your brush sie a little bit bigger because it will be far away. Oh, let's set that tool strength a little bit. Sorry Idoing is a little bit slow. Yeah, let's set the tool strength a little bit lower. But yeah, there we go. So we can just go ahead and we can mess around with this just to make everything feel a little bit more organic and not as perfect. Here, see, it's already starting to work. Let's set our tools strength a bit lower and set our brush a little bit lower. And over here, let's make some tracks. So, if people often vault over here, then it makes sense that everything is like a little bit dented in. Same happens on tarmac and everything, so it would happen even stronger on here. And then over here, of course, sometimes we do have like this really messy looking terrain which actually does look quite nice. So maybe I want to just try and get that a little bit more. So if I go to my sculpt, let's go over here, and let's just grab like, once again, our I think it was like the third crunch. Turn outer rotate. Yeah, here, it was like the third crunch. So we got that one, so we can just go ahead and go in here and maybe, like, sometimes hold shift, sometimes not. Just see if we can give it a little bit more like an interesting look. It might be a little bit slow to do very quick clicks like this because it just needs to keep recalculating. But as you can see, here, it does already give our material like almost like an extra height, which I think will look very interesting. Yeah, so this is starting to look a lot better, even though we cannot do the actual stuff, we have this one, and then we are just going to, like, do the decals and then we're going to just generally improve things. But I first of all I want to do this before doing the decals because I want to make sure that my train is already correct. So yeah, then we're going to just improve the materials a little bit, maybe create like dryer version, painting like the rest should all be fine. There we go. So now over here, that's already starting to look a lot better. So we got that stuff done. What was the next thing? Oh, yeah, the next thing was that we turn off our train and just go to a brush type and then go ahead and just set your tool strength quite low and your brush size quite low and do a pass next to these buildings where you just have the scent and everything just piling up a little bit more because it would make sense that around here because people are not walking here too often. You may set up brush size even lower. It would just pile up a little bit more here and there, and we can just make advantage of that to also include that. So we can just go out and just do that stuff. There we go. Just small details like this will actually add a lot. I'm sure that you can also see it. I'm sure that they've also done it in Rad. Well, yeah, here, they actually have really logical pile up. Our pile up is not as intense. Although we can always just go for, like, 40 and like a slightly larger tool strength to also give it like these higher bits to give it a bit more of like a pile up around the sides. Yeah, you know what? That will actually add quite some interest. So let's do it. Let's just do that. So let's just go ahead and make this a little bit more like an intense pile up. And then later on we are just going to have the straw or the hay and everything also scattered on the ground. It's a lugaresome once it's all done. And at that point, you cannot really see it anymore, so I'm just going to leave. Here we go. Sir, of course, I would recommend that you spend a lot more time on this than I do, because I'm doing this quite quickly, just to dedicate my time specifically. But if you really just spent the time and just, like, take an hour or something to really, like, make everything really fine details, then you can get something really interesting. So I'm just going to go next to the building a little bit more because I know that my camera angle is here and I assume that this is the green building, seeing that it is green. You maybe like, make it go down a little bit more in these areas be bit too much. Okay, and I'm also going to just do another pass over here where I just make this a little bit more intense. Here we go. So we got that stuff, maybe reduce it here and there a little bit because it's a little bit too much. And also maybe give it more like a fade out just by painting in front of it a little bit more. But just in general, that looks pretty good. So we can now also go in here. Even though we will most likely not see these areas, it's always good just just in case, like a little bit, because I might do some fl throughs where the cameras just flying through it, and then it's always just nice if we just spend an extra bit of attention to these bits here and there. Yeah, there we go. Here we go. So our rain is already starting to look quite interesting. Okay, so let's save sine. That's like the actual rain painting is pretty much done now. And now remember how we have over here. Our footsteps, which we can go ahead and we can, add, like, a bunch more of them. Now, one thing I also want to do is I'm actually going to move them closer to the ground so that if we add extra props and everything on here, that they will not be included. So if we just go ahead and just go to our footsteps over here, select all of them. Just move them down a little bit. There we go, so that we do not have any issues whenever we have them on the ground. So we got all of this stuff, and we can just nicely, it does mean that we need to select below it. But what we can do is we can just start by first of all, having the footsteps. So let's say that most people would have walked in this area because the other areas, of course, flooded. So this is just like a busy street. You know, some people maybe, like, turned that direction. Other people started, angling more in that direction. And just like that, you can, of course, just mess around with this and just keep duplicating a bunch of them to add more and more interest into your scene. And at this point, although it might be very difficult especially because of the shadow, People will have to come here. These decals, they show up specifically whenever we have light falling on them and else the shadow will just hide it. But as you can see over here, that's looking pretty good. We already got some of that messiness going on. Let's go ahead and also have the footsteps going in here. And maybe we can go to unlit mode, or wait unlit mode will not work because it's a normal map. It's not an actual texture, so then we kind of just need to guess. And the reason I'm still placing them here is because here you can see them like tiny bit. So just in case that you can see them a tiny bit, I want to add them, and we can also go ahead and we can also have them going down here. Now at this point, what you can also do is you can also go in here and then sometimes just duplicate them and have them sitting on the top. Maybe you can even have some of the norm map actually sitting on top of those areas. But in any case, what we can do is we can go in here, kind of like this sideways one where they have walked up. So that's pretty good. So we got those ones. Now, I will most likely also make this muddy. So I know more and more stuff keeps getting added, but just to keep everything realistic, I'm still trying to keep it down. So we still need to, of course, a variation to these things. So we will most likely have like a muddy decal variation and then also do some actual movement variation just to dent it in. But for now, if we just go quickly to our camera actor and just set the screen percentage to 200, Yeah, that is already looking quite interesting, if I say so myself. So that is looking quite nice. Now we will, of course, have assets and everything filling it up. So what I'm going to do if I look at this, set it back. I'm just going to, like, reduce the height over here a tiny bit. So let's just go ahead and like here, reduce it like a little bit so that it is not too intense and that it also does not look like very typical just like painted bumps Yeah, sometimes I literally just go into my camera angle, and then I like, start painting out. Like that. So that's looking pretty good. Maybe only over here a little bit less. There we go. So that's all starting to look pretty good. So we got those things done. Now, let's do our tracks, shall we? So we can save scene. We can go to our decals and we have footsteps A. Let's duplicate this and call this tracks underscore A. Open it up and we just want to grab our norm map for this. And we want to grab a here tracks and just replace those. So now if we go to Tracks A, let's see. What do we have? Okay, so you can see the tracks, so that's good. Let's once again, reduce this. And they will all be blended together. All of these norm maps will be blended together. I think with this one, I do need to go ahead in and make it a bit stronger. So let's set this to minus five. And another thing that you can do is set the priority. If you set the SOT order to something high, like ten, it will kind of like sort. Oh, no, wait, so they will not be blended, of course. Um this socked order, basically what it does is it will over white so that they technically do not get blended as well. However, what we can do is we can just go ahead and just grab this normal, add a normal combine and grab this normal. And just says the high quality, see? So yeah, it does not really matter. So we can just do this. We can just re export this, and then they will all still fit together. So if we now go into our rain height, right click and reimport, see? And then we don't even need to go in and set the normal, so we can just set the normal to minus three again. Here you see. And then it's just a matter of over here, duplicating these. So these are going to be like the little tracks. The reason I'm not using parallex occlusion details is because from my experience, especially in unrealized five, they just simply do not look good. So, or at least not the way that I tend to make them. But you can do it. It's the exact same setup as doing it inside of your normal materials like we've already done. So you can do it, but be warned that it might not look as nice. So we got this stuff over here. Sometimes it would be maybe nice if we also like this. But then the problem with that is that it's kind of just, kind of like if we do that, we kind of need to blend them together back into, like, one version because else it will look strange that we have, all these random bits and pieces. But yeah, so we can use this. And then over here, what I'm going to do is I'm probably just going to go ahead and just scale it in a little bit. And yeah, I said that we were going to go around it. But with our lighting, you probably will not see it. So what I'm going to do is I'm just going to make it very messy and then here. So if I just do multiple different tracks, going to different directions, it will make it difficult anyway for the system to really see or for your eyes to really see which direction you need to go to. But yeah, it kind of depends. See if I go low to the ground, it will already be quite difficult to see. So maybe it's better if we go from like a side angle. I said, By the way, let's just carefully move my camera up a little bit and down to see if I can maybe, like, make some changes. So here, if we grab this one, no, that's not the right footsteps. I need to have the other one. Quite a bit of degils at this point. But what we can do is we can go ahead and grab these ones and do the same thing where we kind of just carefully overlay them on top of each other and then rotate them like a tiny bit. And hopefully, the messiness of all of this stuff will make it so that it's hard to even see what's going on because we then go to just crisscross through them here and there to basically Include those. Yeah. So instead of placing them next to each other, just like keep rotating them around each other. Like over here. And then we can sometimes just like here, do another track in between. So these are quite a bit of decals at this point. So I will just go ahead and kind of cool down at this point with the amount of decaals because, of course, decals do bear an expense. So in your game, you would most likely depending on the game you're making, you would not have this many decas and you probably just pay for, like, material blending. But we chose not to do that. So let's just say that I'm going to stick with this over here. If we now have a look, especially from the top, you can see that we have already quite an interesting looking train. It's really messy over here, and you can see that these heights, remember how we did the console commands, so we can set it to minus one or forgot which one it was to just like, improve the lighting, but just in general, this is already looking pretty good. So we got that stuff already ready to go. Let's have a look just at, see, especially in these camera angles, you can see that it looks quite well. And then maybe I'm just going to add a few more here. So at this point, you kind just mess around depending on your camera angle. Oh, sorry, that's not a white decal. Let's grab just like a new footsteps, So you kind of just want to mess around with things, also depending on your camera angle. So if I do this, I can see like from this camera angle. See, it just like that extra bit of normal detail. But now, this is looking pretty good. So we got this stuff done. Let's say that for now we have our deco placement. We have it all ready to go. Save sea. What we're going to do in the next chapter is we are, first of all, just going to quickly balance out our textures to be a little bit more of like a brownish dirt and not so much a blackish dirt and maybe make it also like a little bit drier. And after we've done that, we are going to just add like the haze stuff. Once that is done, we can also just go ahead and create a very quick material just for our water and just like arts and water and stuff like that. So that's about it for the plan. Let's go ahead and continue with this in our next chapter. 65. 64 Adding Terrain Details Part3: Okay, so what I want to do in this chapter is we are just going to balance out our materials a little bit and just add some general improvements. So the first thing I'm going to do is I'm actually going to go into my rain main material over here, and I think I'm going to lower down my roughness a little bit more. So let's do 3.5. Even two, 1.8 maybe, 1.6. Let's do 1.7. Yeah, so that it just does not look as intense, but that we can still get over here, see? So we still get some nice looking roughness effects. So the next thing that I want to do is I wanted to try and get the color a little bit more in this direction, just to see how that looks. And then what we can do is we can also do some general color painting and stuff like that, just to improve everything. So if we go to substance Ziner over here and let's just go to our muddy ground SPS here we go. Now, the easiest thing that we can try is we can simply try to duplicate our gradient map. And for this gradient map, if we go ahead and open it up, we can simply grab from this image over here, so if I do pick gradient, we can grab something like this and then you can see that it does add more, so maybe we will need to do this a bunch of times. It's not able to get it as well. Is that maybe closer one? That's three D. I stay away from three D images whenever I make this it's quite hard to get from these images to get something good. Okay, in that case, yeah, just really try to, like, get them all in here. Well, I guess for now, it's close enough. The only thing that I'm going to do this for the light versions, let's go ahead and tone them down so that it looks a little bit better. It's just because I first of all, just need to see if this actually works well. So when we got this one, double check. Okay, so this is the stra version. So we just need to go into our presets, press update on the hay version, and go back to the clean version, and then we can just go ahead and we can export this and just see how it actually looks. So if we export this to our clean version over here, it's press export. There we go. And now if we give this a go, so if we go over here in our textures, muddy ground clean, let's just right click and reimport this. Oh, see? That does look better. That does look better if we go for that version. So I'm quite happy with doing something like this. Yeah. Maybe I will then make it a little bit darker, but I can just go ahead and I can go in here and try like, Oh, wait. We have lightness in here. So if we go in here, let's see. Yeah. And if we don't go in, our variation clean just said it's like to be a little bit darker. Let's do this. Let's export this once more, and then we can also export the other variations, which, of course, will be like lighter versions and everything. So that's right click Rimport. There we go. Yeah, I quite like that. I do want to make then also my wood because right now it's really similar to the wood that we're walking on. So I kind of try to get the variation. But over here, that already looks like a lot better compared to what we had before. So we got this one. Now if we just go ahead and update our clean variation, go to our light variation. And for a light variation, we can once again export this right away into variation A light. And then we also have the variation with the hay that we also need to edit our material on. So let's now go to the hay version. And let's also go ahead and export that one over here. Okay, so that one is also exporting. So if we now already go to light version, we can just go ahead and reimport those, and I know that I forgot to actually change the seed for this. So if we just go ahead and quickly adjust this seed and adjust this sat over here. And if we then go ahead and go back to our let's say, our light version, and we can just go ahead and we export this once more, final time. Here we go. So let's export this. And now we can also go in here, muddy ground, new folder, variation, underscore B, underscore. And then in this variation, what we can do is we can just go ahead and we an import our hay version, which I'm just navigating to. Give me 1 second. Here we go. Load in. Let's flip the green channel. Let's actually close some of these things. Yeah, I want to save you, but I just want to also close you. Here we go. Train master. And what we can also do is we can also go ahead and just once again, re import our light version over here. There we go. Okay, then over here, all we need to do is we just need to add another one. So if we go ahead and just add another member, this one is going to be mud underscore H and just set this 2.5. Go in here, new member. Mud sca hay, 0.5, go here, new member, MutH 0.5. And now it's just a matter of dragging these in here. Should not have done it right on top. So this one is going to be our Did we ever No wait, we don't need to turn these into parameters because we are just going to use them as they are. So let's plug in these versions. And you know what I'm going to do is I'm going to use the very first multiply over here for this one. Just keep it, basically the same. And then over here, I just need to make some space, and then we have our roughness over here, and this one is just our normal. So that's all fine, so now we can go ahead and save scene. Go over here and now if we go ahead and we need to go to our landscape material, paint, scroll down. Oh, does it not add my layers? I should have. Yeah, everything should be fine. So it should have added those. Not sure if it still needs to update. I think it landscape material needs to be rebuilt. If we go to build build all landscapes, I believe that we can just do. There we go. And now if we just set the brush type different Oh, no. That is strange. So we got all of our levo, but it does not seem to show up the last one. That is very strange. So that one is looking fine and we have everything plugged in, except for that we have still not plugged in UVs, which I keep forgetting to do. But I am a little bit curious why it doesn't update because it is supposed to, of course, update just like normal. So let's go ahead and save this once more. There we go. Now it is there. Okay, very well. It's bugging out really badly, but now it seems to work. So, create a new layer info. Okay, fair enough. So I'm going to go ahead and get started with the light one, and I want to just get the light versions, maybe, like, around here. So I will just go ahead and like around these areas. Although you would think that these would actually probably be better if they are dark versions. But I don't know. You can kind of, like, decide for yourself what you want to do. Maybe it's already like it started to dry up or something like that. But then I would need to, like, because if I need to make these dark, I would basically need to swap around my light version, which might not be that bad. So I can pretty much, even though it is called light, I can just mess around with my parameters to make it dark. We know what the material is used for. It's mostly used around these water banks over here. So it's not like we I'm working in a massive development team and where we need to make the naming super specific and that we need to spend extra time just changing a small little name. So let's say that we got this stuff over here. And so as I said before, what we can do is we can go ahead and go into our train. Rain main over here, and we can just mess around with basically the lightness. So if we go in here, let's say that we have a look over here, I can go to my second color Oh, make that dark. Yeah, there we go, see. I forget that for the landscape material, we need to actually press Okay. Yeah, so it does not really matter, light, dark. It's all the same as long as we get some darkening going over here, so that's all good. And now for the next one, which is going to be our hy material, let's see if we can make this a bit more interesting by adding, once again, like a grunge map. Add the second one. I've not yet used that one. And give the second to load in for the first time. Okay, so that does look pretty good. The only thing is that we need to go ahead and we need to make the actual hay a little bit smaller because right now, this one is looking a little bit too strong. We can see if we can maybe, like, change the overall tiling, but it's good that we are using a mask for this in order to not have, like, the perfect round brush. So we can go ahead and we can here, see, because now we can also just mess around with this. And if we first of all, do this one, where we mostly just, like, do around these areas over here and sometimes like go outside of them, then what we can do in the next one is we can set our fate a little bit lower, and then we can give it a little bit of like a fade out. So let's for now, do this. Over here. And then after this done, what we'll do is well finally go ahead and do another lighting pass. Here we go. And they also probably use a straw to, like, keep everything dry around these areas, not that it worked very well. But yeah, after this, we're going to do lighting pass, which is going to be extra cool because we are going to do color grading, and you will not believe how much of a difference color grading actually makes. So a lighting pass is going to be quite short. It's most going to be like a optimizer, post effect pass rather than a lighting pass. But because we already got most of the stuff done and ready to go. But in any case, I'm just now doing this stuff over here. Let's give the second to load in. Same over here, load it in like that. And then at this point, you cannot really see it, so I'm just going to leave it over there. And only when I find out that I can see it from the angles I want it, then we can go ahead and just change. But for now, let's just do this. Over here. Now what you can do is you can just go ahead and set your tool strength to 50%, maybe set your brush eyes like a little bit bigger to 60. And then, again, sometimes if you want, just create some general fade out in certain areas where there would have been a bit of a buildup going on. So over here, you see me doing it quite quickly. But I am just adding some small fade outs over here. Almost like here. Like a lot of trampling happens where people are walking over it and it just gets trampled, and that's like a nice area. Over here, just to break up like that straightness, it would also be extra nice. And sometimes you can click Double just to make sure that it is correct. And here you can see over here, musk, like in Petun where people started walking and everything like that. And it's just like a general fade. Like this. And then if we go to our cameraangle, here we go, see? So that already adds quite a bit of a difference. And then maybe what we can do is we can here and there, add like a little bit of hay in between our material. But we are starting to get a really interesting looking rain already. So that is quite nice that we have this. And as you can see, we are not doing anything special. It's just like it's a very basic train, but it works. It's quite powerful. Granted that we are using quite a bit of extra geometry in here compared to normal, like normal games will probably not push this much geometry in it, although they might push it in it, but only when you get very close to it, it kind of depends on how the game and the engine and everything has been set up. And then yeah, around here, if you want, you can also add it, but you will most likely not be able to see anything this far away. Now, but this is good, like over here, sometimes also like in the in betweens, like, give it some hay. L over here, get, like, some difference also. There we go. And let's see. So if we don't go ahead over here, there we go. So that's looking really interesting. Okay, I am quite happy about this. If we just go ahead and switch to our other actors. Yeah, see here. So we got a lot of fidelity and a lot of variation, even though the material might feel very plain, there is actually a lot of stuff going on. So that's looking really cool. Okay, so having that done, let's close our landscape tool. Let's save our settings. And now last thing that I'm going to do is I'm just going to go ahead and I'm just going to add some water, and then we will move on to our lighting pass most likely. So for the water, we already have this over here. We can keep the water very, very simple. All we need to do is create actually unique material for this, just to make it extra simple. Let's create the material. Simply call this water. And what you can do is you can already drag this on. I'm not even going to bother creating an instance because this material will not have any textures or anything like that. It will simply be a plain color, so it will be a constant three vector. And this concentry vector is going to be a bit of a muddy looking brown color. And this is pretty much the same concept as using as doing our windows. So we basically add a constant that we set to 0.6 or something like that for our metallic, and then we add another constant, another constant. And this one is going to be for roughness and we set this to 0.1, so that will give us the roughness effect. And then finally, what we want to do is we want to go ahead and quickly go to substance. Let's open up our terrain decals node. We can just use this one. And then all we need to do is create another output or just duplicate this one and call this water underscore waves. And this one we'll just have a norm map. So it's just going to have a pearling noise at quite a large level and then a simple normal node on top of it, which will give us some of this very soft warping. And that's pretty much it. We can just go ahead and we can export this one over here. So I'm just now re using it just to save some time. And then if we go to our height maps, go in here and just quickly use same folder train height and just have over here, like the water waves, and we simply throw this in here. We will add a flattened normal with a constant. So the reason I'm using constants is because I do not need to expose anything. So a constant and the constant will be -0.5 probably so that it's not as strong. We basically throw this into our normal, and finally, to create a UVs for a normal, we want to get a world, aligned normal node over here, which might look very big and intimidating. But basically all you need to do is you need to go ahead and set your right click on your texture sample, convert it to a texture object. There we go plug this in here and then plug the XYZ texture in here. And then for your texture size, you want to have a constant that is very large, so I'd say 200. Into the texter sise. Okay, that might have gone a little bit quick. What am I doing here? I'm basically giving this no map world UVs, which means that they are UVs that are tiled across the entire world. So basically, they are the same UVs as that roughly the landscape material uses. You can kind of see it like that. I'm then going ahead and adding that texture to our flatenrmal to control the strength. And then we just have some general coloring. And over here you can see that this is the output. So I can now go ahead and I can save my material, and then based upon that, I can just balance it out and just see what I want to do. So I save it. I go in here and you can see that this is quite a dirty looking teal. Now, looking at this, what do I want to do? I'm going to set my normal to 300 and my normal flatness to maybe like 0.5 Sorry, -0.3, actually. Let's do that. And then I'm going to go ahead and I'm going to Oh, yeah, yeah, you can even see pretty much out or updating already or not. No, wait. I don't think you can. I think that was just like a bug. So if I just save this, here we go, so we can see that. And I'm going to make the water a little bit darker. And the roughness, 0.3, a little bit duller. Save that. Here we go. Especially over here you can see that it just has this little bit of water. Let's actually, what if I set my metallic to zero and my roughness to like 0.1, just to see if that looks any better? And I probably also want to go ahead and set my flatness, if I just set this to zero and save. Okay, so this is what we got right now. So that is starting to get there. I'm going to set my flatness to maybe 0.5, then after all. Although I think that only after one, it will actually, if we do 1.2, or three, then it will only start showing two. Yeah, 1.5. Let's try that. And I'm going to actually make my color very dark. Turns out. So let's make it very dark. Let's go ahead and save this once more. Okay, so let's set this to 0.2 in my roughness. And I know maybe I should have made an instance. I guess it was easier. I didn't expect that I had to go back and forth this often. But, okay, so this is pretty good. So we now got over here our water, but we still got all of these materials on here also. And what you can do on top of this is, if you want, you can twin throw on a decal. So this is quite a messy one, but we're just doing this, to get something very quick quick and dirty, so to speak, in here so that I do not need to put in any effort creating an actual material, but I rather just use whatever I already have in the engine to basically quickly art this because it's not so much a focus point. Here we go. And see now even with these decals, you can see that that already adds something. And it's more like that on the side. If we go to these angles, you can just see that there's something a little bit in here, as you can see. So it is not too special, but, hey, it works. So we got this one. Maybe we will improve it a little bit more later on. But for now, this is looking pretty good. So I'm quite happy with that and also like the straw over here. I said that I was going to make it smaller, but when I look at it, maybe it's better if I do not do that because else from a distance, it might not look as nice. So in any case, we got this now all done. Perfect. What we are going to do in the next chapter is we are going to do another lighting pass, just double checking to make sure that everything is working with the lights, and then we are going to use DaVinci Resolve revolve, sorry, in order to do the color grading. So let's go ahead and continue with that in the next chapter. 66. 65 Doing Our Second Lighting Pass: Okay, so what we're going to do is we are going to get started which is doing our second and most likely our final lighting parts. So for this, over here, we have a lighting. We also have a lot of booleans that, of course, have been replaced and they are now no longer in the correct folders. Now, you can try and sort this all out, but what I'm going to do at this point, it's just make a folder called Boolean finl that I will just save them in. And for the rest, we also have all of our decals. So this is the lighting, and then over here we have all of these decals. So let's just go ahead and first of all, select all of them. Then deselect the stuff that is not a decal over here. And then you can just create another folder called decals. There we go to keep things nice and organized. Okay. And yeah, this is the plane. Yeah, just leave it. I don't really care. So if we have a look over here, we already did like a bunch of stuff. Now, for lighting, we cannot really look over here because it's like overcast and this one is also quite a dark lighting. So there isn't too much lighting that I can work with. Maybe like this one is quite interesting. So if we have a look at this, now that our ground is a little bit darker, you can see that everything just slightly changed a little bit. What I'm going to do is I'm just going to go to my lighting and I'm just going to double check everything. So here we have our directional light. Let's see if we use temperature for directional light. We can actually set the temperature for the light itself. So let's say that we set this a little bit warmer. And let's set the intensity maybe to 1.5 maybe. Let's set the intensity to 1.5, but let's set our indirect lighting to 0.5. I should tone it down and also our volumetric scattering to one. No, that does not tone it down. In that case, I'm just going to leave it at one. But we can use that temperature to basically get a warmer temperature or like a colder temperature. So you can kind of mess around with that. Until we get something we like. And I quite like this one, which is 5,730, pretty much. Okay, now, the soft angle, it didn't work last time, but this time, all of a sudden, it does work. Over here, if you go to your soft angle, you can choose between Wi sharp shadows and like softer shadows. So we do want to just make sure that they are a little bit soft, not too much, but just that there's a little bit of, like, a softness going on. I quite like that. Now if we go down, all of this stuff I don't really care too much about. Yeah, that should be fine. Atmosphere sun. Oh, yeah, that makes sense that it uses the atmosphere. Cast shadows. What do I say, cast shadows on opaque measures onto clouds. Yeah, that's not really needed. So honestly, I'm fine with that. That stuff is not too special. Our sky atmosphere, I believe that one just has the actual clouds and everything. Or not. No way this does not have our clouds. Now, this is atmosphere which we can just leave. I am tempted to actually change the sky atmosphere with a custom sky. Now, this custom sky, I bat it online, so I'm not able to supply it with you, but I can just add this, and I will show you how to do that just to see if it looks good. Before we do that, we have a skylight over here. RealT capture is fine. S zero. One, 0.5, we'll give it maybe a bit more contrast. Now, let's leave it at one. Most of this contrast stuff like the small balancing, we will actually go at, and we will do that using the color balance, which is a lute that we are going to create, which is a color lookup table. But I will go over that a little bit later. Max occlusion distance that we don't really need to do anything about this. As I said before, because we already did most of the lighting, it is not too special. Like the only thing is that maybe if you want, you can mess around a little bit more with your angle. And let's say that we, we can change angle around to see if we can maybe get something a bit more interesting at this point. It does look kind of nice that we have this soft light, but I'm not sure I want to actually do that, or we can move it down or up maybe move it up a tiny bit like this. Yeah, that I quite like. So I just moved my light up a tiny bit, not too much, just like a small bit. And for the rest, all of this stuff is fine. So we have our skylight, which is fine. We have all of these reflection captures, which is fine, although if you want, you can go to build and just build all of your reflection captures to make sure that they are all updated. Then we have our volumetric cloud. So as I said before, you can mess around with this with your clouds to see if it makes a difference. I'm going to actually leave it as it is because the clouds because we are using our sun and our atmosphere, the clouds actually matter a lot with the lighting that we have now. If I would go ahead and change them now, it will just end up costing me more time to basically balance everything out. Instead, what I'm going to do is I have bought this mad painting skybox pack, and this is just on the marketplace. This is in your lounger. Now, the reason I'm showing you this. So I cannot supply this with you. But as you can see, these are really cool looking skies that we can use. Of course, some of them won't make sense like this stuff, but these are really cool to use. So I always like to just give it a twi by to see if this one is a sky that I like to use. Now, if you want to spend the money on it, I recommend it because it's really useful. So you can just go ahead and just type in this name. And the reason I show you this is because if we go ahead and we open this up into unreal, the marketplace currently does not work with Unreal Engine five because we are still in the early excess of Unreal Engine five by the time of recording this. That means that you will need to import this into an Unreal Engine four version, once you've imported it into a project of Unreal Engine four, this is Unreal engine four, you can see it looks quite different. What you basically want to do is you want to go to the pack that you have just imported, which is this one over here and you can see that everything is in here. Then you want to simply right click and press Migrate. Once you've done that, you can press Okay, and you basically want to migrate this if we go to our folder to your source files, unreal, folder content. This is where you want to migrate it. So you want to select the folder, and then it will nicely copy everything over and then it will show up into Unreal Engine five. Now, you cannot always promise that it will work in Unreal Engine five because all of these packs are made for Unreal Engine four. But I know for a fact that this one will work because it's simply textures. For really more advanced stuff, it might not always work as well. But so far, I found that 90% or 80% of the stuff simply works also in Unreal Engine five. So it will basically copy these files over, and once they are copied over, which I will just pass the video, here we go. You will see content migration completed successfully. And now if we would go to Unreal Engine five, go outside of this camera mode, it should show up in here. So here we go, Skybox pack. Perfect, see. So it is now shown up in there. So now that we have done that, what we can do is, let's go ahead and save our scene at this point. We are simply going to use it, so we can just use it like normal. It might need to just update. But what I'm going to do in this one, and of course, you guys cannot really follow along unless you buy this pack. But we are just going to go ahead and open up the SM Skybox mesh over here, which is just like this big round bit. I'm going to go ahead and turn off cast shadow for this. I don't know why it's still so dark. Oh, wait, it's so dark because it's not big enough. And then what I'm going to do is I'm going to set my scale to, like, 100 by 100 by 100. So it is like a massive scale. You will never be able to actually switch between it. So we got that one. Now, if we go ahead and go over here, all we need to do now is we need to give it a material. And this skybox pack specifically actually has over here. It has all of these sky, so I can literally just drag in the material, and then it should show up. Now, right now, it feel like that the problem is that my fork is actually reducing it. So let's say if we set this from 100 to like 50. Oh, yeah, yeah, see, so it's way too large. Let's set this to like 2010? Really? Okay. Five. So that is still looking fine. What we also are going to do is when we go to our exponential height for, simply set cut the fork cut off distance lower. Basically, what this will do is we will tell the system, if I go here. We will basically tell the system that at a specific area, we do not want to have the fort like a really high area. I don't know why the value is this high. That does not really do much. Is my skybox that large? Normally, I don't have this much trouble with a simple skybox. That's two. So at two, it breaks, but as you can see, I cannot see anything. So that sentence does not really make any sense. So I need to be outside of the reflection captures basically. But if I go four, I should see it. Let's turn off our exponential height fog. That seems to not be working. Let's see where does this come from. So the height fog has not been working. Is it the clouds? No skylight, no directional light, no. That is interesting because if we would move closer, here, you can kind of see it, or is it that the material is not N, the materials should be fine. Like, I can try different materials on here, but they do not seem to work as well. If we open them up, maybe it's like the power. So it has like a material that over here, if we just turn this off, there we go. So the power for some reason is making it warm. So if we go ahead and do this, maybe rotate the sky there we go. Now we are getting somewhere. So we can basically use a multiply to change the power. So let's say that we set this to, like, a tree and then over here, I just need to also just set this to three because I need to, of course, play around to it, see which one works. So we have this one over here, it's not really so much as sunset, but it does have some sky. No, I don't really like that. And once again, as I said before, it can very well be that none of these are actually working the way that I wanted to. We have this one, so let's set this one also to three. This one is adding a lot to our GI, which is a bit strange. Yeah, that's really intense. Wow. Let's just add this one here and just see if we can maybe change it around a little bit more. S zero, no, ten? No, one, two. There we go. Two. Okay, so yeah, it's basically it looks like that it is just adding a bit too much color, as you can see, with the glow and everything. So that is just it with the skyboxes. So that's one I also don't like. Oh, we are running out of skies to use. So if this does not work, then you can pretty much just ignore this entire thing, but I still want to go over it because I want to tell you like, the logics behind everything. So let's say this one over here. If we go base power of 1.5, and maybe let's say Star maybe we set this to like six. I'm not sure. I think this is not going to This is probably the first time that I'm not using or that I'm not having the sky and it does not look correct or at least the way I want it to. But sometimes that happens. But like this sky here, it feels a little bit too out there. It feels a little bit too strong. Maybe then the second one would be the only one that I would say is good. But the thing is that with this one, I don't know. We kind of like need to then where are you number two? Maybe if you like, make the color a little bit more like warmer color that works a little bit better. Yeah, that could work. So if we pick like a slightly warmer color over here, because I just like to have some more defined clouds. So we pick like some warmer color like this. We then rotate it around and get exactly like some nice clouds there, clouds in there, and just like mess around a little bit more like the position. And let's say so the sky comes from that area. So over here, like that kind of stuff, that can work. So our base power if we set this to two, Let's do this. Let's say 1.5. 1.3 maybe. There we go. Okay, so we're getting there four in our multiply, power of one point. So 1.2 maybe 1.3. Let's do 1.3 in the power. Let's get some nice clouds exactly in these areas that we get a nice little bit of breakup like this. Now, if I can, I will scale up this mesh over here just to make sure that it does not interact. And now I do feel like that everything is a little bit too dark, so I'm just going to go in my directional light and set the intensity to maybe like 1.3 or 1.2, just to give that little bit of extra lightness over here, 1.1. It's really sensitive. I'm quite surprised about that. 1.15 No, 1.2. Okay. So it's environment art. You simply need to go back and forth a lot of times. But I now got this. So this sky will not be included for you guys, but I just want to include the sky because it does make it look quite a bit more interesting. Okay, at this point, we pretty much have everything done. We got our fork over here, also. Maybe for this one, I'm going to go for, like, more of like a reddish color. So I basically here we have the distance cutoff, which I can just, let's just set lower. Let's see. Okay, so we have a density, so we can just set our density a bit higher. Oh, we already made it a little bit of a reddish color. So that's pretty good. So we got this bit of a reddish color. Maybe that's even a little bit too much, stone that down, and then set the density back a little bit, and then set the star distance. And start distance does not really do much because we most likely, yeah, we are using volumetric lights. That's why they are not working as well. In that case, set over the extinction scale down a little bit. There we go, see, we just got that more like a warmer feel still. And now that we finally got all of this done, now what we're going to do is we're going to work on the color grading. So if you go into your post effects, I already went over most of this as far as I know, our bloom. I'm just going to set that a little bit higher. Let's set this to 0.9, just to give it a little bit more like a glow. Our exposure is already correct. Our chromatic aberration. Okay, so we already did all of that stuff. Sorry, I'm just going to set my exponential height for a little bit less over here. Now, it is quite interesting because you can see that the lighting it slightly changes. I wonder if it is because our clouds are moving. That could be very well the case. That's why the lighting, very subtly changes, but I don't know. You can go into your volumetric clouds and, like, see if they have anything on here but doesn't look like it. In any case, see, you can see that there's some very small movement going on in the clouds, and I have a feeling that the clouds are moving very softly, which is causing these problems. In any case, for now, it does not really matter. What I first want to do is I first of all, want to go ahead and just have a quick look, see if there's anything else that we need to do. We had a depth of field over here. No, we did not yet want to change this. So you know what? Let's say that, let's do our color grading now. So for color grading, the way that is going to work, we are going to create a lute. A Lute is basically called a color lookup table. That's what it stands for. And what you can do with a lute is you can give colors on an image inside of, for example, Photoshop or in our case, DaVinci Revolve. And then what you can do is you can translate the colors that you give on that image into our real time environment. So the first thing that we need to do for this is we need to create an image. For this, make sure to save a scene because doing this is sometimes a little bit buggy inside of unreal. And then what you want to do is I'm going to, first of all, set my screen percentage to 200 to get the full resolution, which way looks really nice. Then I go down here again at the top and go to the high resolution screenshot. And I tend to set this to two, and then I create a simple screenshot. Now what it will show you is it will show you the folder over here, which you can click. And then over here you can see your folder. As you can see, I've created screenshots before. But once that is done, we can set this back to 100 and we can have a look. So if we go over here, this is our screenshot. It's quite cool because now you cannot see here. So this one I also took, you can see how far that we've gotten with everything. And I've even took like here, see? This was a few days ago, yesterday, I believe, just before we did the Bollon. So you can see that it actually makes a really big difference to how everything is looking. In any case, so we got our screenshot now. Now what we're going to do is we are going to open up the Vinci revolve. Sorry about the name. It is Da vinci Resolve. I mistaken about that. Then what I'm going to do is I'm just going to go ahead and I'm going to create a new project over here, and I will just call this Western toot underscore 01 and create. Here we go. Okay. Now, this might feel very overwhelming, but this is because DaVinci Resolve has a bunch of different other tools. They can do everything from actual editing and everything to adding things on top and all that stuff. We only are interested about the color. So what we can do is we can drag in that image that we have in here. And then what you want to do is you want to drag this image down here. That's it. The only reason we are dragging this image in this timeline is so that we can see it. Once it's done, all we need to do is click down here at the bottom on color. And there we go. That's all we really need to do. So here we have our color. What we're going to do is I just want to go ahead and change mostly the base color. For this, what I like to do is I like to go in and I like to set see where am I. I like to click on here, and I like to go for, like, a split screen. Oh, no, sorry. I'm in the Wong Window mode. Where am I? This one? This button over here, so many buttons. Go to Enhance Viewer. And now that you've done that, you can go up here and you can go to the split screen button and click on it. And what that basically will do is it will allow us to go to the version and we can that's not the one, this one, sorry. Image wipe, that's the one. No, that's still not the one. Where are you? Split screen. Version. Oh, Virgins and original. So I'm mistaken with the name. Okay, sorry about that. I have not used this program too often also split screen, Virgins and original. Once you've done that, you can use your scroll wheel in here to basically zoom in. And we can now see the original version and the edited version. Okay, so we have a bunch of different tools here. We have over here our primaries, which are just like our general colors. Then we have our curves, and those are the main focus ones that we want to do. There's a bunch of other stuff here, but let's just focus on this. So you can see a bunch of stuff. You can see like the temperature, although our temperature is quite good. We can see like our contrast, and if we then click and drag with the contrast, you can see, see. So you can see just the contrast changing. You can, of course, also indo that. So let's say that we give our scene a tiny bit more contrast. Let's do 1.1. You can just click and type on it. You have your pivot, which will basically shift around your contrast a little bit, but that's stuff I'm not too worried about. Then we have the Mth and we have the detail. This will add a little bit of detail to your scene. However, this does not always translate exactly the same inside of unreal. So I'm going to set this to 50. Now we have our curves. Our curves are basically giving us control over just like you see over our general contrast and everything. So what we can do is if we just click on this line, we can set our curves lighter or darker. We can also go to these lines down here which will basically boost up or down our contrast. So what I can do with this is I can say, Okay, I want to have my highlights to come out a little bit more. And let's just leave the darkening like it is. So I'm just basically pushing out my highlights a little bit more like this. So that's quite fine. Now, next to this, we have a bunch of different modes. If you click on these buttons up here, you can choose everything. So over here, it will say it in the name Hue versus Hue, Hue versus saturation saturation versus luminance. And all of these modes, they basically are all curves that we can change around. Now here, for example, can say luminance versus saturation. So we can say that if something is darker, it will be more saturated. So if I set this to light, you can see that the lighter area gets, the more saturation it gets. And just like that, I can also do like a clam. So let's say that I want to keep my darkness quite low, I can click on here and I can basically A click Next it, basically pushes down, and I can push these ones up. Now what I can do is here, I can basically say that I want to increase my saturation a little bit like this whenever we get like some of these lighter areas. Now, this stuff is not too special. Over here, you also have luminance versus luminance sorry, saturation versus saturation. And all of these things, they basically just control different aspects. You just need to play around with it, to be honest. What I want to do instead is there's a few things that I want to do. So we also have control over our gamma and everything. I tend to not need to use too much, but they are good if we want to just like an overall color. For example, if we click on our gamma and move our mouse around, you can see that we can change the overall color. We can make it very drastic, or we can make it quite nice and realistic. What I'm going to do is I'm basically going to move my color a little bit. And here you can see that I'm just very carefully here because we had like a little bit too much warm. So I'm just going to change my gamma around until we get a little bit more like a realistic feel almost. So I'm just very carefully moving my color around. And I think something like this looks quite nice, see? You can see that there's quite a bit of a difference between these two. Now, let's say that we want to go ahead and we want to well, you can boost your color also if you want, but that would kind of defeat the purpose that we just did. And you can also change the saturation and everything. Highlights, we can boost, which can be quite nice. The highlight boosting basically boosts whenever something is lighter. So we can just give our sunlight like a little bit of a small boost. But what I want to do is I actually want to go ahead and I want to see if I can basically add like some general color difference between channel. Sorry, that took way too much effort to say. The way that you can do this is you can go over here and you can basically control the curves for every single color. So what we can do is we can say, Okay, let's say that we are on our blue channel and we want to go ahead and we want to, like, take away some blue or we want to, like, increase some blue in, like, the higher levels. So if I go ahead and go over here, I can basically play around to that. So let's say that in my red channel, let's see, Let's say that I want to actually, I'm not sure. So in my blue channel, I want to just go ahead and just bring a little bit more blue, but I want to, I want to not do it as strong, maybe I can push this up. I need to be very careful with this. So I'm just going to give it, like, the tiniest bit of, like, a bluish tint. So if we go before, and after. So it's very, very subtle to add a bluish tint over here. So now you can see that here. We are now color grading so that is already looking a little bit better. Now, another thing that we can do is we are able to also basically give control over each individual color. Although I most don't need to do that, I just want to show you. However, if I just have a look at this, I feel like that I'm actually including a little bit too much blue. So maybe then if we go at the top, we can just tone down the blue a little bit more. Maybe like this. So I'm just giving the blue like a tiny bit of a tone down near the top, so where everything gets in highlights. So I basically get a little bit more blue whenever it is darker, just to compensate with the shadow and then a little bit more light whenever it is a little bit lighter. Oh, wow, we are quite far along already. So the last thing that I wanted to show you is that we can also control separate colors. Although I most likely don't actually need to use it. Yeah, I don't need to use it, but I'll just show you just in case. If we go ahead and turn off the advanced view over here at the top, can see that over here, you get these nodes. If you want to basically control specific colors, for example, you have a red color and you want to make it more intense. The way that you can do that is you can right click Art Node, and you want to add a layer mixer over here. No wait. Sorry not a layer mixer. Art node corrector. You want to add a corrector. And then you basically want to plug this in here. What you can do with this corrector. This corrector is basically default, but if we click on it, and if we then go back to our original view, you can see that everything has reset. It's not so much reset as that the corrector will basically just give us control over specific colors. Let's say that now I want to just go ahead and I want to press this link button to just edit all of my channels. I can go to this color picker over here, and I can basically say that I want to go ahead and I want to pick basically on my red channel over here. I don't know why it's not working. Now, for some reason, my color picker is not working. Normally, you will hold control, and then you can select actually the color, but doesn't matter because you can also do it manually. You can do it manually by basically clicking over here and you can basically click and drag and then use your arokes to basically select a general color. So what we can do is, although I believe that we are in the opposite way, but we can know that soon enough, you basically go over here and you select your color. And then if you go into your curves, let's say that for these curves, I'm just going to quickly make this very dark. Okay, so it looks like that I'm not in the right color. But you can see that I can basically almost like mask out my colors. Oh, there we go. We just want to do this. Basically what I can do now is I can try and mask out all the red colors like this, and then I can, for example, later on, give them a stronger effect. So that is general idea. So over here, I'm now trying to push my red colors, and you can also then go, of course, to your luminans and you can set this lower or brighter or something like that. So let's say that I set it quite only the bright red colors basically do something. So right now I'm saying, Okay, red color, only the bright areas of my red colors in my image. Will be, maybe a little bit lighter, will be affected. I can then go in here, and I think I need to have a bit more. Come on, you can do it. You guys saw it working, so it's really strange that now all of a sudden it just decides not to work anymore. That is actually really strange. So if I set this really extreme, for some reason, my color picker is not doing Oh, wait. It's just the colors seem to be very low. There we go. Okay, so now we can kind of see it working. Okay, that's very strange. I didn't expect my saturation to be that low. But in any case, what we can do if you right click, you can reset this. But what we can say is we can say on a red color. We want to move our slider. So we can say that here, see, we can basically make everything that is red, and we can just make it a little bit more intense red. So that's basically I just wanted to show you this. So we have this one and you can do this with basically everything. Let's say that I now, you can do it for brown, but I'm not going to do that because most of our wood is also brown. But just in general, this is basically what I mean. So you can mess around a little bit more with your colors and everything. Okay, so this is going to be a very long chapter. I do apologize for that. But let's say that now you are happy with your colors. We have already made quite a bit of changes, and you can see that it looks quite different. Now, let's say that we want to actually apply this. What we're going to do is we want to go ahead and first of all, let's save our project over here. And then if we go back into our normal version and we right click on this timeline, we can press generate Lute and you want to pick a 65 point cube and click on that. Now these Lutes, you can choose wherever you want to place them. I'm going for you guys to make it easier. In my texture folder, I'm going to create a folder called LUT. And in this folder, I'm going to go ahead and I'm going to save this, and I'm going to call this Westcor Lute underscore profile, and just press Save. Now, what you will get is you will get this really strange cube file, so dot cube file, but we can actually use this file inside of Photoshop. So the way that this works is we need to go ahead and open up Photoshop. Here we go. Then we need to find some documentation. If you type in Unreal engine out, you will be able to find this documentation, or you can just use the one that I'm giving you. But if you scroll all the way down, it will basically show you what lutes are and everything, but you will see soon enough. We want to pick this Lute texture example. Then we want to go ahead and we want to right click on it, saves you just want to go ahead and you want to save this in your Lute folder as a PNG file. The reason for that is because this is basically a clean lute. It is a lute that does not have any color changes on it yet. So we are going to now add the color changes from our texture. So all of those changes that we have added, they are stored in here. We can give this to our lute and this lute. The engine can basically read this lute to basically give the colors to our real time environment. That's a basic how it works. So we basically drag in over here our lute Oh, we can simply do this. We can simply drag it in here. And then all we need to do is we need to go to image adjustments, color lookup. And then what you want to do is you want to click on the TD Lute file, and then it will tell you, Okay, where is this file? You can now navigate to your out folder and you can click the dot cube file, load it up and simply press Okay. That's it. Now we can go ahead and we can do save a copy. And in here, we can just go ahead and we can save this as a PNG and call this Lut underscore 01 and press Save. Okay, we're almost there, people. So now if we go ahead and we are here inside of unreal, we can go to our western town create a nice new texture folder called LUT. And in here, you want to drag in your Lut 01 dot png. Now one thing that's very important if we go ahead and open this up, we need to set our MDMp settings to no MD Maps, and we need to set our texture group to be a color lookup table. If we don't do that, it will be broken. You then want to press save, and now this is ready to go. So to apply your Lute, all you need to do is you need to go ahead and go down here to your post effects. And then if you go ahead and go down to Misk, you will here have your color grading and your color grading intensity. So let's see if this works. We drag it on here. Boom. So this is the color grading. It might be slightly different from the one that we had because there's always a little bit of stuff that you mismatch, but this is looking pretty good. And I will off camera just have a look if I can change the movement of the clouds because you can see that it's basically going up and down. Now, you can use this slider over here to have less or more. So you can see like before, after. So you can see that this actually makes quite a lot of difference. What I'm going to do is let's say I'm going to set this to like 0.9 or 0.8 is often a value that I like. But 0.85. So 0.85 seems to be quite a good value. Now, that is pretty much it. If we now would move around, Whoa, that was fast. If we would now move around, you can see that our environment still looks exactly the same. And if we nicely go to like 200 screen percentage, you can see that we have this really hyper crisp, nice looking environment, and everything is also up to the upclose. It is just looking all really nice and really good. So that is all looking great. Here we got also like our terrain working quite nicely. So I'm quite happy about how this is starting to show. Okay, so what will be the plan for the next chapter? In the next chapter, I will also fixed the Cloud movement, hopefully. And then what we're going to do is we are just going to go ahead and start by creating a few small extra assets. I will just showcase you how to do those. There are assets like these little pools and stuff like that. Once those are done, here, like the little pools and maybe one of these. Once those are done, and you know the workflow, although the workflow is pretty much the same. Then what we're going to do is I'm going to go ahead and I'm going to just download some assets online and just use them to populate our scene. And I will also showcase you something that's also quite interesting. But we will go over that later on. And what we also need to do is we also need to create some details for our stores over here. So that's something to also keep in mind that we want to art stuff like that, just to make everything feel a little bit more alive. So that's the plan for the next few chapters. 67. 66 Creating Aditional Assets Part1: Okay, so what I want to focus on in the next few chapters is I want to create some of the additional assets. Now, I'm not going to create all of them. I actually have some assets ready to go that we can use in our environment. However, I still, of course, want to show you the process of creating a few of them. So what I had in mind is to create one of these, one of the walking planks, one of these like water things and a simple barrel. Now, what I want to do, although it is not really needed, I feel like that this is quite a good moment to just show you how trim sheets works. I'm going to create these assets using trim sheets. We can technically easily do it with just unique textures or with tilable texture or something like that. But trim sheets will also save some time. Basically what trim sheets are or they are almost like you can see this like an atlas or like a tilable texture that just has a few different components that we can reuse on these assets. So keep that in mind. Although for the wood and everything, it is not that much needed, for this kind of wood, we could just throw on a tilable material. However, for example, to also get these little bits of metal here and there, or to get the metal rings around here and get actual directional leaking, all that kind of stuff, then it can be handy to have something like this. So now you just know how we're going to do it, so it should be quite easy. S, those are the essays that we're going to make, if I have a look at it, so we are going to first of all, create the actual trim sheet, the actual texture. So first of all, I want to kind have a look. So if I have a think about this, I would need a wood strip, and let's say that we have one wood strip that has dirt from the bottom so that wood strip we can reuse. We will have another strip that will be metal. We will have another strip that will be like rope, although you cannot see it around here, so I will have some rope. And the metal will also have bolts and everything in it. And yeah, so that's the main tart and maybe like a different type of wood. Let's see. Is there anything else that we can get from here? So yeah, you can, of course, add, like, a bunch of stuff here. Oh, yes another few barrels. But yeah, it should be pretty basic. And then for our barrel, I don't know. The wood is very close together. I think we are still gonna do our barrel as just geometry because we can use the geometry. That's no problem. Okay, you can also see like some barrels going on and like some crates and everything. Okay, so that's the plan. So I'm going to use substance painter. You can use designer, you can use Photoshop. It doesn't really matter. They all have their pros and cons. For example, in Photoshop, you can do more precise selecting. However, because you need to work with both a norm map and a base color and a roughness map, it can be a little bit tedious. In painter, we can easily add specific dirt and bolts. However, the dividing up is a little bit more tricky, and in design of the dividing up is easy and repetitive details are easy. However, once again, you have the bolts and everything. So if we go ahead in here, let's create a new texture, metallic roughness. And then for our file, we need to actually have just like a plane. So if we just go ahead and go into over here. I'm going to create a plane, and I'm going to have it sideways because then I can see the material response a little bit better. So just create a quick plane inside of blender. And yeah, you know what? We can actually use this plane to also do some breakup. So if we use this plane, let's see for the breakup. So if we do just some simple edges, let's say that I have an edge, let's see. So one of them is going to be the wood. Let's have an edge that's going to be down here. So this will be the wood. Then we will have another edge down here, which will be a rope. Then maybe have some spacing. Then we will have another edge down here, which will be metal. So wood metal. And then the wood will have some actual directional dirt. And then on here, you can, like, add a bunch more stuff if you want. So like, that is the metal. However, we can go ahead and, like, add more stuff. If I just have a look here, is there anything else. Kelvie they also use these brackets. This kind of wood is kind of like plain. So maybe we also then go ahead and add like another piece of wood over here, and this wood is just going to be nice plain wood. So we will have some wood with, like, specific dirt. We will have some rope. We will have some metal that has, like, bolts in them in there. Then we have some specific wood, and then for the other one, you can kind of choose. Although we don't really need anything, I'm just having a quick look. Maybe I can add an extra asset. Oh, maybe I can do, like, basic metal or something like that. It's not really needed for me. However, if we are doing it, yes. So just guess, fill it up with something. I'll fill it up with just metal. I don't really care too much about it. That's not really the point of this. So over here, we've already divided this stuff up, and that will actually make it a little bit easier to do this in painter because we can just select the polygons. So at this point, we can just go ahead and we can export this as an FBX, and I'm going to export to painter, selected objects. Um Trim sheet underscore 01 underscore plane. And then later on I will show you some examples because the assets that I am using, although I downloaded them, so they are not mine. They are also using trim sheets because they're made by concept artists and concept artists really like trim sheets also. So I'll, showcase them to you. So first of all, we go back in here. We go ahead and we select the file and we want to grab our trimset plane two K, OpenGL. Actually, let's do four K, then we can always downrest the two k and then just presso. There we go. Simple plain as if nothing ever happened. Now, in our texture, we're just going to call this. Come on. Trim sheet on score 01. And then in here, we do need to bake it just in case that we want to use some maps. So let's just bake it at two k and just bake. And so now that we have all of this setup, now we can just slowly get started with creating all of our pieces. One of them, however, is going to be the wood, and for that, we can actually use our own wood because that one it would fit a little bit better if we use that one. So if we go ahead and go in textures, and if we go to plain wood, final there we go. We can basically just reuse this one. Are we going to go new or old? I feel like it would make more sense if we go old, yes. No, I don't have a real open, but, yes, I feel like all would make more sense. So now we're basically going to divide all of this up. So we can create folders for every element. So let's say that we call this wood. Now what I can do is, of course, we do have smart materials that also include wood, which you might want to try and use if you want to. So here you have, like, some wood, see? So there is, like, some interesting wood in here that we might be able to also use for something. I don't know if maybe for the barrel, we want to create a different kind of wood. However, if we would make that for the barrel, then these pieces would not really make too much sense anymore. So let's just do file import resource, and I'm just going to import my base color, normal roughness of that wood that we've just navigated to. And we simply want set this to be a texture. And set this to be the project. Current session means that as soon as we close it, it will be gone. Project means this actual project, although it is a strange name because I have not saved it yet, Library means that it will forever stay in your library. So we're going to want to go for the project. And let's just already save our scene. So let's do a save us and let's go ahead and save it. Let's do a folder. Trim sheet underscore 01, and let's save it in here. So this one, trimset underscore 01. We can just go ahead and save. Okay, so for our wood, we are going to create a new fill arrow here, call this Wood underscore base, for example. And then all that we need to do is we just need to go ahead and drag in our base color into the base color. Normal into the normal roughness, into the roughness over here. There we go. So we have some wood. I'm going to set my tiling probably to like two. And once that's done, with your wood, you can add over here a black mask so that you're basically masking out. And then and then if you use your polygon fill tool, you can see over here that I can select polygons and I can actually, for example, just simply click on here, and then I can add my woods just to this area over here. So just like that, it's very easy for then map our barrel to this also. So we got this stuff done, for example. Now what we can do is before we start really adding all of the details, let's first of all, just add some more stuff. So let's add another folder. Call it metal. And this will be like dark, rusted metal. So for this, we can go ahead and we can go into our smart materials because the smart materials do have some really good metals over here. So steel, painted, steel, worn. Let's see. So steel, dark, stain. I quite like the steel worn, but then I just probably, Oh, actually, let's do the steel rust over here. Like this. Then if we go at an in our steel rust, let's scroll down to our base metal and let's make this like one of those darker steels. See, so make them darker than let's see. So it looks like our metal scratches also need to go quite a bit darker like this. We have a rust over here. I'm going to, let's just also in our rust gradient. Tonee everything down, basically. That's it. We are just going to tone everything down to basically get like this really dark looking metal over here. The only thing is that it is very cloudy. Let's go into our scratches, and I'm going to set my scale back to one over here. Now, you can use your scaling up here. So now it is not as cloudy, so I think that looks a bit better. And remember that we only need to see a very small strip of this. So let's say that now we have the metal. We can once again just add a black mask, go to our polygon fill, and on the way, this one was going to be rope. So this one was going to be metal, and then later on we do want to add some nice bolts and everything to this. So, okay, so we got that one. Now, for our root, what we can do is we can actually also, let's say that we Okay, so this metal. So if we just add what if we add a different wood to this one, just to make things a bit more interesting? That could work. Let's also add the wood over here. And then if we just go out into this wood base, yeah, just select these separately because then we go because I saw, like a really strong wood is what I saw. Like this. And that might work. You never know. So the first wood was upwards. This one I will just leave sideways. And what I'm going to do with this one is I'm going to add a black mask and only have it over here. And then, of course, do balance it out a little bit. This is really, really intense. So we just want to go all the way down to our Woodrog and maybe just like, go for like a Yeah. So this one will be like a newer wood, so we can go for, like, a texture like this. So, you can see very different types of woods. These ones almost feel like more stylized while ours feels very much more realistic. But it can give, like, a nice difference. So we got those pieces ready to go. That is good. Um let's see, we were gonna add metal to that slot. But honestly, let's see. At this point, so I still need to create some I still need to create some signs. Yes, I still need to create some signs. For our signs, we can use the wood for the base. Let's see over here. So, yeah, we can use the wood for the base, but then we would need to go ahead and we would need to also change the colors of it, which will be a little bit of a pain, especially because there are different colors here. Or what we can do is we might be able to just, like, divide it up in here. So let's see. This wood for the base. Ah, no, no, wait. I'm just going to change the colors inside of the actual engine that feels a bit better. So what I'm going to do is we have these woods. And now I'm just going to use this one over here. I'm also going to once again duplicate this wood base. Here we go to duplicate it set this to be a black mask, and then go to your polygon fill and just select this one and also go to your original wood and select this one. And what I'm going to do with this wood, call it Wood underscore light so that I can change the color. So with our wood light, we simply want to click on the actual layer over here and then go down to this magic one tool and then go ahead and add a filter. And in your filter, you want to add something called an HL node, which is just use saturation and lightness. And we're going to tone this one down. And make it quite a bit lighter like this so that it almost becomes white wood so that inside of the engine, we can simply change the colors around. So the signs will all be working with this one. This wood will just be something very specific, like, let's say that we do our hitching post with it. Over here, this one will be our metal, which will most likely include the metal around our barrel. This one over here will be our actual barrel. It will have some ground dirt, and finally, the last one that we need is we need a rope. However, I don't think we actually have a rope. So what we're going to do is we are going to find one because this is not a tutorial or this part is not about creating brand new textures. So we can just go to text.com, type in rope. And in here, you can often see, or you can even download some of this rope, but they have actually already created some rope for you that we can use totally fine. So let's just go ahead and use this one. It is at a very low resolution, but that's no problem because we don't need a high resolution. So what I can do is I can go ahead and just download the base color normal roughness. And I'm just throwing that into a folder called rope inside of a trim sheets folder. Although you can see me doing it. There you go. Because I really always want to just show you everything that I'm doing, even though it is just very small stuff. We can go ahead and we can import these in here. Into the project, all we need to do is just create another folder. Just drag it up if it accidentally places it in another folder and just call this rope. In here, we're going to go for a texture or a fillle, let's call it rope. Then we have a base color, normal and roughness. At which point we can set a scale probably to four. And then all we want to do is we just want to simply rotate this like this that it is rotated horizontally. And now if we just go ahead and go in here and add a black mask, we just want to go ahead and go to our polygon fill and only have the rope in this area. See, and that actually already works quite well, though it is not perfectly rotated. See 67. Here we go. And you can also play around also, but it's pretty important that we just have these streaks going along here, and that's all we really need. So for a rope, it's actually totally fine. So this might look very silly, but this is a general idea of, like, a trims texture. Now, normally, in trims textures, if you have something very complicated, let's say we have something sci fi, you would go really more in depth than this. You would just have Sci Fi paneling and they would have super little bits of details and everything on it that you can just reuse. However, we are just going to reuse these. So we can already create a few props out of this. So our rope is pretty much fine, I would say. There isn't really much that we need to do about something like that. Our metal, let's start with just doing our metal first. I want ter fill layer to my metal that I will call bolts. For this fill layer, I want to go ahead and only have a actually, you know what? Let's have my roughness a little bit up. So my roughness is a little bit shiner. For the height, we need to set our height slider a little bit up so that it is going outwards. Your height will later be translated into a normal map. Keep that in mind. So all of the changes that we make inside the substance painter will simply be from our height map. And then for our base color, make sure that in your layers you are set to base color. And then what you can do is you can change the actual opacity of your base color. So we can actually tone this way down so that it is very, very light. And at this point, all we need to do is add a black mask. And we need to start adding our bolts. So if we go ahead and we go over here, for example, to our brushes and we pick a basic hard brush, double click on it and pick it. Now, you can set your size over here to make it a little bit smaller. And then what you want to do is you want to go down to your Alpha, and right now, your Alpha is just a hard round bit. But if you scroll all the way down, there are often alphas that look a little bit like bolts, and they are called um over here, shape paraboil. That's the one that you want to click. Now, if I would go ahead and click on here, you can see that now I create bolts, just like that, but they are also still fitting quite nicely. Now, one thing that we can try, it doesn't always work is but you can try and set the spacing up so that where you click once, hold Shift and click again. It will actually show some spacing. It depends on your texture resolution. In this case, it works actually quite well. So what we can do is we can simply click over here, hold Shift, make sure that it is as straight as possible like this and click again. And there we go. It's that simple. Now we have some bolts, although they are not exactly in the center, so let me just here it's like click Click. There we go. So now we have these bolts already here. Now it's just a matter of going into your fill layer. That's a nice thing about the fill layer. You can edit it after you've played stuff. So I can increase my height if I want. I can play around with my roughness, make it a little bit duller, or I can go ahead and also in my base color, I can also, tone down my base color to see if I want to, like, get rid of some of these highlights. And you can also make this actually metallic. Yeah, it's good if we make this metallic. So let's make it metallic. Let's set the color brighter. Okay, maybe not that bright. There we go. So now we got these bolts ready to go. So it's that easy, doing stuff like that. And on top of this, if you want, you can, for example, add some rust or something like that. So let's say that you want to add some rust on top of this. We can go to our SMRT materials and just type in rust. Oh, wait, this rust I made myself, so you guys won't have it. Then let's go into our default materials and type in rust. So this one is like the default rust. You can simply drag it in let's make this like a really dark rust color. You can see over here. And then just add a black mask. And now, all you need to do is, let's say that we want to have some leaking, then we can go ahead and we can go to turn off rust. We can go to our brushes, and there are actual leak brush. So yes, you can go ahead and you can, for example, grab something. You can grab a brush and then you can, if you want to mimic the leaks, or what you can do is you can use a particle system, which we do have over here to just quickly add some leaks. So if we go all the way down, you should get over here, particles like the realistic leaks I made myself. So once again, I will not be using that one just because else, yeah, it would be strange for you guys to see it. But let's say we go for here, leaks. You just double click on it, and now if you would paint in, you can see that you can create some leaks. Now, this one is not perfect. Over here, it's woolly spread out, doesn't look very good. So we can change the setting. So what we can do is we can go here, set the spine spread all the way down so that everything that we have is, like, very specific to our brush. Second thing is to go ahead and set our brush here at the top, a little bit smaller. This will automatically also make your particles small. Okay, that might be a bit too small. Then another thing that we want to do is we want to set our life a particle life way out so that when we paint, a particle life, maybe lit it up so that we paint, we only get some very small leaks over here, see? And that's at the rent which is random, also up a little bit. So now that we have done that, you can just pretty much go ahead and if you want. You can paint in some leaks in certain areas. This might be a little bit too strong. But I can go ahead and I can go in here. And if you want, you can also do it up here. You can later on, make your leaks a little bit stronger. But let's say that for now. We are just going to make it a little bit less. And also, if you press X, you can also, paint out the leaks again. So I'm just going to, like, here we go, paint this in a little bit. And then on top of this, we can also add some more rust. But just like that, we can very quickly just add some nice details. And that's the thing with these type compared to like tile wall materials. Tym materials, it's a lot harder to do this kind of stuff, and it will also be very repetitive. So let's say that I just skip one, and let's say at this area, we just have less leaks so it's not yet as rusted. Um, say that I skip another two. Maybe going here. There we go. So now we got these leaks over here. And now all you need to do is you just need to go to the original, and let's say that we just like balance out our rust color mostly a little bit. Yeah, it like a bit darker, a little bit more orange, something like that. And just like that, you just get some nice subtle leaks just sitting on top of your bolts. So that's another way that we can just very quickly do some small stuff like this. And if you want, you can always go in here and you can always like art. Let's say that we set our particle life a little bit higher. Bit more so that it goes down to the bottom. And what you can do is you can then add a paint layer on top of this. Adding the paint layer will give us separate control over whatever we paint in here, including of our roughness. So if we now set our brush size a little bit larger, and I, for example, do this, over here, you can see that we get all of these leaks sitting in this area. And then over here, if I go a lot faster, then what you can see is that the leaks don't have as much time. Oh, I do need to twine, do this, like, quite carefully. Here we go. So that it shows less leaks than at the beginning. And now the cool thing about this is that I can simply go into my paint and I can simply like tone down the intensity of it like this. But now you can see that we now have like this leaky looking metal. So that's basically the idea behind this. Not too difficult. So we now got some metal. We can go ahead and we can save a scene. And just to finish this off, let's go ahead and just add some bottom dirt and then I think for now that we are already, like, it's pretty good by this point. So we have our wood base over here. We go simply arifll Wood underscore base, underscore dirt. Let's set the roughness to be quite low. We can turn off metallic, we can turn off null, we can turn off. Actually, maybe give it a tiniest bit of a height, very, very low, like 0.01 and make the color to be like a bit more of like a brownish dirt. At which point, you would just go ahead and it would go in and add a black mask. And then in here, we can simply go ahead and we can grab a brush, let's say, dt one. The size a bit bigger. And we can, for example, over here, we can just paint in some dirt. Or what you can do is once again, you can use a particle or you can use different brushes also. So let's say that I grab my dirt one brush, very large. And it's just like to get like some general dirt. And let's say that I then grab, for example, my artistic head over here or heavy sponge, artistic heavy sponge. I press X, and I set my flow a little bit lower. I can, for example, go in here. I like make it a bit more interesting. So that's another way that we can do it. Or what we can do is we can go and we can try an art over here, like a dirt ground, maybe. That one I don't think will work. Let's do a ground dirt over here. And because the position map is just a plane, we can actually get rid of a ground map, and then we can go into our ground dirt over here, and we can, for example, play around with like a balance. Although this does definitely need some breakup, as you can see. So you can go ahead and lower down this texture. And then in a position gradients, also just like lower this down. So let's say we have this, we can then go ahead and we can add a paint layer on top of this, and we can go ahead and then add like our dirt one, press X to go to make it black and then you can go at and you can give it over here, a little bit of variation. Maybe in our base color, let's tone the base color down a little bit so that we can see a bit of the wood behind it. But at this point, you can go at and you can mess around with your height, see? So your height will actually add some height to your dirt to maybe make it stand out a bit more. And what you can also do is you can also, of course, if you want, replace this with some kind of dirt that you can have in your smart materials. I don't know if there's something in here and else you can just download it. No, I don't think we actually have something specific in it, but that does not really matter. For something this basic, it is no problem. So let's say that we now have all of this done. We are going to maybe add some improvements later on. But for now, because we've been already spending 30 minutes on this, let's create a folder called Oops final. Et's go ahead and file export textures. Set these to be the final folder, PBR metallic roughness, Taga, four k, and press Export. Now these are exported. So what we can do in the next chapter is we can start by creating our models and then applying our actual materials to that. 68. 67 Creating Aditional Assets Part2: Okay, so now that we over here, have our texture done, now what we can do is we can start by creating our models. So this plane, by now, we can just delete it because it will be saved as an FBX file. So four models, as I said before, I will make one of these. I will make one of these. I will make the planks, and I will make a simple barrel. So let's just get started with like a simple one. Let's actually start with this thing over here. Oh, for that, I do actually want to try and see if I can there we go. That's like a more logical. Okay, what we can do for this is, it looks like it's just a simple mesh and a cylinder. Of course, this version, if you really want to, you can make it really look like wood, and you could do, like, entire sculpting and all that stuff. I don't really want to do that, so I'm just going to go for, like, something a little bit more easy. So we have over here a cylinder. It doesn't need to be 32. Let's go for, like, 18 sides. By the way, let's turn off our text fw. Oh, hey, I was still in X ray mode. And I'm just going to go ahead and I'm going to make this a bit lower. If I go in here, I just need to check for the height. Where are you? Walkway straight. I'm just going to use you as a height and as a thickness reference. So first of all, let's set the thickness down quite a bit. Now, this thing does need to hold horses, so it does need to be quite powerful and maybe move this up a little bit more like this and maybe like set thickness a little bit more down. Yeah, there we go. I think that will be quite a logical thickness. So we basically got this version over here. Then what we can do is we can just go ahead and do contre R and maybe, like, give it a few random segments like this. And then we can start by just doing some general movement, but also X and also maybe do some movement that goes like, inwards like that so that it's not like all just like perfect side to side movement, but this is actually like a very messy pole and this quite dense, so what you can even do is you can even go and scale it, scale it down or up here and there, here, something like that. And once we've done that, we don't really need to make the other one, so I'm just going to go ahead and I'm just going to create the top version. So we got this one. Let's go ahead and for the bottom version, let's delete that phase. And then for the top version, give it a quick bevel. Oh, see, the bevel is won, so we just need to press Q and reset all of the transforms, and now the bevel is white. So maybe we can actually give it a few segments. Why not? Let's give it a few small seconds like that. Once we've done that, I'm just going to go ahead and select the top, press I to insert it and then Q and then just merge at center just to make sure that the top is also closed off. We got one of those. Now what we're going to do is we're basically just going to go ahead and we are going to duplicate them, rotate them 180. And honestly, with these kind of pieces, you can simply go ahead and you can add a mirror tool over here, and mirror it on the X axis, and then also just bisect it. And then just press Contra A. There you go. And what you can do with this one is if you want. Oh, let's go to Vertex mode. We can, like, select the bottom and maybe, like, sync it in a little bit more. And also like over here just to change it around a bit more, but it does not need to be too special. So we got one of those sitting over here. And then before we start just duplicating this one over, we do want to do like an unwrap. So having this one, we just go back to our walkway. So this walkway, yeah, that is quite long. So this is actually quite a decent looking size. So we got over here, we got these pieces. And now, finally, all we need to do is let's also create a quick cube. And this cube was just going to be like those brackets. I'm going to keep these models very, very simple. I do recommend that you spend maybe a bit more time on it, but these models are there just like an extra because I could technically just download a bunch of models and add them. And for you guys, you pretty much I already know most of the techniques needed. The only thing that I want to show is I want to show, like, the trim sheet technique that many people seem to like. I don't often use it too much. It's just not really included in my workflows, the way that I work. But, um, yeah, I can see that it is a useful technique. I have used it in the past. Only I call them atlas textures. But basically, what we can do is we can just go ahead and do something like this. It's bit too tick, so let's go ahead and just move this back. Over here. And I think for this one, I think it is too small to really art weighted normals. So for these pieces, what we can do is we can just do a shade smooth, right click Shade Smooth, because they are quite simple. This one, it feels like that it would probably be a little bit too much for that, and we are going to like arts and bolts to have weighted normals on it. So I'm just going to leave it like this. Okay, so let's say that we have this one. Now, let's first of all, just go ahead and continue and already create the other ones before we do anything else. So for this one, we basically just need let's say that we only create like three planks and we just have like this bit over here in between. So how did they make that waterproof? That must be really tightly shut if they make it waterproof. Huh. Interesting. I never thought about that. Sorry, my mind sometimes does that. So for this, we can pretty much steal stuff once again. So if we go over here, let's just go ahead and let's duplicate this one. And I actually do not have a Let's just right click, move to collection, new collection. Additional assets. There we go. Let's do that for now. There we go. Okay, so we have these ones over here. What I'm going to do is I'm just going to go ahead and I'm going to select this one, delete the pass, and then I can just alt X and just delete everything else. And then for these pieces, just select them and then separate selection. Let's see. These ones actually, they need to be very, I don't know exactly why I'm doing this because I just said that. Yeah, I don't know why I'm doing this. I literally just said that they need to be very specific. So we can pretty much delete everything except for this one. And even this one, we just need to delete this edge loop because it needs to be, very specific. On the sides, it can have some angling, but else it will just not work. So let's press a quick pivot in our Maxivs tools. Let's rotate this. 90 degrees, not 95. Move this over here. A nine degrees. And I think the size, I feel like it would probably be oops, a little bit longer, maybe, like, something like this in terms of, like, size. So what we're going to do is we just have this one, and I'm just going to go ahead and yeah, let's whether just add a quick bevel modifier. Actually, you know what? No, I don't even need to do that. Let's just add transforms, select everything, just add like a quick bevel. Like a single one. This one will be using weighted nulls. Don't make the bevel too large. So we got this. And now if we just do, once again, like a quick bevet let's down or download. Let's duplicate this three times over here. And what we can do with this one is we can just go ahead. Let's say, make this a little bit nicer. I think I'm actually going to go for like four times. So maybe I can just make it a little bit wider. Yeah, let's say that I select all of these and I just make them a little bit wider. Set this closer to the bottom, so it is not as low. And let's just really move these on top of each other like this. This one is a little bit higher, but I think I can work with this. If I just like at the platform, I'll be a little bit higher. So we got these, and then for the top one, for the top one, we can just add a few segments and then maybe go in here and just make the top a little bit more imperfect. Because the top one was one of those that they just use the leftover planks just to make sure that it is still fine. So we got this stuff done, and now we can, of course, then reuse these over and over again in there. The only thing is like for the short ones, we probably also want to go ahead and redo our UVs later on. And for this piece over here, honestly, it looks like that it's just like a very simple cube that is scaled in probably like this size. Over here, select the top. Let's make it stick out a little bit more. And then this size, what it will do is we will go ahead and rotated a little bit like this. Maybe move back a little bit more because you can see that there's some angling going on. And for these ones, because they need to be very specific, all that we are going to do is we are just going to go ahead and cue, reset transforms, select everything and just do like a simple bevel, and that's all we're going to do with this. Over here, that should do the trick. Okay, so we got those pieces down. So as you can see, very little pieces are needed for all of this stuff. Now, for our barrel, the barrel is just going to be quite basic. I can just find a picture of a barrel, but I can remember well, over here, you can even have, like, a picture, but take care remember here. There we go. Okay, so for our barrel, what we need to do is, um, yeah, you know what? Let's do that one separately because that one is a little bit more complicated. Okay, let's actually, first of all, just do the textures for this. So we got all of these pieces over here. All we need to do now is let's select all of them. Or, actually, let's select one of them, art and material, and just call this Trimset. Go to your base color image texture, open it up, and we are going to open up our trim sheet final texture, and then just open up the base color. And now just go ahead and select everything. Down here, copy material to select it, and then we can go to our text view. Okay, so what we need to do for this is going to be very simple. The only thing is that we can not really use a sure UV map anymore. So what we are going to do is we are just going to do some more traditional UV editing. If we go into our UV editing tab over here, what I want to do is over here we have the top bit. Let's go ahead and just hold Altex and select this top bit. Once you have it selected, if we go ahead and go in here, so many pieces. Grab the trim sheet on that we can actually see our texture. I'm going to start with the top it and just press U and simply do like an unwrap. And then we can do like an S and move this. I don't know why my texture is sideways. Not that it really matters, but Oh, I don't I don't know how to change that, so I'm not going to. I forgot or is it like No, sorry, I forgot how to change that. That is my fault, and I'm not really going to Google it right now because it's not really that important. In any case, we got this one over here, and now what we can do is we can just do a control I, select everything else, U and do an unwrap. Now, this unwrap will break because we need to have a seam. So if we go ahead and we just select over here, this seam, we can press U, and we can press Mark Sam so that now if we go ahead and we select this again, unwrap, it will recognize that seam and it will just place it there. So we got this one. Now for this one, I do want to probably on the way we were going to use this version over here. So let's go ahead and scale this down just holding S. Let's go ahead and just rotate this 90 degrees, and then basically, you can just place it in here. Now, the thing is that if your UV would be too small, you would probably need to split it up into two and then scale it up, but that will not always look very good. And by the way, also means that this one needs to go in here. However, it seems like if I look at this, that seems fine. Maybe over here we will need to do a split up. So if we have these ones over here, we might want to go ahead and select this bottom U unwrap. Scale and then move it over here. Select this. You unwrap scale and also move it over here and you can just have everything overlapping that is no problem for stuff like this. And now if I just go ahead and go to my tools, I can just go ahead and I can select. Oh, no, wait, let's select the bottom because these seems they are very visible. So we just want to go ahead and see if we can select the bottom. It's probably better over here, Mark Sm. And now comes the thing that I will see if we have enough resolution, but I'm not sure. So and Unwb, see, this one is very large. What I might do is I might select this and I might just go ahead and see rotate. Or do I just need to move it down? I'm just having a look at see how to make this the least repetitive possible, but I think I need to rotate it for this. I think I need to rotate this. And now if I just go ahead and select it, I just kind of like place into position. And then if we just go to Vertex mode, just move this down to make sure that none of them are showing the metal. So that does mean that we see a small seam here, but it kind just depends how obvious the seam will be. Seeing this, I think I did rotate it into the wong direction. So if I go ahead and go in here, hold control, rotate it back. Oh, and I also need to go ahead and I need to select both of these, and I need to move them out because they are extending out. So yeah, it's a bunch of, like, just messing around with your UVs. So this one does seem to work a little bit better. To be honest, I feel like I can even maybe, like, try and match it up a little bit better. Although the matching up will probably not be exactly perfect. You can always try and like you know, almost give it like a feeling like it's matching up so that from a distance, it will be hard to even see the seam. So we got this one over here. A done. Now for this one, what we're going to do is we are simply going to unwrap. I think we only really need to unwrap the front. That is the important one. So you unwrap Oh, press Q and just reset the transforms. Try it again, U unwrap, see? And now you can see that the changes. And I'll contra I and do another U and unwrap. Now, for this unwrap, what I'm going to do is this one, I'm just going to scale down because it does not you cannot really see it. So we just want to scale this down and just kind of like places in here. It does not really matter because as I said before, you cannot really see it. This one, however, does matter. That's why I needed it to be perfectly straight. So this one I keep pressing W for move, but inside of the UV editor, the shortcuts once again changed. For this one, what we can do is we can actually go in here. And, oh, that is interesting. So the leaks are kind of depends how you look at it. So the leaks might not be looking as nice on here because they are going sideways. But you can kind of just, you can mess around with it. I'm just going to make this a little bit smaller, most likely. Over here so that we only have like three of them, maybe also move it so that the bolts are a little bit more logical locations. Let's do something like this. There we go. So from distance, it will just be a simple piece of metal. So that's no problem. Now, for these pieces, we were going to go ahead and we were going to probably use this or we can use the original wood. That does not really metal too much. I'm going to select the bottom, unwrap that, and let's say I think I'm just going to use this one over here because it has like dirt then select the top. You unwrap this, scale it down, stroll in here. And then finally, we can just select all the corners. Unwrap, give it like a single seam, so we can just and press mark seam. Then if we go ahead and try it again, unwrap over here, we can then also scale this one down, and this one can have the actual dirt. I looks like we need to rotate it for the dirt. Oh, yeah, I need to still create a rope also. I forgot about that. So scale this down a little bit more. Here we go. And if you want, you can even go, like, a little bit nicer. Were you can go at and, um, Yeah, move this, but it does not work that easily. Never mind. I'm because, of course, the movement it is linked to each other, which is, again. Let's just say that I do not really like U Von wrapping inside of Blender, because the tool is left to be desired quite a bit. But in any case, so we got those pieces done over there. Now for these pieces, what we can do is maybe we can tw a quick automated. So if we just go ahead and select this, why are you not working anymore? Oh, yeah. Um, you can also go in here and you can do a cube projection instead of Smart U VPAC is the automated. Often here. But you can pass like okay. Yeah, actually, you know what that might work. So let's do that. Smart U VPAGo. Smart U VPAC, okay. Okay, so those are now all three working. So if I now select all of them, Oh, UV three. Yes, UV three. The only reason why there is a UV tree is, of course, because this one is using a mask because we duplicate it. So make sure that we are in the right UV. So if I just double check, UV map, UV map, UV map. Okay. Sorry about that. Let's try it again. UnwpUh I'm doing so much wrong U SMATUVPject. Thank you. Try it again. Smart UV project. Finally, SmartVPject. Okay, wow. So we now got these pieces. We basically move them here. And what we can do is, yeah, the direction of the grains are not correct. I think I'm actually going to move the direction of my grains. It's a tricky one because I want to move the direction of my grains, but I know that for my barrel, I will most likely, once again, need the opposite direction. So for this one, we can ty and rotate this. But it would most likely not give us nearly enough resolution if we then need to scale this down and move it over. You see, that would not give us enough resolution. So that's why I like using a D because then what I can do, I can simply say, like, move this one, and I could have then rotated this and moved a bit of it. This is one of the reasons why, also, I don't always enjoy using trim sheets because the flexibility that you have is a lot less. So for now, let's just leave the grains and see how they go. And if they are really bad inside of the engine, I will just use a different method, or I can simply just throw on like a tile warm table. Then we will just not use the trim sheet for this one, because I focus mostly on the barrel when creating the stuff. But anyway, so we got now these pieces over here pretty much done. So that is fine. Now what you can also do at this point is you can select this one and you can duplicate it and move it also like over here. There we go. So we have our hitching post. And for these pieces, what we can do is we can move them all together. So if we just do a quick pivot, we are a little bit over time, but that should be fine. So let's do a quick pivot here. Let's just go ahead and do, like, a mirror. And then press added pivot that we do an added pivot and move it out. Hey, that's actually quite a good size. And then at this point, what we are going to do is if we just have a quick look Okay, so it looks like that if I just rotate this stuff, give it a little bit of spacing, but do not give it any spacing over here. So just make sure that this one over here is very closely together. Like that. And then maybe for this one, maybe move it down a little bit more. And because of the mirror, it will automatically also move down the other side. So we got these pieces over here. Let's go ahead and just quickly duplicate them. See, let's delete this one because that one is like a top piece, and let's rotate these 90 degrees. Okay, that one is not working correctly yet. In that case, I'm just going to quickly rotate it the other way around. And for this one, I'm just going to move it in here. Go to added mode. And we are basically going to see, we actually want to move this back over here. As I said before, I'm going to make these actually quite sloppy in terms of just creating this stuff. So we got these three over here, which means that we just need to add a pivot on a mirror. I think I do want to keep my mirror intact this time just in case I want to make some extra changes later on. So I'm just going to spend the extra effort to make sure that everything is correct. Let's push out a little bit more over here. Now what we can do is we can select these three CtraJ then also go ahead and do a mirror. Press Add a pivot first. There we go. And I want to mirror it. Oh, this one does not do the mirror. In that case, just go ahead and press contra A because if it does not do the mirror, then I can just go ahead and move it like this. Swapped around. Maybe if I reset my transforms, it would have worked, but at this point, I'm already quite far on. Yeah, so we do need to probably fix those UVs a little bit more later on. But for now, so we got these ones, we can simply move this stuff over here. But and now what we can do is we can just grab these three duplicate them. Rotate them nine degrees. Maybe just press Control J, if you want. Rotate them again. In these pieces, we will need to go ahead and just redo the UVs again later on, but this should all be fairly straight. So I should be able to just go ahead and grab the stuff over here. Oh no, I did not rotate it correctly. Now it should be fairly straight. Yeah, okay. So now what we can do is we can just go ahead and just make this like very tightly packed, because you would assume that if there is water in here, they would really like tightly packed this altogether. Same over here. Maybe move this one down a little bit more. Yeah, for this one, since we need to redo the UVs anyway, we can just go ahead and also do those. I'm going to go ahead and go in here and just move this bit forward. Here we go. So for this one, let's quickly going to your UV editing. Oh, that's interesting. That it's so broken. Let's just do a smart UV over here and go ahead and rotate this. Though I don't think we actually want to use the rotate function, I think we just want to kind of like overlap this on top of each other. Mm. Sorry, I don't really like that. This time, it's not going as well. Let's go ahead and just select these backsides U Maxim, select everything, unwrap. And then my hope was that if I now go ahead and press Control L is the tool that you need to do for Select Linked inside of here, instead of pressing four because once again, shortcuts are different. Control L. Control L. Okay, so I was guessing just to do something like that, just to make it make our lives a little bit easier. And then over here, we also need to go ahead and we need to select this one if we just press four. And looks like that we need to just move it back. Oh, yeah, there's more of this stuff. Select this Control L. Let's move this back. So I just did not see that. There we go. So that fixes that stuff. So we now go back into layout. Yeah, again, a 30 minute chapter. I'm willing spending too long because I always want to keep my chapters below 20, 25 minutes. But oh, well. So we got all of this stuff done, and now at this point, you can just go ahead and you can go in here and just double check that out the smooth is on and when all of it is on. Oh, wait, we cannot add modifiers to multiple objects, so then just do them separately. Over here. Select these three. Let's just press Control J, weight normals. And now if I would turn off my wire frame toggle, there we go. So that one is now also working and there's some dirt at the sides. Over here, the dirt is, of course, gone, unfortunately. So that's something that we will also then later on need to work on i proof. But we will move over with this in the next chapter. In the next chapter, we will go ahead and finalize these. We will add some rope to this one, and then we'll just go ahead and create a barrel. 69. 68 Creating Aditional Assets Part3: Okay, so let's go ahead and continue with our assets. So I was just going to go ahead and it's a bit strange that my UVs just did not map over, but okay, let's go into our UV editing. And I was going to press four, grab this one. Oh, wait, that's why they didn't go over because I changed it around. I think I need to rotate it 180 degrees. I think that's the problem. Oh, no, wait. I don't need to rotate it in 180 degrees. That's strange. You said maybe like here, I think this is the problem. If I grab this one, see? I think that was just simply the problem. So if I now move this There we go. Now I get some actual dirt. Okay, great. So we got that one. For once, we can tag you same over here. So you can just go ahead and press control L. I think we need to once again rotate this 180. There we go a little bit of dirt there. And finally, if we just go ahead and go in here. Oh, it looks like this one because it is rotated. We need to Oh, we only have this one phase. Let's just move this one. There we go. Honestly, that's good enough for something like this. It's going to be a smile. I said, I don't want to spend hours on this. We got that one pretty much ready to go. That's fine. We can just go ahead and save our scene. Now for this one, I wanted to go ahead and I just wanted to add some rope to this. So for the rope inside of blender, I forgot that I was doing this in blender, but we are still going to use splines. Just placing splines in blender is a little bit more tricky. If we go to Shift A curve and Bassi A curve, oh, wow. I only now notice that my keyboard shortcut. I'm really sorry about that, that it was not hung up. Basically, now we have this curve over here and we are able to then later on go in added mode and move this curve around. So what I'm going to do is I'm going to, first of all, get this curve in the best position I can get it in, which is going to be something like this. Let's say that it's hang around here. Now basically for the curves, what you would want to do is you just want to go ahead and select the top and I'm just going to move this down. And you can also, select these points over here because the Bezier curve will just kind of like move around here. And I'm just going to basically create like a starting point. So over here, also, if your points are too long, just move them down. And let's say that this one over here, this is where it will just kind of like be hanging. So we got this over here. And now, if we go to our left view, no, to our front view. Yeah, over here, go to our front view. And now what we can do is we can press E. And when you press E, you will basically just extrude this down. And now the annoying thing about this once again is that our rotate has now changed the shortcuts once again. So what we need to do is we need to go ahead and move this down. Why are my shortcuts changed, actually? I think specifically for splines, they changed for some reason. But anyway, we basically just want to keep manipulating these points and moving them around, and we're just going to wrap this around a couple of times. So let's say that we have this. Oh, sorry, I need to go back to my front. I'm going to go ahead and also move this one down because else, we will just get the same prom and then select this point, press E again. There we go. And now it is starting to go a little bit better. So now if we go ahead and we rotate this Sorry if I sometimes press won shortcuts that I'm so used to pressing W ENR in order to change my settings, all of a sudden need to change it. Same with the middle mouse button I'm so used to using mill mouse button to rotate around that these things they are just force of habits and I cannot really control them. So over here, we basically want to go ahead and once again, do the same thing where we just move this around. And I'm not going to do this too many times. Let's say that I wrap it around two times, and then I will just duplicate that probably. So we got this one. Let's say that we now just once again, rotate this over here. Rotate this over here. Actually, let's go around one more time after we've done this. Not too many times, just like once more, that should be fine. Now what we need to do is we also need to do some other moving. Let's say at let's go around here. Let's just have it hanging like this. Now if we go to our side view because they will most likely all be at exactly the same place. So what we now want to do is we just want to move them slightly away from each other. Like this. And then this one is actually fine, so we then move it around again. Okay, so we just have like this one over here. Okay, so that's pretty decent. So let's say that now that we have this and you can, of course, make this a little bit more intense if you want. What we can do now is we can go down here to our spline settings, then go down to geometry, and then you basically just want to not the offset, sorry, down here, set the depth. Which will basically create like a cable. So having this cable now, we can still go in edit mode, and we are still able to now move this around and just change this around. So let's say that this cable is actually a little bit too thick, so let's say 0.025 maybe. Here we go. And then I'm just going to kind of move it quite close together because I think that will look nicer. Over here. But as you can see, so you can basically mess around with these cables, and it might take a second, but you are able to then just, like, create a pretty decent looking cable or cable, I should say rope over here, and then this one, let's move it back a little bit more. There we go. And then from the distance here, you can see that we just have this one cable. Okay, now that we have this cable over here, we can go ahead and now what we want to do is we want to just go and turn this into an extra geometry. So now that you have your cable, all you will need to do is right click and convert this to a mesh over here. So now it should be just like its own little mesh. There we go. So we now have a geometry. So for these geometry amounts, you are able to actually set the resolution. If I just undo this over here. So this is now a spline again. I can do, my wife toggle. You cannot go over here and you can set a resolution of your cable. So you can make it a little bit lower in the resolution preview. And the only thing is that, of course, over here does give us a little bit more less resolution. So it kind of depends you kind, need to play around with it. But let's set my resolution to probably like nine. And at this point, here. So I'm just going to yeah, convert this to a mesh. Just to see how it looks, I would also go in and maybe grab another one and rotate it 180. Oh, so quick pivot to make sure that it's in center. Yeah, like a 180, just to see see and then if I place two, it already feels a little bit more like Dancer. Now, of course, before we are going to do that, we first want to just unwrap this one. Unwrapping should be quite easy. So we do have these ends over here. I will guess that we can just right click and press new face from edges. Here also right click New face for matches, also press Altex that I go outside of my editing mode. And now, this one, it does often try to already do some automatic UVs, but I'm just going to reset my transforms. I'm going to then simply click here Al Chief Double click and that will just place an entire line all the way around, press U, and then simply press Unrep No, sorry, maxim, and then also over here, Markem, and also over here, Mark. And now if we just select everything unwrap, there we go. So then the first thing that I'm going to do is I'm going to go into my face mode, press Contra and select this piece over here. I'm going to go ahead and rotate this. Go into my okay, so I am already in my text ship mode. In that case, quickly copy over your material. Here, so we select the rope, we select, for example, the wood, copy material to select it. There we go. And now we should be able to move this around, scale it. And if the scaling is not working as well as we expected, we can always go ahead and go to, like, this scale and see if we can maybe produce it, but, yeah, we won't be able to really make it ticker. But something like this, it should already work. It might look very bad, but I think that it will work totally fine. And then the last thing that we need to do is just these two pieces over here, and I'm just going to simply move them. They don't really need any resolution, so I'm just going to scale them down really tiny, something like this. So there we go. We quickly just created the cable just to show you how to actually do it. You're gonna do a quick pivot. Then I'm going to simply duplicate this. Rotate this 180 and just move it again, and then have this, like, nice and close. And now, as you can see over here, we have two cables, and maybe you can also go ahead and place another one down here. So this is like where the horses will be sitting. So that's pretty much it. So we got these two pieces over here now ready to go and they can go to the engine. The last one that I wanted to do is I just wanted to create the barrel. And our far barrel, it's not too difficult, also. It's just that it requires a lot more modifiers. So with our barrel, as you might have noticed, it's simply going to be like, Where are you? Ah. Oh, God. I lost it again. They are. So here, the barrel is just going to be planks really closely knit together, and we're just going to rotate them around, and then we're going to scale the top and the bottom down, and that's pretty much going to be it. So first of all, let's select all of this, so that I remember, select one of these pieces and once again, copy all the materials to select them because we did a lot of copy pasting. Now we are sure that they all have the same material. And I can just temporarily move this to actually let's do new collections. Let's say this one, move to collection, hitching post. There we go, so we keep it a little bit more organized. This one. Move to collection. How do they call trough? I think they call it like a trough. I don't know if I write that correctly. Okay, so we have the water trough, the hitching post, I'm going to move also in the center. And now what we can do is we can just we have a random cube that we can delete. Now we can just focus on our barrel. So for our barrel, we basically just need to create a simple cube to get started with. First of all, go outside of our mode. Let's scale this in. Let's turn on Y, Frango and we basically just decide on the thickness. So if I have this bear if I just quickly grab my hitching post as a reference for the height, I would say something like this is quite a good height as a guess. Okay, so let's say that we now this plank over here. Now what we're going to do is we are going to go ahead and I press the wrong button. Sorry about that. Here we go. We are going to press Q doing transforms then let's go ahead and go in edit mode, select everything. Let's start by adding a very small bevel like this. Then we press contre R, and we need to actually give it a bunch of segments so that it can nicely bend around. So like ten, 11 segments doesn't really matter. I'm actually going to go for 14. Okay, so now it can bend around. Now what we want to do is we're just going to art already UVs. So let's just go ahead and press copy material to select it. And for this material, I'm going to go ahead and go to my UV editing tool. Plus W. Okay, so we got this one, I'm just going to let's see. Let's select this line. And let's also select one at the top at the bottom, like this, U maxim. Okay, now if we select everything, unwrap, it will be just like these two pieces, which we should be able to rotate, move, and scale and then try to scale them as big as you can within our frame. And then later on what we can do is we can simply go ahead and we can place them in different positions on here just to change around the wood. Okay, so we got this stuff now all done. So now that we have this one, now what we need to do is we need to save. And then what we can do is we can go ahead and we can probably start with an array and then a bend, right? Yeah, because we have a bend here. So if we start with an array and we set the array on the spre zero on the X on the Y, and yeah, okay so perfectly two is actually fine. So then we can kind of decide, the more that we get, the bigger the radius. So we kind of need to guess. If I go for 16, honestly, I have no idea. I just need to guess. Let's start with 14. And then if we go down here, I'll modifier, mesh the form, not mash the form. What was it? Simple the form or something? Simple deform. That was one. Then we go bend. And what the bend is on the Uh, XxsYxs. Oh, no, wait. Oh, it does not recognize the array modifier yet. So I need to actually press Control A, most likely on it. And now if I would do a bend, simple to form bend. Sorry, I'm just checking because it looks like my bet is in the w. If your bends in the wrong way, there is another way that you can do this. So let's just go ahead and remove this. So another way that we can do this is we can go ahead and if you press Shift A and then go to empty and create new axis, we are able to basically rotate these axes around, which will give us the ability. If I just move this over here and let's set my axis increments to the center, it will basically give us the ability to flip around the axis that we have over here. The way that you do that is you click over here on your model, you go to the origin. Grab this origin, and now it is just a matter of messing around with things. So if I set this to let's say 180 degrees to get start with, I can then go in here, if I just rotate this, let's see. I might actually need to be on the ZXs now I think of it. Although I'm not sure. Let's try So that, okay, y, so that does work, although it does not do it exactly the way. There we go. Okay. So yes, that looks correct. So yeah, it's a bit of mess. You kind of need to play around with things and everything like that. If I have this one empty one ATZ, I want to just quickly try because I feel like we now should probably be able to just select out of this and just delete it temporarily. Oh, sorry. Oh my shortcuts? Oh, no, wait, my shortcuts are not done. After you've done your UV unwrapping, once again, your shortcuts change because it can no longer linked because it does not count, there's linked because of our UVs. So but in any case, just end up with, like, one piece, and I just want to once again try the array modifier. And then I want to try on the bend modifier. And then if I set the bend modifier to the Z axis with the orange point, this one, there we go. So the reason I wanted to do this is because now if I go for 90, I can basically just mess around and I can see if we want this one to be 360 degrees, I can then basically mess around with this and give it more and more segments until I am happy with it, see? So it's a bit of a messy way of doing things, but at least it works. So we got this one now over here. Yeah, that must be a good thick. Now, as you can see, centristi and then kind of like tables off. So for this, what we can try is we can try a lattice note over here, but I don't think if I select the object, no, it doesn't work the same way in here. In that case, what we can do is I'm going to go ahead. I'm going to duplicate this and just kind of save it because I want to just go at new contra A on everything over here so that we basically have one big mesh. Then if I go to my quick pivot, another thing that we can twice, we can try to set up the quick FFD over here. What the quick FFD does this tool, it basically allows me to here I press scale. It allows me to basically manipulate and scale my assets based upon, like, a simple box. The only thing is that I actually expected to get a little bit more segments. If I can I press contre R? No. Let me just quickly check. Wait, here, I see it. We need to go in here and then what is it called? Object data properties. And then over here, we can set the segments. Yeah, this looks more familiar. I don't use this tool very often. But basically, what we can do is if we just go ahead and give this a bunch of segments, actually, not a bunch of segments. Let's give it only four. Now what we can do is if we go to added mode and we select the top and we select the bottom, then we should be able to scale it. Although can I just go to my scale tool over here? Let's only scale it on the black axis. And we basically scale this in a little bit more like this. Ah, let's try and set this a little bit lower. Interpolation. I'm just messing around two things here. 1 second. Because I'm just trying to see if we can maybe, like, do it like a smooth way. This looks like a smooth way. So now I've scaled it. Oh, no, wait. It's not that smooth. Um, how about now? Sort of works. Let's see. Is there anything? I've never used these other tools, so I'm just messing around with things to see. Nah, you know what? I don't think that's going to work. In that case, we will do it manually. So if we are doing this manually, you basically set this top one to be the scale that you want. So let's say that we move it in like this. And then, basically what we're going to do is we are just going to select now this one and then scaled in like a little bit more there we go. And maybe we even want to go ahead and like a few more segments because if we add a few more segments after this, what it will do is it will kind of add these segments in between, which will slowly smooth everything out a little bit. Now, it might be a little bit confusing, but it does seem to work. So let's say now we have this one. So now if we go ahead and just press contre A, so this one is selected. So this we can now delete. Now what I want to do is I want to see if I can now maybe like a bit, scale it down a little bit, and maybe scale it out a little bit so that I get it more to my ideal size that I want to get plays into the center. Here we go. So we got something like that. Let's turn off I Rim too. Yeah, that looks pretty much like a barrel. So we got this one over here. Is there anything else that I need to do? I feel like I'm forgetting something, but I'm not exactly sure what it would be. In any case. So hopefully, I don't forget anything. What I can do now is I can just go ahead and go in here. And although I don't really care about the center, I basically just go in and I can just select this one. I can press four, move it out, select this 14, move it out, this 14, and just keep doing that. And the reason that we do this is to add some variation. And sometimes you see me just like skipping one. This is just because I'm basically moving it in a different position anyway. Over here, it looks like this is going to be another long chapter again. But yeah, I just want to make sure that the pat ones are not exactly the same because that will not look very nice. Looks like we're almost there. So this one, this one, and we can leave that one. Okay, perfect. So we've got that one done, so now UVs are fairly unique. We can now go ahead and we can just do a Shift A mesh and create a cylinder. And for the cylinder, we just want to basically select the top, press contra I and delete everything else. Do a quick pivot on the top. And I'm sure that you know where this is going to go. Uh, over. Let's move the bit back over here. Okay, so we got that one. Just for good measure, let's insert this and press Q and not separate selection, merge at center. And then for this one, we can once again, we can select the barrel. We can copy over material to this piece. Quickly go to UV Editing, unwrap scale, move. There we go. So we got that one now also done. And now what we can do is we can just go ahead and we can duplicate this Move it out here. Yeah, that goes quite a bit into just creating a simple barrel. Although I must admit in three as Max, this kind of stuff is a little bit easier to do, by the way. So we now got these ones, and now all that we need to do is we just need to create the metal over here. So we'll have one at the top, and then we will just have some in between pieces. So for metal, it's easier if we probably just go ahead and create like a cube. And that started like the center one because the top ones we can probably just scale in. So we probably want to go for the thickest version. So let's say we have one over here. And then just for good measure, I'm already going to so one here, one there, and one there, okay, that's fine. So if I now go ahead and just scale this in like the thickness I want it to be, then I'll also scale it in over here. And our last thing is that, of course, guessing, the size is always going to be a little bit tricky. So I'm not sure exactly what size it needs to be. So what I can do is I can start with something like this, and then I can just scale this in because we are not having UVNps yet. So I can just do contre R, and I can just, like, add a bunch of segments here. And now if I just quickly add my modifier, simple deform, bend, 180 degrees. Let's plus Q and just reset my transforms. Let's ty that again. Quick pivot. Simple deform because it should not react that way. Oh, W, do I need to do the axis stuff? Let's grab just like our original axis. And that seems to already been like the right location. So 360 degrees. And now that we've done that, what we can do is we can simply scale down mesh. And because the bend isn't modified, it gets added on top, whenever we scale down a mesh over here, it will reduce it. We do not have enough segments. That's the only thing that is quite annoying. So do I need to scale it down even more? Okay, no, so you are now at the correct scaling. The only thing is that you are way too low poly. If we just temporarily turn off our bending. Oh, wait. I said it to be. Yeah, I went way too small. In any case, what I'm going through here is I'm just going to go ahead and press Contra B, and I'm just going to split all of these polys, and then maybe also place an extra one in between here. There we go. So we are basically just adding a bunch of extra polygons here. And now if we scale this down so basically just force it. So even though it's completely flat, there we go. So we have that done. Now, for this one, if we just go ahead and duplicate this, will this be as easy as moving it up here and maybe doing the same? Oh, yeah. So it seems like it's curious that it does work like that. Okay. In any case, what we can do with this one is we can go ahead and Okay, so the polygon count is a little bit uneven. Which is really no problem. I can remember that Blender does have a tool if you want change that, but honestly, it's not really problem. So I can just press Contra A. So this has now become its own little mesh. If I just go to my left view, I select the bottom, basically. I just want to go in here, and with my bottom select, I want to tone this down, then we have a top. And now what we can do is we can just go ahead and we can select. Oh, sorry, Q, reset transforms, Contra B. So we are just adding these transforms. And also lets you shift H, and I'm just going to go ahead and I'm just going to I don't think it, I don't think it can. On a wait, it can register Igster over here. It has like this in between phase, like that. That's why it didn't register. So now if we do conceit now, we can just basically remove the back and then do tag. So there we go. So that one is now ready to go. If you want, you can just go ahead and already, the weighted normals and you need to turn on out smooth. But that's a general goal. So we got that one, and now we only to do this one here, and then we can also have them on the other side. So for this one over here, Contle A select the top. Scale the top out a little bit. So contra I just invert my selection. Select the bottom, scale this in a little bit, move this up a little bit over here so that it just like, extends out. Now if I go ahead and I'm just going to contra B, it's Q Risa transforms, Contra B over here. Yikes. I'm spending a lot of time on this 30 minutes. So we have this one done. We're almost there. So I will do the importing. I will do that in the next chapter. So what I want to do is I kind of like me to check wherever we had that. There we go. There is like the center bit. And now we can just delete the back. Perfect. So we got that one done. H over here. And now all that we need to do for this one is, I'm just going to go ahead and also over here like already up my weight normals. And then simply select everything unwrap and it should give us it's not the best unwrap that we have. So what I'm going to do, by the way, first of all, let's go ahead and just press copy material over here so that we can see it. So, this one is definitely not the best one. In that case, what I'm going to do is I'm going to go ahead and I'm going to just select this outer ring, do a U and an unwrap. And in this one we are just going to edit a little bit more. Actually, you know what I have a better idea. Let's just do this. Here we go so that we have one piece. And then we are just going to select the straight one, which is this one. Then we press L to select everything or contra. And then you want to go ahead and on space, I have my search. Oh, it's already there. If you go to preferences over here in your space by action, just set this to search if you don't get this. And yeah, you want to basically type in follow active quads. And then when you do that and press Okay, it will basically do its best to straighten out your UVs like this. At which point we should be able to pretty much move this here, maybe even scale it up to give it a bit more resolution because it is a tile ball UV. Don't scale it up too much because then even though it does follow active quads, it is not perfect. We just want to see, that's what I mean, it's not exactly perfect. I am actually going to just scale this maybe I can hold shift and, like, come on. Rotate, hold shift, and then maybe I can rotate this very precisely. And that can give me a better result. So even now, just go off my selection. You can see that the bolts and everything they are there. So this is working. And now we just need to go ahead and just do the same with the other one. We select everything you unwrap. We move it here, we select like one of these L space, active quads, okay. And then it looks like that we need to do another thing where we just basically rotate this and then hold shift, and then rotate this very precisely until it is pretty much straight like this. Maybe scale it down a little bit more. Uh oh. Does not look like it has a very here, that one looks actually a little bit warped. Honestly, by this point, we are spending way too much time on this. So what I'm going to do is I'm going to go ahead and I'm going to just continue with this in the next chapter. 70. 69 Creating Aditional Assets Part4: Okay, so we left off by creating these metal bars. One thing that we're going to do is we're just going to go ahead and select one side, and then we are just going to scale this and then hold shift and basically scale them pretty much straight so that there is not as much warping, especially like this one had a lot of screwing going on where we just need to scale this, hold shift, and just do, like, some more precise scale and if you want, you can, mostly look at your texture for scaling. Something like this. I think something like this will work quite well when we are eventually unreal. So let's say we have these two over here. It's plus contre J to join them. Let's go ahead and just do a quick pivot. And now what we can do is we can do a mirror on the Oh, let's do an added pivot, actually, and move this up because Elsa cannot see what I'm doing. On the Z axis, okay? Mirror on the Zaxs's move down a pivot a little bit, maybe move it up like a tiny bit over here. But there we go. Okay, we got a barrel. So that's pretty much I know it was quite a bit of, like, back and forth, but now if you just go ahead and also out to smooth and add a simple weighted normals over here plus contre A. So of your at a pivot and there we go. We have now created our barrel. So I tried to do it quickly. I wasn't as quick as I expected, but a barrel. There we go. So we now got our SS done. Now let's just go ahead and get all of this inside of Unreal. So first of all, I'm just going to right click ID data and just rename to rename my map, or I could have just done a long click. Let's call this barrel and just add all of this here, move to collection barrel. So now we have all of these also nicely sorted out. Let's go ahead and save us, and I'm going to get started by just selecting my barrel. Just deselect those empty face over there, and I'm just going to go ahead and export this as an FBX to Unreal and just call this barrel on score 01. Export. This one. Oh, actually, it is better if I just in case, select everything, select one of them, and go into our materials and do a copy material to select it. I need to be sure of that because else it will just import multiple materials again. So this one was Barrel 01. Hitching post, we can do the same. We can just select one, copy material to select it just to be sure. Export FBX. Hitching post. And finally, we will have a water thing. Once again, copy material selected. Export FX Water score Trougt. I have no idea if trough is the actual name for it, but okay. So we got these pieces here, although this one might actually go a little bit more in the center. There we go. Okay, so here we are in our level. It's looking really cool. Now what we can do is we can just go ahead and we can start by importing just as normal. So Western town assets. Let's go in here and Oh, wait, it looks like that I first of all want to import my trim sheet. New folder, trimset. Base color, normal roughness and metallic is the one that we need. Here we go, and don't forget your normal. Oh, don't know why it went over there. It's because my other screens are four k. So that's why this window is often really large, just because it goes from four k to one K or two K. So we have a textures. And now if we just go to our assets, and I'm just going to import the assets that we have just exported, just give me 1 second. So we have a barrel, water trough, and our hitching post. And I do know that we still need to do the store signs. However, because we also need to create text details for that, I'm going to do that in its own little chapter. So let's just import all of these pieces. We have a barrel. Hitching post feels a little bit large. Oh, that's our decals. That's it. Hitching post this is why we had to keep our decals really low and our water trough. So let's say we have these. So first of all, I just need to go in here, and this is what I mean try to keep your decals low because else you get these problems over here. So that's why I just need to lower them down. I still need to be able to see. Also, one thing that you actually can do is you can select your models like your hitching post, and you can scroll all the way down. I completely forgot about this. Actually, we can do that with multiple. Let's say we select these models. We can scroll all the way down over here to not physics. Rendering, I believe, and then just press the drop down and then there is a received decals and you can turn this off. And then basically what it will do is it will simply not receive our decals anymore. Also, it looks like that our barrel is flipped. So let's first of all, fix that. So if we go down here to our pace orientation, Shift N, you know the drill. So we swap around the pace orientation, barrel 01, just double check the hitching post and water. And that's all totally fine. That's now also done. Save sine. It's going to unreelRimport our barrel. There we go. Okay. Now all we need to do is we need to create the material, and I believe that we can use a basic master for this. Yes, we can. The only thing that I need to do is let's grab our trim sheet. Metallic over here, throw it in here, convert it to perimeter. Call it metallic map and then add a static switch parameter has metal map. And if it is true, we will use this one, and if it is false, we will simply use the metallic value over here. And then the default value will simply be false. So we can go ahead and we can save this. Here we go. Now if we just go into our materials, create the material instance from our basic master and just call this trim sheet underscore 01. And then in here, if we just go ahead and turn on the hesmtllic map also, it is just a matter of importing or placing our trim sheets. And now we can actually see how this works. Let's say that we have a hitching post. We can open up these models. So let's open up the hitching post, water trough and the barrel over here. And then all we need to do is just simply add our trim sheet 01 the specs over here. And over here. There we go. The only thing is that this one, it is not smooth, so that's something that we do need to fix. So if we go over here, I need to set my smoothening down. So if we go down to our smoothening, let's just right click and shade smooth. On the way to outer smooth is correct. It's just that I forgot to do a shade smooth. So same over here. Right click, shade smooth, and then art your weighted normals. There we go. And that should do that. Or that should fix that. Export is once more, barrel 01. Let's go in here. Right, click Ribot. And now you can see we have a barrel. We have a metal over here, all working just fine. We got over here like our water trough that has, like, the dirt and everything in it. So let's basically it with like a trim sheet. And then over here, you can also see that we also have our rope sitting over here, although it is a little bit shiny and we have all of these extra pieces. So having these pieces now. Now, it's just a matter of first of all, we need to go ahead and I'm going to place them very basically in some areas over here, and it's more to make sure that the scaling is correct and that the actual materials are also correct. So let's say we have this one, have it like over here. And just, like, feel free to, like, kind of sink it in a little bit into the ground, not too much. Okay, so let's say we have this stuff. Now, the water trout, I think, is pretty decent. Here, you can see that it's quite like a big one. Oh, yeah, and the planks, but the planks, we will do differently. This one, what I'm going to do is I'm just going to scale down my hitching post a little bit. And blender crashed, okay? Don't know why that made it crash, but let's try it again. Did I, wait, now, I just need to redo the shade smooth and the weighted normals because it looks like it's a lost at work. There we go. Save my scene. Hitching post, as I said before, selected. I'm just going to press Control J most likely at this point. And then edit my pivot and just snap my pivot to the center. Scale this down a little bit. Um, that should be fine. So, oops, one, one. So if we just scale this down a little bit over here, file export FBX Export to unreal. Where are you hitching? There you are. Yeah, no way that we could have done all of this in the next chapter. So we got our hitching post over here. Okay, so having that stuff done, now what I'm going to do is I'm just going to edit my materials a little bit. I'm going to get started over here. Let's just get started. So our base wood our base wood is pretty much fine, and the dirt maybe make the dust like a little bit lighter, but that's about it. Here we go. Dirt a little bit lighter. Then we have this second wood over here for which I want to go ahead and I want to make the color a little bit duller. Like this. Then we have our metal over here, for which I want to make my base metal. Lighter. And yeah, so metallic map, it's always zero or one, so we don't really need to change that. So we got those things also done. And then for my rope, if you just go ahead and press C, you can switch between the different channels. So I want to go into my roughness channel, and for my rope, I want to go ahead and add a levels. However, I want to only affect my roughness channel in these levels, and then I want to set this to be lighter that it so that it will look duller, basically. And let's try and export this. Go in here. Grab your trim sheets re import. Give the second to load here. So that's now a little bit lighter. Hitching post now fits a little bit better in the environment. The rope is now looking duller. Yeah, then over here, then this metal, that's the only one where it's not super nice looking. But honestly, from a distance, I'm not worried about it. You can improve it if you want. I just don't think that I am going to improve it myself. Let's say that we now have these few pieces over here. It's working pretty decently. I don't know if this one. Oh, yeah, wait for this one, we did not have any dirt because we were going to use different one. But anyway, your assets, they are working, and that was the main goal just to show you that it can all just work just fine and how to use trim sheets. One thing that I forgot to actually show you that I can show you now is how to change the resolution because right now we are importing this as a four k resolution. If you ever want to change this, all you need to do is you need to go ahead and you need to go in, oh, God, they changed the location of it. Oh, yeah, they moved it down. Maximum texture size, you can just set this to 2048. And then what will happen is it will only display a maximum of 2048 in your textures, so that you can just go ahead and you can save this and do this on multiple. Also, a cool trick that we often use in the game industry. Let's say that this texture over here, it is metallic. I can actually set that even lower because it does not require as much detail, while a norm map does require a lot of detail, so you would want to, like, set that one to 2048. Then, for example, things like roughness maps. Although roughness maps, I will also leave 248. But things like metallic maps or other less important maps, you can just lower them down even more, and you won't really be able to see difference. So here, this is now two K, and it still looks pretty much fine. Okay, so that was it for just creating these assets. Now, what we're going to do then in the next chapter is we are going to get started by just creating a few store signs that you have over here and also creating some decals that we have over here of our store. So that's going to be most of it, and then we will still reuse our trim texture. Uh, I don't think I forgot anything else. I will show you later on how we are going to do that, how the other assets look that I have, and all that kind of stuff. But for now, I think that we are pretty much good to go. The only things that here, I forgot I just need to fix that. So I just need to go here, shade smooth and turn on out the smooth shade smooth, turn on out the smooth. Same here. Out a smooth, right click, Shade Smooth, and then add my weight to normals. There we go. That's pretty much the only thing that I had to do for this. So now I can just once again, I can export this. And of course, if you spend a lot more time, 1 second, let me just water. If you spent a lot more time on your trim texture and really plan it out, then of course, you can get something much more interesting and much more highly detailed. However, for this example, I'm just going to keep it nice and simple. See, can I delete those? Yes. Let's just delete all of these leftover things. So there we go. We actually have quite a bit, 31 models, so that's already quite a bit of stuff. But okay, so that's now done. Let's go ahead and continue on to the next chapter. 71. 70 Creating Text Decals: Okay, so what we're going to do now is we are going to focus on the decals for our store names. And I will most likely only do like two or three of them, so it is not going to be too much work. I said that I was also going to create like some of these plates over here, but it turns out that I have quite a bit of those. So at this point, I feel confident that you already know which ones they are. But I have like over here. If you go in my props, I have a bunch of different props that I will showcase in a later chapter. But the goal is that I literally have all of these panels over here that I can just use. So that would just save me a little bit of time to just add some extra stuff to this. Especially like things like the bank. But as you can see, if you look at these things, what you would do is you would literally just make this the same way and just use your trim sheet or use some wood. It doesn't really matter. And then for the text, you would just go ahead and use if you would like a decal, the same way that we are going to cover right now. Yeah, we got bunch of cool stuff here. Also a barrel. So you can see the difference between their barrel and barrel. So in any case, I will showcase this to you later on. For now, what we're going to do is for our decals. Yeah, as you can see over here we can see a few different names. I'm going to go for maybe a hotel, general store, and maybe something interesting also on top of that. The first thing that we're going to do is we are going to create this in vote shop, and here we are in vote shop with a blank profile. I'm then going to go ahead and I'm going to go to my textures and create a new folder that I will call text decals. And basically in this folder, we first of all need some funds. If you go to dove fund.com, you are over here able to add or to basically find a lot of different funds, which is really nice that we can use. There's a few things to keep in mind. Not all of these have actual here, licenses for commercial use. I am a commercial user because I'm creating this for a tutorial. You guys, if you are just using it for personal use, you can of course look over here and use for personal use. So what I'm going to do is I'm going to go to more options, and I'm going to only sort at public domain 100% free. And then I'm just going to press Submit. And then the cool thing is you can also give some text. Let's say that I call this general store. I can then press Submit, and what they will do is it will actually white everything in the general store. And then over here, I can see like, Okay, so this one I quite like, for example, I can simply press Download and it will download it. So if I go into my text decals, create a folder called fonts. In here, we can just go ahead. So we have a general store, and now I will do something like let's see. Let's I think I do want to have something interesting. So not just hotel, but I want to have something like a name. Can we maybe do something? Now, because all of my naming that is with, like, fast track tutorials and everything, that's not very interesting. Let's do something like this. The yellow rose. Something like that will work. Let's do the yellow rose. Let's press submit. Okay, so this is done for a hotel. So this will probably be something that's a little bit more fancy. The yellow rose, this one looks quite nice. There are not too many that are in, like, commercially free, so you guys will have a lot more options than me. But let's just have a quick look. Yeah, I don't think there's much extra in here. Because, of course, I want to have it very readable, and it wouldn't go too intense because they would need someone that can even paint it. So let's find what was it this one? Yeah, I believe it was that one over here. So let's go ahead and download this one also. Okay, so we have these two over here. We can just go ahead right click and just extract them if you are using Win Ra, for example, and I'm just going to delete everything except for these two pieces over here. Now, what you want to do is you want to go over to your Windows bar, and you want to simply type in fonts and then press Enter. When you do that over here, you can basically install a bunch of different fonts. So I can now go in and I can simply drag in those two fonts that I've created. And they are now installed, and they will automatically show up inside of Photoshop. So here we are in Photoshop. So let's get started with the first one which is just going to be a general store. The general store, we want to probably go for a little bit of, like, a darkish color. So we go over here to text. We find our text, which is going to be ACA Pose, posse or something, and set the color to be black. And then simply go ahead and I'm just going to set my text to start at the left side, general store. And then what I'm going to do is I'm going to go up here to my rectangular tool, right click, Free Transform. And then I'm just going to simply select the side. Okay, so actually, this is probably the yellow rose, I believe. I think we need to go for if we just select everything, Duba on a way, that was a yellow rose. Never mind. So this is the correct one. So we have, for example, general store and what we can do is we can say, like, Okay, so this is a general store. I'm going to make the text like a little bit of, like, a lighter bluish color. Like that. And then maybe we can go ahead and so we have General Store. Then if we go up here to our MO tool, we can hold Alt Shift and then we can actually duplicate this text. And then what I can do is I can actually let's go to our free transform again. We can just scale this down, move over here, and then we can say, for example, food, tobacco dash clothing dash drinks. So it's like a little bit of, like, advertisement that they would do. Right click Free Transform. And maybe we can then do another interesting thing owned by dt Werners. And I have no idea why this would work, but I just feel like in those times for some reason, they would like to stick their name on it. So let's just do like an owned by Werns let's see in the center or maybe in the side. Let's do it in the center. Here we go. Just like that, we can very quickly create some very basic looking text that we got over here. I'm just going to go ahead and I'm going to do my general move and just hold Shift to carefully move it up here. So once you've done this one over here, you pretty much know how this is going to go. We've done decals before, so we just need to go ahead. Add a solid color that is the same color like this, so now it will just be plain. But then if we just go ahead and duplicate all of these layers, Bottom layer is going to be black. The top layers, we are just going to merge them. So if we just go ahead and go convert to Smart Object and then right click and press Rasterize layer. That's the way that you can convert text. And then just the same thing where we just do like a color overlay like this. Then we can go ahead and we can merge these layers once more, select them, art an Alpha and paste them in. That's it. So now what we can do is we can just go ahead and we can file, save us and just save this into our decals and just call this general store text, save. And now we can also do save a copy, and this copy is just going to be simple TGA file over here. Okay, so that is it for that one. Now for the next one, what we're going to do is I'm going to go for what was it? The white rose or I already forgot what it said. Yellow Rose. So now what we can do is we can go ahead and go in here. D yellow rose. Right, click, free transform, makes the bit smalls, that it fits. And then we go like Hotel and bar then let's get rid of the owned buy. So we have Hotel and bar. Let's right, click free transform. And let's make a little bit bigger. And it kind of fits like the yellow rose because our building was also yellow. So we are going to have this over here. And what I can do is with this, maybe let's go let's go for like a red color or something. Well, actually, it would not really make sense. Well, it's kind of funny if we would do the red, even though it's like the yellow rose because the building is yellow. So if we would then also make the text yellow, yeah, that would not really work very well. But if we just go ahead and just copy the hash of this color and then select the bottom one. Oh, yeah, you know what? No. Let's leave the bottom one. I quite like that. Let's leave the bottom one to that color. The yellow Rose hotel and bar. Uh, wait. They don't call it a bar in those times. They call it a saloon. There we go. That would make more sense because at least I assume that they would say something like saloon, just like a bit in movies. And then we can do it through a saves, and this one is going to be hotel text, save. And now what we want to do is we want to go ahead and we are going to keep the text probably. Actually, let's make the text red. But then let's go ahead and make this text over here. If we duplicate this, Actually, a cool thing, if you have selections on, you can just go at it and you can just go down here and add a solid color, and it will automatically fill in your selection. So let's do this over here. And now all we need to do is we just need to go ahead and let's select these three. Right click, duplicate them, and I will just now do this very quickly. So one of them is black, two of them convert to Smart Object, right click rests, because here, this is normally the speed that I go at when I do this kind of stuff. So then, of course, it doesn't take as long to quickly just add something like this. See? So that's a lot quicker. When you get used to the workflow, you will do this very, very quickly. So I'm just going to save this and then save a copy that is going to be a taka file. And let's just do save over here. Okay. Perfect. So we got those decals ready to go. That was not too special. So we can just go in decals and we can actually just add them to here. So that's arts. And then all we need to do so we already have our decal material even, so we can just go into metals, decal. And if we grab our decal, let's just grab Leak era one, duplicate this and call this general store text. Open this up. And because we have used the same workflow, all we need to do is just go into decals, d in our general store text. And yeah, the roughness is going to be quite low. So all of that stuff is fine. And then it's just a matter of adding this in here. So if I press G so that I can see what I'm doing. 90 degrees, 90 degrees. Just like that. Scale in a little bit, and then it's just up to, like, maybe make play around a little bit more intensity. But as you can see from a distance, that is working very well. So that's basically the general concept about creating these type of decals over here. I might create more later on, but I'm not sure yet. So we got this one. I can now already duplicate it artist over here. And all I need to do for that one is just duplicate my general store and call it hotel text. And just like this, go ahead and make as many variations as you want. If you want, you can create entire logos. You can do everything you want with this. Just in our case, it's just going to be something a bit more simple. So we can just do hotel text. Yeah, yeah, see that looks actually quite cool. The yellow rose, like nice big text. But let's make this text a little bit faded out, so that's not so intense. We can do this using scale. I think I need to scale this actually quite a bit. Here we go. Yeah, let's make it a little bit more intense, just so that we can see it from my main angle. Like that. So we got over here, we got the text, we got the general store text. And with all of this stuff, that is looking great. You now know also as I said before, how to create these signs. But if I would, for example, I will go over this way more in depth in later chapter. So if I go, for example, to the signs over here, I can, for example, go here, let's say that this is like a bank. I can art this white sign of a bank, simply just place it in front of it over here, scale it up a little bit. Do this. And it's like small things like this. They are very time consuming to do, so you can spend hours on this, but they will add a lot more to your environment, and they are very effective. So let's have a look. So we got this stuff over here done now. If I have a look at my notes, oh, yeah, we still need to do some variation to the walkway. The variation to the Volk way, it's basically just going to be sometimes in some very important spots. So if we, for example, have a look over here, we can see that, for example, this would be quite an important spot. What we can then do is we can simply use our modeling tools. So first of all, let's just close all of our tabs over here. There we go. We can simply use our modeling tools and then use your lattice over here and set it like a resolution, maybe a bit higher, let's say ten. Oh, sorry, that is not the correct one. Let's set this one to zero or two, at least. This 110 over here. And then it's just a matter of selecting these pieces over here and then moving this down. Okay, so that's not working as well. So maybe if we go like a resolution of five and then I'll go in and just select both of these, I think it's a matter of segments. I think if we just cancel this, I think it has to do that we do not have enough segments in our walkway straight. Yeah, because let's say we probably need two segments there and maybe like a few more over here to really be able to push that out. So let's just add a few extra segments here and there. Don't worry about this is still not that much geometry to art, especially when we would do something like vertex painting sometimes. So let's say that we do something like this, and let's just export this FBX walkway straight. I hope I do not ig. And also, by the way, I also want to change the colors of the planks. So that's another thing that we are going to do. So if we go ahead and go in assets, walkway straight, reimport. Okay. So now let's try that again. You see now it is able to go a little bit better. And then what you can do is you can sometimes just click and drag. We are just going to do some small changes like this where sometimes we just have things are like sinking in and maybe they are just a little bit messy or maybe they are pushing back like that. So just like this, we can just pass accept and it will keep actually our original shape. Oh, wait, if it keeps our original shape, it will probably artists to everything, doesn't it? Yeah, here, so it added to everything. Although it is not too bad, I do want to show you a technique if you do not want the artist to everything. And that is that if you select this one, first of all, just press duplicate up here and then simply press Accept and then it will just duplicate this mesh. Are we seriously going to say that you do not duplicate the second UV channel? Because that would be really sad. I think it actually does not duplicate the second UV channel. Let's just open it up and let's just see. As I said before, no wait, it does. No, it does not. Okay, as I said before, this is Unreal engine five. Stuff like this can happen. It's just simple that it just can happen. In that case, let's do the walkway straight again. I guess one way that we could do this, although it is a bit destructive is simply to right click and duplicate and call this walkway underscore straight underscore crooked, for example. And then we can go ahead and we can replace this, and then we can just, like, add the changes only to this one. Then every time you want to have very specific changes, you could add those. So let's now grab these ones, and I just move them in, and I really move them down. So this is like a let's say this is going to be like a really messy looking version over here. And it is like all over the place and all that stuff. And also, stuff like that, you can do if you want. Yeah. So let's say that this is really just like a much more messier version that we normally have, then we can do stuff like this. So the modeling tools, 50 50. I'll give it to 50 50. So over here, now this is like a lot more crooked, which looks quite nice because then over here, you can actually see that there is, like, some matchings going on. And if it is needed, we can always then replace this one over here. And let's say that now, you can see that now it adds it over here also. I don't really want to do that because it is very specific detail. But let's say that I go over here and let's add it also, let's add one of them over here. And maybe let's add one of them over here. And maybe like one over here. There we go. So we just make it nice and messy and stuff like that. Just to add that extra bit of variation that we have here and there. Okay, so perfect. So we got those pieces done. By the way, I was like having a look at, like, trying to get the collar to work. If you set your ground radius in your sky atmosphere lower, you actually get a little bit more of the sun, and the sun will also stay at this stage a little bit better. Because remember how like a bit of a while ago, we had problems with, like, the sun going down and up and down, up in terms of, like, intensity. You can still see like a tiny bit over here, but it is not as bad anymore. Because I think for the rest, I am using an atmosphere somewhere in my direction light, I believe. Oh, wait, here, cast Cloudshad. Oh, no, wait. I needed to have the cloud shadow. So yeah, I actually looked online and I cannot find any way to really turn it off completely. So that's something I just need to have an extra look at. In any case, these pieces are now done with ta store decals. What we're going to do in the next chapter. The next chapter is going to be super exciting. In the next chapter, we are going to dress our scene with more assets that we have. And on top of that, if everything goes well, I even have actual people that we can also use, so actual humans so that we can make the scene feel more busy, like you can see over here. So that's going to be really, really cool. And at this point, I would say that all the material creation and all the object creation is done at this point. At least for me, it is. You can, of course, spend a little bit more time. So next chapters, we might do a little bit of animation, and then for the rest, we will just really, finalize the scene. And I might like one extra chapter where I just create maybe a few extra assets just to really push this environment to the next level. But for now, let's just go ahead and let's leave it at this. 72. 71 Place Aditional Static Assets: Okay, so this is quite an interesting chapter. So what we're going to do in this chapter is we are going to do our first asset pass where we will place extra assets in our scene. Now, of course, by this point, I have shown you all the techniques that you need to know. You know how to create buildings. You know how to create separate assets. You know how to create materials, unique texts, everything. But of course, there is one thing left, and that is time. I cannot spend another 50 hours creating assets using the exact same techniques. So instead, what I'm going to do is I'm going to just simply download some assets and use them. Now, there are a few resources that you can use. The resource that I am using is paid. Because it is paid, I am not able to actually give you this resource. So the one that I'm using is I went to Gumroad, and there is this concept artist or I think it's also like a movie artist, that's called Jemma Jura F, I hope I agree, and I'm not going to lie. The one that I got is pretty expensive. I got this one, the Wild West collection bundle, which is $400. But this version over here, basically what it includes is it included buildings. I included really high detailed rigged characters. It included also assets. Just a lot of stuff was included in this. And that was the really cool thing about this that because there was a lot of stuff included in this, it had on my knees. It even has horses. It has rigged horses. It has so much stuff. So I want to show you. Now, of course, I do not expect you guys to pay these kind of prices. I really hope that it pays off and that you enjoy that I'm showing you this and that I will also show you how to do actual animations and stuff like that. But what you can do is there is a lot more stuff. First of all, one of the most obvious ones that is also free is that you can go to content, and you can use the Quicksaw Bridge to go ahead and get some mega scans. So in these mega scans over here, there is actually a lot of Tweedy assets also. So if you go to Tweedy assets, you can go ahead and you can go to props, and then there was like historical or something like that. So over here you have wheels, you have weapons. But there's also like there was, like, historical stuff. But let's see. Oh, yeah, wait here, historical. Oh, no. Oh, yeah, wild west over here, there we go. So over here, what you can see is you can see crates, you have fences. You have extra props here, see, L a lot of really cool, interesting stuff. Again, I cannot include this stuff, but this is also like some of the resources that we could use. So we could have some interesting saddles, maybe do, like, something like the stone wells or, like, have some extra benches. So there's a lot of stuff in here that's also free, so that's great, so that you can also use. So here, we also have a lot of really interesting, high quality wood barrels. These are, of course, the quality of these to do those by hand manually would take you hours. So it's just great that you have all of this stuff. And it is all three. And next dish, you can, of course, also go to the unreal marketplace and there. You can also find a lot of stuff. So what are the assets that we have over here? So it's really cool. I will just show you a little bit of the stuff that we have, but we are going to mostly focus on props. So over here, in the bundle that I have bought, I have a bunch of different props over here, and the ones that I am most interested in, I believe that I can actually go in here and they have a scene that I added to this. So let me just quickly open up the scene. Here we go. So these are the assets included. Now, the essence that I'm most interested about is these little carts over here, which as you can see, it's just wood. And then for rest, we have some benches, which are quite nice. Here, you also have some of these wattle things and everything, and even the hitching post. And for S, it is the signs that I'm quite interested about. Now also interesting thing about this that you can see is that they should all show, Oh no way, these are all still unique textures, but there's also buildings in here. So if I go for the buildings, I won't use them, but the reason I want to show you is because they use trim sheets. So you can really see how did everything works. So if we go over here and it looks like that we just need to wait for the static meshes to appear. So the cool thing about this, I already had like a look. All of these buildings are basically using trim sheets. If we go over here, you can see that they only have a single material. And if we open up this material, although it is not yet loaded in, hopefully I can already open it. Ah, yes, over here. And that's like a cool shader. But then the interesting thing is that this is the only texture that is using a trim sheet texture. And that's what I mean with, like, the power. So here you can see how they use the trim sheet texture and how they really just plant everything out perfectly, and how with like a few different types of wood planks and everything, they are able to literally texture this entire building and do everything. So I will cover trim sheets a little bit like later in future tutorials, just to show you how to really make proper use of them for, like, these kinds of really large things. Of course, the resolution of it is it's okay, but this resolution, these buildings are more made for, like, not for games, but rather for, like, concept art and everything. And that's why the resolution and the quality is always a little bit less. We got some really cool buildings over here that we can also use. Now, what's really cool is that next to this, we also have characters. And these characters we will do in the next chapter, if we go back to our restaurant town over here and don't forget to just turn off your Booleans. Give the second because now because it is loading in those old assets, it still needs to load in these assets, which means that they are looking black right now. But don't worry that once this is done, I will just pass the video. Here we go. So it has just done loading. It just simply need to keep loading everything. So over here, what I want to show you is next to these buildings, we will go over this later on. We have two types of characters. We have crowd characters, which are basically characters that are just static. And what I will do is I will use them just as, like, background characters. And then what I want to try and do is we have hero characters, which are really cool. And these hero characters, they are completely rigged, which means that I can animate them, and they also include horses. So what my plan is, although I must say I've not yet done a lot of testing on this, but my plan is to basically have a scene like this and then have a few of the characters like one with a horse, so we are going to create a horse animation. And then I want to basically have one or two characters that are just sitting on a horse that are walking and they are actually walking through the environment. And we also have some other characters that are just, like, walking around that are just like, interacting with each other using just like gestures and everything like that. So we need to kind of do the planning to see how we can do this best because, of course, only the hero characters are rigged. All of these crowd characters, as far as I can remember, they are not rigged, although I do need to have a look, so for that to make sure. So that is like the plan. As you can see over here with the crowd characters, they work really great because, for example, if I go, here, let's say that I just grab like this guy, here, see? You can just enter him. And just like that, I just have like a guy that is just sitting here looking at something. Or maybe what I can do is I can, for example, have like one guy that is just like here. He's just nicely sitting. Porch. Okay, then in this case, it just does not fit completely correctly. But let's say that we just have one guy that is sitting here, for example, Let's turn off like a snap potato. There we go. He's just sitting on here. And then what we can say is we can have another guy if we loaded in the first time that it needs load in, it's always a bit slow. But basically, if we just have one guy that is just kind of like standing here, and then we have, for example, a horse. And for that, I need to go into my hero meshes. And let's say that I just have a horse that is simply standing. And then this horse, it did import incorrectly, so I need to fix this stuff. But as you can see, I can literally just have a horse standing here. Then I can also have another where I can go like, Okay, another horse is just, like, walking by. This horse does not have any textures, so let's just pick my hero horse over here. So we have a horse that is just walking by, and then this horse would then have a guy sitting on top of it. Over here. And you can just have like this guy. So you can imagine that this will just add a lot to our environment. Environments take a very, very long time to make a very high level. So that is why we are using these extra assets, but you can already see that this just already adds a lot more life to our environment. So, these choats we are not yet going to do that. We are going to focus on those heavily in, like, the next few chapters. For now, what I want to do is I want to focus more on, like, some buildings and some props. What I mean with buildings is that if we look in these areas, I can still use some of these buildings, even though they look nothing like the buildings that we have, it would still be cool, for example, to hear it like the background to, for example, pick like one of the churches. Let's say that I pick like one of the churches and I just move it, and it does not need to be anything special. We can just move it see, I can just have it sitting here so that I just have a little bit of that look of the church. Now, I don't know if there is anything else in here that is really high that can work. So if we go ahead and go over here to let's move this a little bit more like our side views, we can of course have look. But of course, I made my side views very specific. So for the buildings, there might not be that much extra special things that we are going to actually art. We might work on the camera angles later on also, but for now, this is fine. And what you can also do is if you want, you can also just replace these buildings over here just like some of these just to give maybe like a slightly more perfect shadow. However, that kind of depends on your lighting. If your lighting goes from the other direction, then it would be handy to do this, but we don't have this. So let's say the buildings, I'm just going to quickly grab this church over here, which will just add like that little bit extra. And it does not even matter that it's like, Yeah, I can just push it further back and then it's not intersecting anymore. You know, maybe, like, move it a little bit more like this. There we go. And then we can just have, this church, I am going to actually move it a little bit more, just like that. So we can just have like this church like an interesting location. Okay, the next thing that we're going to do is we are going to work a little bit more on our props. So I have a bunch of props over here, and I also have some props that are inside of mega scans. Mega scans is once again one of those things I'm not allowed to supply, but we can go ahead and quickly go to mega scans, and let's just have an import of, like, some props that I think will be nice. So historical Wild West. And then if I go in here. So what kind of stuff would be interesting for stogst art? Maybe like an old saddle over here. That would be cool. We can kind of just place it somewhere. I need to sign in. Here we go. So I signed in, and I already showed you how to do this. You simply want to go ahead and let's just go for medium quality, or if you want, you can even go for Nant, but I'm just going to go for medium, and I'm just going to download this and then we can import it later on. Now, let's say also some sandbags would maybe also be cool, but I'm not sure about that one yet. So you just basically wait for it to download, and then you can just add this to your CNN will automatically import. Okay, so what else? These benches, Nah, they are probably a little bit too specific. Here we have some wooden crates. So let's just add this wooden crate also. And I will also add a few of these barrels just because they are simply higher quality. I'm here to teach you, but the quality, of course, of photogram tree is a little bit hard to beat sometimes. This wooden crate, I just don't feel like it. Like the wooden crate is very common. Let's just grab this barrel over here. Let's art that one. Oh, yeah, and the barstool would also be quite cool. The hitching post, we don't really need to. The one that I have, I find fine. So let's just press art. So here we have an crate. We can do the same over here. And I don't know, do I want to have sandbags or am I just going to use, like my sand? So we got the crates, and then maybe also have a broken wheel over here. Let's let's add that one. And I think that's about it for, like, in the Wildwst section. Yeah, like maybe we can do, like some horse manure. Because it would make sense because we have horses here. So, let's do that one. Let's add this one also. Even though it's on the background, maybe we can push it into our ground to still have the benefits of it. So let's go ahead and also use this one over here. And I think at this point, yeah, that should be fine for, like, something like this. If you want, you can also just type in sandbags, although they are modern sandbags. Yeah, so they are like these modern sandbags, however. So unsure, we can, like, add them to this. Also just to be extra sure. Let's give that a second. There we go. Okay, so that is Mega scans. I will not be using in real engine store because by this point, I cannot spend any more money on extra bits. I've already spent so much money on it. So because yeah, for Tutorial like this, $400 is still quite a bit of money. I'm just going to go ahead and I will actually edit my train later on that I will improve this and just have my train along with my props. So, having all of this stuff, let's get started, first of all, with some props for the buildings. So we can go over here to our buildings, and then we can say, like, Okay, we have a bunch of signs. So let's say that one doesn't need anything. We have a general store, then we have a bank, then we have a saloon. And now over here, let's do like a tobacco store, maybe. So I just dragon Oh, turn on my snap rotation this time. I just drag in this tobacco sign, and I just make it a little bit bigger. So, let's say that we have like a tobacco store over here. And the reason I'm showing you all of this stuff is simply to show you how we can create visual interest with everything. So we got this one. Now over here, if you want, you can, of course, also do like a saloon, which I'm sure that we have one here, Dry Goods bank, general store, telegraph shoes. Come on, no saloon. Let's just do hotel, maybe. Saloon and hotel. So this will be just like another hotel. And this one can nicely just go in here. Maybe turn off my snap rotation, just rotate it a little bit better. Yeah. And just like that, you can just art this, even though you most likely won't even be able to see this one. And then over here, what we can do is we can call this the sheriff's office. So this is, like the sheriff's office. And if I have a look at that, it looks like that I want to actually arts one on top of here because that's how this one is made. So we can just go ahead and we can say, like, Okay, this is the sheriff's office. And then over here, we will have a um Uh, actually, oh, that's pretty cool. We can use this one over here. Tan. And let's use also one like over here. That will be quite cool. And then over here, what is this one. Mohant Man Merchant. I don't know which word it is, but we can do something like this. So that we just add some extra signs to there. That is quite cool. That looks nice. So now that we've got those pieces, now what we can do is we can just start by introducing some larger props. So let's say that we have this hitching post over here. We can go ahead and we can also have this hitching post. Let's say that we also have it over here, have another one. And these are our own hitching post, of course. Let's do another one over here. Like that? And another one here, even though you cannot really reach it, that does not mean that they wouldn't have these hitching post sitting here before the water started to creep up. So we got some hitching posts. That's pretty cool. We got our barrels. I just want to also add add the mega scan barrel to this. So just so that we can kind of see the difference. So here we have a wooden barrel. And yeah, so you can see that, of course, the difference in quality is there. But remember that this one is literally scanned from real life, so not really as fair. But they do kind of, like, from a distance, they kind of, like, still fit. Maybe you want to make this one like a little bit thinner. And if we just go ahead and just copy the exact same values over, Oh. There we go. Here we go. So that's kind of fits already like a little bit better. So knowing that, so we will have this barrel over here just to honor our own little bits. And then maybe have like one and like two barrels over here. Like this. And that would make sense. So these are close to general store. I don't want to have the barrels everywhere because that would always feel a little bit strange if we just have random barrels sitting everywhere. Now, next to this, we also have the wheels, sandbags. Oh, let's see if we can do something like sandbags. If I grab my sandbags over here, and rotate it, Oh, they are very clean. And then maybe if we make them a little bit darker. So here we have some sandbags and maybe if we also do that like, actually, you know what? Here, let's do omit mode. It would make more sense for the sandbags to probably be in this area where they kind of just twine boil them up. So let's say we have some sandbags here, and now I'm going to just turn off my snap rotation. Also, maybe have some of them sitting over here. It doesn't need to be a lot of them. I just want to get like something of a visual interest that I can see. And what you can do is in your material of your mega scans material, we can go into the albedo tint and just like, tone these down a little bit to make them a bit darker so that they fit a little bit better into this environment. Okay, so we got that stuff. So over here, we have the water trougt although it might be a little bit big, so let's just set it down or scale this down a little bit more. And then what we would want to do is we probably want to go ahead and, like, a very low tool strength. Here, I'm just going to increase once again my train a bit more so that it actually fits. Then I can also go into my paint and I can just click on my hay paint. I can just art some of that stuff, also. There we go, see that immediately all fits together. So we got those months done, horse manure. Let's see if that one works if we just go ahead and art this over here, scale it a little bit bigger, and let's see when I move it down, I don't think, Wow, this does not nearly look as good as LLD tree. Why do you only import LLD tree for me? That is a little bit strange. Like, I did not ask for just LLD tree. I asked for every single one. If I open Oh, okay, LOD zero is here. So for some reason, there is something going on with the LODs. If you want to go ahead and remove those, you can go over here to number of LODs and just set them to zero and press apply. And now we are basically forcing it to always be LOD zero. Oh, but that's still that is strange. This looks Oh, no, wait. It's just our lighting. This is still a bad one. Okay, then I think that one is a little bit broken. But honestly, I'm not going to really miss it. So I'm not too worried about that. So what we can do with this is, let's see. So we have the wooden stool, so we will do a pass on that later on. I'm just curious if I can you, or is it possible to just have this sitting on top of here and that it does not fall off, I wonder. So yeah, just like some general level art just to make it a bit more interesting, see? Yeah. Just like stuff like that just adds so much interest to your environment. But yeah, these assets they just take a long time. So now if we just go ahead and go back here, let's say that we would go for a nice looking bench over here. Let's have a bench so we can have some people sitting on it later on. So we have a cool bench here, and maybe then we also in here, you can see the difference between their hitching post and Rs. So I like Rs more. So what we can do over here is maybe have a different bench sitting over here. I have, like, two of them like this. Let's see. Maybe also over here, if I just go to my mega scan assets, remember how like that wooden stool. You can just, like, have the stool over here also. And maybe also over here. So these are just like the stools that people are just sitting on and relaxing. Let's go back to our messages over here. So you can see that we already slowly starting to add more and more to this. I first of all, just want to focus around the buildings, and then I will focus on the road. So that's why you see me mostly doing this stuff. That's just a random table. I don't really need that. Yeah, we got this wheel here, but we actually have probably a nicer looking wheel over here that we can also use. There we go. So we can just have this wheel sitting here, so people are just working on repairing it or something like that. And then what we can do is we do have some crates, but we also have some crates over here. So let's start with these crates over here that we are just going to place. And I do know that, as I said before, here we have a crate also it might sometimes feel a bit strange to have the difference in quality, but often from a distance, you won't really notice that as much. So we have like two of these crates over here, so people are like, and I'm just trying to find out the story. That's why you can hear me saying, like, Oh, people are doing this, people are doing that. Over here, you would say like, Okay, so it's like water. So you would probably have a bucket sitting next to it, and this bucket is being used for that kind of stuff. Ooh, some electric pools although we do not have any cables, although we could use cables with the spine, but that would be yeah, I don't think that that would really work. Also, over here, you don't often see. The only place where you see electric poles is over here, which does like this interest with the cables. So I will have a think about that because I have not used the spine system, or I have used spine system inside of unreal for cables. However, I've never made the cables from scratch. I always just used to plug in for that. So over here, what we can do is we can maybe have some firewood just sitting here. We can nicely rotate it, and all this stuff, you can just do this quite quickly. Like, it doesn't need to be the most amazing type of quality. It's just to add some extra interest to your scene. Random gun. So let's see what else do we have? We have a locker. We have here, maybe some extra piles of wood. Oh, no, wait. I literally just used that one. I thought this was a different one. So we got, like, stuff like that. I don't know. Do you want to have, like, an apple? If you want, you can also do that stuff. So there is not too much going on over here. Maybe like some bottles here and there that we have placed down below it. Now, this basket does not really make much sense. We have some bags over here, so let's have a quick look now at our other pieces. Okay, so we used all of those also, although maybe we can also just let's scale this up. Also use like one of these. Now if we go back to our meshes, we can, for example, throw like a bottle on there. So at least we already have something going on. Now what we're going to do is we are also going to focus more on getting some interesting stuff going on on the actual road, because that's the biggest reason why I'm using these assets. It is mostly because the roads, of course, very flat, and we just want to have something interesting in here. Over here, you can also see that there's just stuff going on on the roads and everything. So what we can do is we can go over here, and then we can say, like, Okay, I want to let's say that there's like a wagon. That is like standing over here or here. And often I do want to just have a quick look around to see if there's anything that needs to be change. Let's say that we have the wagon standing over here, and then what we can do is we can say, like, Okay, so this wagon, it has where are you some crates standing next to it. Some of these crates over here and over here that we just drag them in and they are just being placed next to this. And then let's say that we go to our own assets and we just grab one of our barrels or two of them over here, just to also add some of that stuff. And maybe let's say that we scale this barrel down because you do have different scaling in barrels. And it's like, one of them is, like, a little bit rotated over here. And like that, we can just kind of like mess around to things. I can see that the normals are not working, but we can later on just say, do not affect decals. Sorry, I mean, the decals are not working. So there we go. We already have a little bit of storytelling going on over there. Now we can just go ahead and we can keep going with this. So for example, over here, let's say that we have, like, one of these wagons, and these wagons, they are very, very bright. So I will need to probably, like, change the textures of them. Let's have this one. Let's see. I need to have a quick think about that because the texture does not look very nice. Unfortunately, these wagons, they are always like static. So I do not think I can have one that I can just, like, spend some horses on it. Maybe. Maybe if I do like, one that is like over here like this to kind of, like, block the view, and then we will have two horses sitting behind it. And maybe if we then grab, I don't know, like some crates. That would not make sense to have them stacked like that. So maybe grab some crates over here, and then like some of these bits over here and just kind of like stack it all fills that there's still some story going on. We will have some horses that are standing behind it that are waiting, and we will have some horses here on the street and all that stuff. So just like this, we can just slowly start by including more and more stuff until we have just everything that we want. So let's say over here, you can do say we grab this barrel and we grab some bottles sitting on top of it. The hitching post, we already did. Maybe over here, I want to do another hitching post. Oh, Whoa, time has flow flown by. It's already 30 minutes. But we are almost done with placing our base assets. So we got this stuff. Over here, you can go ahead and just maybe have another one or two hitching posts like that. There we go. So we can just create a bunch of interesting stuff. I don't know we don't really need fences, but already, it's starting to get a little bit more lively over here. So we can save our scene. I'm just going to go ahead and I'm going to maybe add a few more things. Let's say that I add more like some benches over here, and maybe then also like, add some crates over here. I don't know if we go over here, we can maybe art like a stool or two, make it a bit bigger so that it's a little bit more visible. But most of this stuff, people will simply just be standing on here, just to art a little bit more interest. So let's have a look now. Okay, if I press G, you can see that that's already arts quite a bit of interest. Only thing I'm going to do is I'm just going to go ahead and also art like a wagon, probably like over here, just like it doesn't need to have anything special. The wagon is just here so that from a distance, you can see that there's also some stuff happening in this area. So we got a cool wagon over here, and this wagon has maybe some crates sitting next to it. And then next to this, we also have like a hitching post sitting around here. Yeah, there would then also be like a hitching post probably around here, but you cannot really see that anymore. So we got this stuff. Maybe we do like something with some barrels around. Over there. Let's see. Maybe like another barrier. So you can really spend a lot of time just messing around with this if you want to. I'm not really going to go there. I'm just going to kind of, like, leave it like this. And that's all we're looking pretty good. So what we'll do in the next chapter is in the next chapter, we will start by adding our static characters, and once that is done, then what we'll do is we'll start by adding our more animated characters, and we will really just like improve everything based upon that. 73. 72 Placing Our Characters: Okay, so it is now time for the second part in which we are going to work with characters. Now, as I've shown you, we have a crowd of characters over here, which are characters in a bunch of different poses, and then we have our hero characters over here. Now, I checked and I have rigged versions of all of these characters. Unless you're character artist, then it would be different. But most time if you are downloading these characters from, for example, the unreal marketplace or from Gumroad, just double check that they are rigged and if they are, or if they are at least in a Tepost that's already often enough just being in a Tepost then you are able to animate them. Now we are going to use an auto rigger later on to make sure that all of them are animated. But the reason I'm telling you this is because even though I use these characters, you can apply this to any type of character. That does not really matter. So I'm sure that you know about the tipos, it's with their hands stretched out and their feet stretch out so that there's a lot of space in between the body and the arms. I don't know if I don't think I can actually show you one here that actually does it. But basically, the main goal is that I'm going to show you later on how to actually animate these characters. The reason why I'm telling you this now is because we cannot go in animate all of the characters. If we are going to place 50 characters in here to get, like, a crowded scene, I cannot go in and animate every single character. Instead, what I will do is within all those characters, there will be a few main characters. For example, we will animate only like a walk cycle for the horse, and then if we have this entire crowd, people are talking and everything, what we will do is we will simply have only a few horses walking, and we will have a few characters that are maybe walking and maybe a few of them that are just talking and just gesturing. And that will be plenty enough of work to do that. So knowing all of that, if we have a look, I have these hero characters. It doesn't really matter which character you are using. If you just want to have a lone cowboy just walking the street, all of this, same basic concept. It all just works. But what I'm going to do is I'm going to start by basically setting down as many static characters as I can. And for this, of course, as I said before, we kind of need to have a story. So we're just going to basically clutter around different stories of characters that are doing stuff. Let's say that over here. We have this story that we see over here. Now, what can we do here? We can, for example, have a cowboy sitting here. The first time that I need to drag it in, it can be a little bit slow. But we can, for example, say that, okay, there is a cowboy that is just sitting here on the bench. If we have very small clipping, you can see over there, that is not too bad to do. By the way, I know that I still need to add a little bit more variation over here. To our wood, but we are going to do one more extra chapter after everything is placed, it's just like general balancing. So let's say that we have like this one character here, and then we have this other character that is just standing here that has its back to it. And he's like almost like talking to someone, for example. And then we have another character that's just standing over here. So they are just like, kind of, you know what? Let's replace this one with this character over here. They are just kind of hanging around. Oh, wait, this character kind of needs to go here because it is standing or it is holding his hands somewhere. So in that case, let's just go ahead and do a character that's just standing over here. So here you can have a story of two people are talking, and these other guy is just kind of like listening and then this guy is just relaxing in front of the street. So that's the first one that we can do. Then I can go to my hero characters, and I can grab, for example, a horse. And by this point, I have already fixed the horses, and I can say, like, Okay, there's one horse that is standing over here, maybe a little bit angled in like the hitching post. And then we have, for example, one lady that is kind of like just standing next to the horse so that she just got off the horse. And just like that here, we already get a very lively looking scene. Now, these horses that we are going to place now, they are going to be animated. But what we can do is we can go ahead and already start by placing them. So let's say that we have, these two horses over here, and later on, I can even, like, change the colour if I want. So that would also be cool. So here, yeah, actually, let's do that. Let's see if I can go to my horse skin. Um, yeah, I should be able to do this. If I just quickly go to my skin material and I'm opening this up and I just multiply because most of these things are, oh, wait. Yeah, we already have that. So I can just go ahead and I can duplicate this. Skin material underscore dark and add this one to our horse skin. Oh, it's not a Oh, wait, it is a parameter. Sorry, let me just swap this around. This is not the right one. No, it's Let's Undo. There we go. That's weird. Okay, Akay in anyway, duplicate this horse skin underscore dark. And then what we can do is we can just replace this with our original horse skin, and we can just go ahead and make this one dark because that we also have a bit more variation in there. So let's go ahead and go in here and just let's make this like almost like a black horse. There we go, see. And I don't know why the texts are all of a sudden not loaded in. It's a bit strange. Let's save asen. Hello. That must be like a little bag or something. Yeah, that must be it. That's weird. I don't know here build landscapes. No. Okay, first time that this happens. So what I can do is I can maybe just go ahead and, like, reload my scene, and I'm sure that will fix it. Come on, textis. Looks like it's a Dagles. Okay, in any case, it does not really matter too much right now, although I am still annoyed by it, so I'm just going to let me just restart the engine. Okay, I restarted my engine and that now works. So that's a strange one. Never read that one before. In any case, we have these horses over here, and now what we can do is we can go ahead and we have hero characters, and we have crowd characters. So what we will most likely only have the horses moving around. I know that over here, there's like one. So what if we go ahead and grab over here, one of these? And these ones, it looks like that their pivot point is a little bit higher. So if we just click on our horse, right, click on the location and copy and then paste it, maybe Oh, no, so that's not I expected that that would be working, but then we can just go ahead and we can do something like this. That does not really matter. So we have this one and let's also then go into our hero characters because I think we also have like here. We have a doctor which we can also just place over here. There we go. So now we have also already dose. So Oh, and our booleans are still turned on. Still nose off. There we go. So that's already looking pretty cool. So we got that stuff going on here. Let's go ahead and have a horse that is just like drinking like that. But that's already quite nice. So this is going to be like our main scene. So it's nice that we over here have, most of the characters. Now what we can do is we can go ahead and maybe go down here and do we have, maybe like something leaning like someone leaning against something? Yeah, well, we have this one, but it would have been nice if we had, like, a sideways leaning. Let's see. Any over here? That looks like it works. Yeah, and it's even like this is the sheriff's office. So if we go ahead and grab this one and maybe, like, you know, let's just have him, lean a little bit against over there. So we got like one of those. And then maybe, like, have something in here. So these are bandits, it looks like. Let's see. If I just go ahead and just have one person sitting here, See, I'm just kind of like start adding more and more characters like that over here. So that's looking well, actually, I don't know if that's looking pretty gool because I cannot see, all of this. Yeah, actually, I'm hiding too much detail, so let's not do that. Okay, so we got these pieces over here. Now, with the horses, if we just go ahead and just have like one horse standing here, and then another horse that is just like standing next to it, that should already be fine. So we have these two horses over here. Once again, you can just go ahead and you can change the horse skin, for example, to dark. And from a distance, it will just look like the horses are standing on the wagon and stuff like that. Now, I want to have more stuff going on over here also. Let's see. What else do we have? Maybe we can have a hero character standing over here, and he's like, he will walk past. So we have the character here. We need to make the animation really good if we are going to make him walk past this close. But let's say that, let's see. Let's have him over here or over here. I'm just sorry, it's a bit hard moving. I'm not sure if we want to have, like in the corner or if we want to already have him going past here, maybe, like, have him I don't know, like somewhere over here. Now, I think it's easier if we do it on, like, a sideways. So let's have him just hanging around here. And then what I want to do is I just want to be able to still see some of the horses over here. So let's do something like this. I think that will work a little bit better. And now what we can do is we can just go ahead and grab. So we have the doctor. Do we have any other one Now because that's just sitting, so let's go into our hero characters. We have this one and this one. Let's just grab this one over here. And what we can do is we can grab the horse, copy mostly the rotation, and then right click and paste this rotation in here and the rest, it's just a matter of moving this in here. But I am going to actually replace the character, but I do want to Yeah, let's just have it over here, probably somewhere over here. And the character, I'm just going to go ahead and I'm going to replace it with a hero character because they hold the horse a little bit better here, see. See? So they hold the horse a little bit better like that. And I think that will be also a bit nicer. I don't know if I need to move this one up. Yeah, maybe that works. Over here. So we got the doctor over there. That's fine. Now, I want to also have, maybe something over here. So we got the doctor, which is the main character, and we got already the girl, which is also a main character. Then, oh, yeah, here we have another girl, but we did not use it. What if we pick like the sitting version of her? Let's see. So whatever I grab her and place her like over here. Yeah, that looks pretty good. And then maybe that she is, like, talking with someone, so let's go into our meshes and we can go over here, like, talk, but maybe, like, this guy over here. Although, this guy does what is this one? This one might maybe, it feels like an interesting story that she's like, talking to, like, a classy guy because she is like a cowboy with, like, a gun and everything. So yeah, I think that looks quite interesting. So I keep going back to these camera angles to keep trying to, like, add more life to our scene. So we already got this stuff. Now, let's say that we just want to go ahead and just have, someone that is like, mid walk. So this is the crowd. If we just go into our meshes, I know that we have like the girl, but she's all the way over there, so let's just reuse her again. And let's just have a simple character like walking past, and then let's move this over here. So the horse is over there. So we got that stuff done, so we have a walking past like that. And I almost feel like it would be nice if we have another person sitting next to that that's also walking. So although the doctor is white behind here, so I don't want to reuse the doctor again, and the girl is right there. So we do have over here, we have the sheriff again. So what if we do that? What if we just have the sheriff like this. And I also just keep checking over here and just see how everything is working. It would have been nice if we have, some people that are doing some more stuff, but animation wise, that would be like a lot of work to add all of those extra bits and pieces and everything. So here we have here's the villain, but to me, he is just like a random character that just stands with his back just that we cannot see the mouth covering. So that would hopefully give a little bit more sense. And if we then go into a crouch, we can also over here, we can also have, let's say, someone walking over here. And maybe have another one that is like walking over here. Here we go. So we still get some people, if we go for this angle, if we go for this angle, I kind of want to do this, but we can, of course, just, like, remove some characters whenever we have. Like, for example, for this angle over here, the guy is leaning against something and I can no longer see. But I can, of course, just do this and remove him. This angle also just doesn't work anymore. So we kind of need to adjust our angles. This is a really nice angle now. So that's really cool. I can go ahead and I can, for example, say, let's have like one guy that is kind of like sitting up here and then maybe make the bar stool, like a little bit larger like that. So he's just kind of hanging out over there. And just like that, we can have a bunch of different people. This one, I can have Oh, yeah, here, this one is like leaning. Here see, so we get some couts over there. Now what we can also do is we can also go all the way up here and we can say, like, Okay, I want to have just some people standing. So let's just have a guy oops, that is standing over here. Oh, our railings do feel a little bit too big, so maybe make this one a little bit bigger just to fake it. So we got like this guy, and then maybe have also another hero of like I don't know, like a girl Because from that distance, you probably cannot see that we are reusing the character so often. You see, if you see this, you cannot really notice that we are reusing the character so often. Let's say that we have a guy there and that we have one girl here, and then another girl. That's just like standing over. Here we go. Maybe rotate her. So we got, some people standing over there that are just doing stuff. There are people walking over here, people just chatting. So this is like, really the main street. And over here, it makes sense that many people are sitting on this side because what do you have? You have a sheriff's office, and then for the rest, you have, like, a lot of water just sitting in front of it. So I just feel like that would make sense if we just do this. Now, over here, what we can on the ways, we probably cannot do a horse because of the camera, but we can just try and add some more horses here and there. Let's say we add one over here. And this is like a bar and everything. So we can also do, another one that's just like kind of standing here also. So that's a bar. Would there be like we don't really have a lot of water of those water things, do we? Maybe that's not really needed. So we got like one sitting over there. Maybe this guy, I'm going to, like, move him forward a little bit. No, you know what? No, it was nicer if they walked back. But as you can see, over here, our environment already starts, like a lot of interesting looking characters, and everything is starting to look really good. So I'm just having a quick think if there's, like, any more things that you want to do like maybe here at the saloon, but you most likely won't be able to actually see many of these characters, so just keep that in mind. So we can have, like, another guy leaning against here, like with the saloon. And then maybe we can have a group of people that are talking over here. So we have like one guy that's just standing here. Then we have another guy that's just standing against here. So we just have a group of people talking, another guy that's just standing over here and don't know from, so you can maybe see tiny glimpses, but not a lot. Now, maybe over here, it would be interesting if there's something happening. So let's just grab this guy over here and maybe he's doing something. We can have this guy over here, which is I don't think we've used him before. And he's just, like, walking along with his friends. Yeah, so we got that stuff going on. Maybe you have, like, another guy just going over here. Ah, I don't know. Let's see. Now, let's just leave that open so that we can actually see everything. So let's leave that one open. So we got this stuff over here. Is there anything else that we need to do? Maybe there was one guy that was also sitting here. This guy and he's kind of, like, talking. So let's say that he is just, like, standing on here, and he's kind of like just talking away with his friends. Oh, no, wait because that I can no longer see them. Maybe he's then talking away somewhere over here. But, okay, so we got some pretty decent placement. So when we see this, and we got these people over here, now, imagine that I'm going to try and find some audio that is just like the audio of people doing stuff and everything, what would be the guys that we want to move? We would want to have these two over here, just moving around walking. So that would be like a pretty good one to have. This guy, it would be nice if we maybe also have him just coming from over here and just walking also like this. And we would want to have these two people over here also walking. And I think at that point, maybe have these people over here, just do maybe like a general movement animation, this person that is just standing like he's looking around. And then the rest we can kind of just have them, or maybe also have this one. So the rest of people, they can be quite quiet and just standing still. But that is a pretty good idea. So now we have over here, we can go ahead and we can have this one, the fog is way too strong, but okay. We can go ahead and we can have this angle a little bit better over here. We can have this angle over here changed a little bit. And that's why I was also so focused on making sure that we are still adding, a lot of stuff on the other angles in case things changed. But let's now already do this. And let's say that we, first of all, just quickly set our for a little bit lower. So we have our exponential height. I need to clean up the scene a lot, definitely. That's set the density like a little bit less. Over here. Yeah, let's just do this. There we go. The density is a little bit less, tiny bit more. And what we can also do is just let's set the screen percentage to 200 so that we can really see all of the sharpness. Okay, so that's all looking pretty damn good. So this is looking really interesting. We got environment, and it has a bunch of stuff going on there. Only thing is that over here, it feels a little bit flat. So I'm going to see if I can maybe do something in this area. I don't know yet. We'll see. In any case, for now, let's just go ahead and close of this chapter. In the next chapter, I will show you how we are going to do the animations for characters. And then the chapter after that, I will show you how to do the animations for like the horse because the horse is an animation we need to actually make by hand. The characters and everything, those animations, we can generate, but the horse is one that we need to do by hand because of the rig. So let's continue with this in the next chapter. 74. 73 Creating Our Character Animations Part1: Okay, so this is going to be quite an interesting chapter. What we are going to do in this chapter is I'm going to show you already on how to do the animations. And I will just show you first the entire workflow because the workflow is the same for everything, so we just kind of need to replicate it. So for this, what you need is you need to have a character that is in a tepos. It does not even have to be rigged or anything, or it doesn't even have to have a skeleton. It just needs to be in the Tepos because we are going to use a tool that is made by Adobe that can automatically rig and skin your characters and then give you animations, which is very handy. Luckily for me, I have this. If I go ahead and let's say that we use this one over here. This is the Sheriff B. What I can do is I can go ahead and I have my hero characters here. And then this is Max Maximo, Maximo. I always say Maximo. So, in any case, this one, luckily, the guy that made all of these characters already prepared a T post for them. But this is pretty good. So although I don't need this stuff. So what I can do is I have over here the sheriff, and those are the hero characters. So these are all hero characters. So having that FBX ready to go, what we can do is we can go to maximo.com. Maximo Maximo. Honestly I would just say Maximo. And then what you want to do is you just want to log in with your Adobe account. It is completely free, by the way. Here we go. So that's a cool thing that it is completely free, so you guys can also just use it. That's why I wanted to show you this. This was very specifically because you can just download any character you want. Even if you just want to have one character walking around or even have a horse or do some basic animations, it is still good for me to show you this. So over here, what it will do is it will load. And although it has loaded in my test character that I created like a while back because I had to, of course, make a test, we are just going to press Upload character, and then you simply want to drag in your character. In my case, I'm going to drag in the sheriff. What it will do is it will upload the coater. However, it is 95 MBs, so I will just pass the video until this is done. Or actually even better. While that is uploading, I can just go ahead and I can go in here, make new folder, and I will call this Sheriff Underscore Animation and the sheriff will only have a walk cycle. We can just go ahead and use this one. I wonder, I don't think that we can actually use, we will not be able to use the same animations on other ones. We might be able to. Yeah, I guess if we do all of them in Maximo, the animations will stay the same. So for example, we can here you have a sitting laughing animation. We can actually give our other characters the exact same animation file. So we only need to import the animation once, and we only need to import the characters once. That will save us a little bit of time. So keep that in mind. We are going to keep that in mind. So we are going to have this guy and this girl walking, so we can have the same walking animations on those. We are going to have maybe we had one laughing. Let's have this girl sitting and laughing, for example. Then, of course, these guys, they are a little bit more unique because they are going to be horses. But we're going to use a really cool technique that I will show you in just a bit. So let me just pass the video again. So here you can see that the next step is that it doesn't outoigger and it will automatically rig over here your skeleton. Then you can see also that it will play in animation and it will test it out for you. So this is looking really good. So you can see that it's just completely rigged. I didn't have to do anything. It is just it's working, which is really nice. I can then just simply press next. Your tree character will be uploaded, proceed with the new character, and then just press next again, there we go. Here we have now our character and we can just click and rotate around. So all that we need to do now is we just need to find a walk cycle. So we can just go to search, type in walk, and we just want to get a natural walk cycle. Let's say we do a guy. Yeah, that's a weird walking. So let's say walking confidently, or just do this one. Let's do this one over here. You can click on here, and then what it will do is it will do a walk cycle. However, the characters now moving forward, and we do not want that, so we can simply press in place. And when we do that, here go. See? Now, if something is clipping, like you can see over here, you can actually set the character arm space a little bit higher. And what it will do, see, is it will just move the characters further away from your character. So that's really good. So we already have this, and it's a perfectly looping animation. And that is pretty much it. I believe overdrive is like the slowness. Here overdrive, so that one basically controls how fast it goes. So let's say that we go for a little bit slower like this. Let's say that we have 20. Perfect. Okay. Now when you are done with this character, you can simply press Download, and then you can say, Okay, I want to download this as an FPX with the skinning. Frames per second, we can, 30 frames per second is more than enough, and we can simply press Download, and then it will download your character. So what we can do is we can actually use this character for, like, multiple different animations. So then all we need to do is later on for the other characters, we simply just need to go in and only generate a maximal character for them, and that's about it. And just throw on a Dat animation. So if I go ahead and, like, closes now, now what I can do is I had, like, here, sitting and laughing. So let's say that That does not look really nice. Let's let's do another walking cycle first. Actually, let's do walk. Let's do another walking cycle that is a little bit more maybe female or something like that. Or maybe not. Yeah, I don't actually. Yeah, I don't think there is a lot of it. Standard walk. Let's try that one. Yeah, actually, standard walk can work. So let's do in place. This one, let's set our arm space a little bit lower. And let's set this time let's set the walking a little bit faster. So we have like 30, for example, instead of 20. There we go. Now we have this walking. And now that we've done that, we can Watscan Download and we can just press Download. So the original one is by this point done. So what we can do is we can drag it into our folder, and meanwhile the other one is downloading, we can just go ahead and do this. We can do Sheriff underscore walk underscore A. And now the cool thing that we can do with this is we can simply import it and just reuse everything that already exists. So if we go in here, we have our hero meshes, in this case. Of course, for you guys, it might all look very different because unless you literally paid $400 for the same pack as me, but I do not assume many of you people will actually do that. But what we can do with this and delete that one. I don't need that is I can go ahead and I can create an fool card custom, for example. Wow, I really cannot type. Custom over here. And then I can do another for the sheriff. Over here. I probably vote at Wong. But what we can do here is we can just drag in the sheriff walk. Now, this is very important. Make sure that skeleton mesh is turned on and that import mesh is turned on, but make sure that you do not pick a skeleton in here. You want to just leave the default skeleton. So do not pick any type of skeleton in here. For the rest, everything is pretty much fine because it's already correctly set up. Just make sure that import animation is turned on, and that the animation length is the export time. And that's pretty much all you need to do. At this point, you can simply press Import and we can have a look at this. So it will initially import probably like oh, wait. I forgot if you scroll down, turn on, do not import materials. I believe that, here, because it still reads material. So just remember that that scroll down, I cannot show you again. Well, I can, actually. I can just hold control. And if you hold control, it does like new settings or not. Oh, no, it might not do the setting. Anyway, scroll down and just turn on, do not import materials. Do not import textures because we already have those. So now if we, for example, have our sheriff over here, we can see that we have over here all of these materials. All we need to do is just open up our original sheriff, which is the static one. And I can then simply click on the Share of clothes, and I can know, Okay, that's the first one I need. Then I can click on the share of skin. Then I know, Okay, so that's this one. Then I can click on, Okay, it looks like we need again, sheriff's skin. Then we need hair for the sheriff like this. And then that's just like a default material, but that's most likely the gun. Although I don't think we actually have a gun in here. I know, yeah, here. So we need like No, wait, it looks like that this one needs to be don't I assume that the share of clothes does not, so it doesn't do it. So for that one, just make like something that's just black because I do not think that I have the actual textures for the guns anymore. Yeah, if I go in materials, I do not see any type of, like, gun material or anything like that. So they must have just forgotten that. But I don't really care about that too much. I can just go into my materials and I can just grab Willie no play, let's just scrap the play material for now and we will just add like something else later on. I can also pres isolate, and then I can see that this one is supposed to be the hair. So here we have sheriff hair. We can add that. Let's isolate this. Okay, so those are the eyes. Okay, perfect. So we have our sheriff over here ready to go. We can simply save him, close the old one. So now if we go to custom and we drag this in, you will be able to see that we just have the sheriff. And this was the original tepost that I was talking about. Having the share of now, what you can do is we are going to later on art and animation. However, you might also be able to already art the animation in here. If you go to animation mode and set this to use animation asset, you can drag in the underscore anim that has also imported and drag it in here. Now, if I would go ahead and I would press Play, what you can see is that now you can see so now we are just playing our level, and you can see that the character over here is baking. Now, of course, it is not moving forward, so that's the next thing that we would do. This is going to be the basic concept for this. We basically have this character over here. And the cool thing is that he already kind of is in a walking animation. Although depending on it, I might swap out between the original characters and like the ones that are static because static ones are a little bit more interesting. So what I might do at this point is go in here. I will also at this point, select all of my Boolean cubes. You delete them. I don't need them anymore. Okay, so now if I just quickly go and let's do a little bit of cleanup. So we are going to select all of this stuff, and we're simply going to add a new folder called static Underscore characters. The barrels and stuff like that, we need to be a little bit careful. So some of these barrels we want to keep because they are going to be our assets, but some of the other barrels we do not want to keep. So these ones we can just static assets ours, ours. And then we over here, we have like characters once again. So these are our characters that we can throw into the static characters. The doctor is also a static character. The hitching posts are going to be static assets hours. The horses are going to be in the static characters. The plane is water. Rachel is going to be in the static characters. And then over here we start to get a few other pieces where most of these are all not from us. So we can just select all of them. And the, not the way straight. And we can just go at the press a plus and call this one static or, not ours. And the reason I do this is because I need to remove these whenever I supply you the files because I'm not allowed to actually add them to you. Static assets not ours. Well quatrat is going to be, just like a boolean nl, whatever. The Water loft is going to be static asset hours. The villain is going to be static characters, and that should do the trick. Okay, so we have this static character over here. What I'm going to do is whenever I have this, I just have like let's make a fold that we'll just call B so that we can turn it off. Okay, so how are we going to make this guy walk? Now, this is the same concept that we are going to do for everything. Let's say that we have these people, and let's say that for our actual scene, we are going to have them a little bit forward already, so that they are just walking by. What you're going to do is we are going to create a sequence file, and the cool thing about the sequence file is we can add multiple character animations in here, and then all we need to do is press play, and then we can actually in our viewport, see everyone moving around and interacting. So if we go ahead and for this sequence, I will do this in my own folder, although it will most likely just say, like, Oh, it's corrupt or something like that. When you guys open it, let's do a folder called Animations. And in here, I'm going to create a new right click animation level sequence and call this characters or character movement, for example. Now, when you open this up, you get this window. So it looks quite familiar if you've ever done any editing. All that we need to do is we have a sheriff walk cycle. We simply want to drag the sheriff in here, and now we are able to basically animate him. We are not able to animate the actual hands and everything. However, if you have unreal engine compatible character like the Mannequin or you have any characters that are based upon that, you are actually able to also animate hands and walk cycles and everything directly into Unreal. But for our version, what we need to do is we need to first of all, hold Control and scroll and we are going to set this a lot larger over here, and this is basically your animation length. Now, once that is done, we are going to go ahead and in our sheriff, we are going to click on this keyframe to add a keyframe wherever we have our sheriff currently. And then what we can do is we can set another keyframe and I'm going to set it around here. And then I'm simply going to move my sheriff out of the view. So you can see that now he is just walking away out of the view, and then I press another keyframe. What has happened now is that now if we switch back and forth, you can see that the character is moving. However, there is a problem. Whenever I press play, what you will see is that he will start slow and then all of a sudden, he will go faster, faster and faster over here and we don't really want that. The way that we can fix this, it is very easy is to simply go over here into the show animation keys. All you want to do is you want to click on the green, which is your transform and you simply want to move these little buttons to make them straight. It's almost like a curve so that now it is a straight line and then just press save. So that when you do that, it will just basically be like an even look. The next step is the arter animation. We can go up here to animation and we can simply press the Sheriff walk a nim. Now with this animation, we want to just set this higher, but what we now need to do is we need to match the speed with the animation. So if I do this, you can see that it is a little bit too slow. So I can go ahead and I can move this back and move my animation back. Now if I try again, still a bit too slow. Let's move this back one more and I just do this until I hit a sweet spot over here. Close. But as you can see, it is not rocket science. It's actually really easy to just add animations to your cars like this. Let's press play. So now if I go ahead and go into my camera, and let's say that we have this camera and we press play. Let's say that we want to make it a little bit faster over here. We can just basically mess around with this. Just make sure that the animation starts. See? And just like that, we have our character walking around. And we can basically just do that with all of them. So now that we have this stuff done, we can press Save. And you can imagine that if we do this with multiple different characters and we have all of them just walking around and interacting, that should work quite well. So now that we have these pieces done, all we will need to do is we go into the Wild West. Let's turn off our sequence for now. And then here we have our custom, and then we are just going to import multiple different sheriffs, but we are importing them because of our animation. So over here we have this one, and I just downloaded it. So I can go ahead and I can just drag this in. And then if I go in here, I can simply drag it in. Unfortunately, into unreal, you need to always import also your skeletal mesh. But the cool thing is that it remembers the old skeleton and it matches it up. So all we need to do now is we need to press Import, and now what you will be able to see is that we can actually apply multiple different animations. So over here, if we now go ahead and let's go into, for example, our outer save. Let's say that we now go into our sequence. So this is the one that we have now. But then if I go ahead and go in here, and I would set the animation track to be a different one, for example, our standard walk. I believe that then Sheriff walk like this one, we need to press delete. And now if I have the standard walk, you can see that E walks differently. And of course, then we would need to edit the speed and everything, but you can see that that works totally fine. And that's the whole goal for this. So I'm just going to Undo that close this. So at this point, we just want to have a bunch of animation. So we have two walk cycles, that's fine. That's blender. Those two walk cycles are fine for these people. Now what we want to do is we want to have another walk cycle that is probably just sitting. So what we can do is we can go ahead and we can sit. And then I can go in here and I can basically Let's say this one. This one looks pretty cool. I can basically have this character, and then I can see if the arms are not good, I can play around with my character arm space. But there's always like, see, this one is not really compatible. So then I can do another one, like the rubbing arms, for example. Although he is looking down a little bit more. So just like this, I can just make here. Let's say that we pick the idle one, for example, and then with Idle one if we do the character arm space. Okay, that one is not really working also. No, this one maybe. And just like this, we can kind of just mess around with things. Character arm space. Over here, what is energy level? That one I don't know. Yeah, let's just do this one. So over here, so we have this one and then we can just go ahead and press Download, and we can once again download this. So these sitting and these other animations, they are really easy because they are just looping animation. So we can actually do more of those. So if we just go ahead and do standing, for example, we can have an idol standing maybe. Let's try this one over here. I feel like that kind of animation is too small for us to really bother with it. What if we just Let's see. I just want to get something that's a bit more. This one, maybe? Come on, just give me, standing greeting. No, that texting wouldn't really matter. I just basically want to get something that's like an idol. He's just, like, standing around and just, like, moving a little bit here and there. You can also pick these characters. That's no problem. You can pick whatever you want. Let's do this one. There we go. The sitting one, we can now just also drag that one in. Let's download this one over here over here. That's also done. And just like that, we can just keep adding more and more character animations. Now, in next chapter, what we'll do is we will just go ahead and continue our search to get different animations, and then we will start to apply them. 75. 74 Creating Our Character Animations Part2: Okay, so let's just continue right away. So we have now the standing version, and let's see how many standing characters do we really have? So if we have one standing character there, oh, yeah, I still wanted to do something with, like, sitting, right? On no way, I already did the sitting. Maybe like another standing character over here. So let's do one more standing animation. So we can just go ahead and go in here and we can just say, like, boards is maybe not too interesting. This one is pretty good. Only I don't think it will perfectly fit the way that I want it to fit. Maybe this one? Oh, no, never mind. So, we do want to get, like, some big movements because these characters are quite far away. So if we do not have big movements, then it would be a shame because you cannot really see anything. I feel like these are all just poses, so they are not actually moving around. Stand up idle. See, I'm just kind of trying to see if I can just spin in place. Seriously. I just want to do like people talking. Why is this so special? So those are poses. Come on. Talking on phone that would not really make sense in the Wildwst to talk on the phone. Well, we still have quite a few pages left, so I just need to have that one extra animation that I really like. What if we just do talking? Oh, sitting talking is also pretty cool. Let's see if that one actually works. Maybe it will work from, like, a long distance that we can use that one because we also can use the Cut. So yeah, let's just do that. Let's add this one just in case it's just a simple download. At this point, it's not that much extra effort to just add some extra pieces. And then we just need to basically import all of the characters that we want to use, and that's about it. So over here, we can do another talking This one, this one, I think looks really great. There we go. So we can also download this one. Okay, so that is it for those. So we have covered all of the talking. We have covered all of the sitting. We have covered all of the walking. I think for the rest, yeah, and then maybe over here, we can even do some more walking cycles, but I don't think it's worth it because they are so far away. So I don't think that will really matter. I think the next one that we would then need to do is, of course, the horses, but those ones are quite a bit different. So let's just first of all, focus on our characters. So if we go ahead and go into our hero characters and our sheriff, we have the standard. I want to go ahead and import the sitting over here. And this is by the way, what I meant, turn off your material, do not search and import materials, do not create materials and turn off the import textures. So this stuff we can go ahead and we can import, totally fine. So we have Sheriff Walk Standard walk, sitting, standing, arguing is another one. Import. And then the next ones. Are they downloaded yet, so they're almost done. So here we have talking. And then we also have sitting talking, which is done in just a second. Sitting talking. Perfect. Okay, so while all of those before we import those, let's first of all, just go ahead and upload a new character, and I'm going to upload girl number one over here. And while this uploading, we can just start by importing the rest. Oh, this one is still importing. Okay, so then we have our talking. Yes, let's add that one. So let's import that one. And then all of these animations, they will work with every single character that we are going to import, which is really nice. That's why we can really just ramp up. And I think that I'm actually going to do more animations than I expected because of this. So we have sitting talking is another one. And I think that's the last one that we needed to do. Now, another cool thing to keep in mind that I will show you in just like a second if this is importing. See, all of these other codes, we can just add. So what you can do in real, you have your doctor and you have your horse H over here. I can simply drag my doctor into horse and now whenever I move my horse, the doctor moves with it. So as you can imagine, although we will not have the actual doctor bobbing up and down on the horse, we can simply just have the horse over here and we can just have it move in a loop cycle, and we just need to create the actual cycle for that. But in any case, let's go ahead and let's just test out our materials. First of all, okay, so that one is I just need to look back at that once in a while. So if we go into our movement over here, what we can do is we can go into our animation, and we should be able to basically get any animation we want. So don't think can I replace this? I don't think you can literally replace it in that way. Oh, no, wait here. You can go properties. Animation. Let's do the sitting animation. Oh, yeah, because we are, of course, moving that around. What we can do is we can just temporarily delete this keyframe over here. And here you can see that here is just, like, sitting around. So that's all looking fine. So yeah, let's just delete that. So let's right click properties. Next one is sitting talking. Oh. Here, you see, small movements like that will actually make a big difference. Sitting talking, we have standard walk, and the standing talking is another one that we had to test out. Yeah, yeah, that's perfect for over here for this guy, for example, and stuff like that. And then the last one properties talking animation. Yeah, I think that will work. So let's just go ahead and undo until I get my little dot back. There we go. And now, oh, let's undo this again. There we go. Oh, hello. I think I broke it a little bit. Let's try it again. Properties Sheriff walk A. Come on. You can do it. I feel like that. I think I broke it. So let's just go ahead and just remove that. And this is just going to be the sheriff walk A animation and just artist to here over here. There we go. Now that works again. So I think it just got confused a little bit. So we got those ones done, and now what we need to do is we just need to start by applying these to all of the other characters. That means that at this point, I'm just going to go ahead and do other characters because I only need to import them once. And in these other characters, all you will need to do is you just need to go ahead and you have your outer rigger and you can see that this one is working pretty decently over here. It's a little bit, but we'll see how it goes. So we can just go ahead and press next. And then for this one, you can just whatever you want. So let's say that we do like the talking, we can just right away download it and just press Download because all we need is we need the actual rig for our character. And what I'm going to do is I'm going to paste the video, and I'm doing the same process for all of my characters. That means that I'm going to do it for girl number two. I'm going to do it for this guy, which is just yeah, the crowd one. The same guy, I can, looks like that I can use the same guy here for the sitting animation. And I will do this guy and this guy, and think I will leave it at that. Because I can just reuse those guys also for other places. So that should all be fine because these guys are not rigged, so they will not work. So let me just go ahead and start doing that in the off camera. Okay, something I want to show you that's quite interesting is it turns out that in this back, not all characters are already have a base rig. Over here, you can see that I'm using the outer rigger tool. And what you want to do is you just want to press next if your character literally has nothing in there, and then you just simply want to grab the wrist, throw them on the wrist, elbow on the elbows, knees on the knees, and then on the groin. The outrigger actually does an amazing job. I'm really surprised. So it turns out that the other pieces they apparently already had the rig completely set up. Basically, what we can do now is it will out rig, and then it will just get everything done. It does also mean that some of these characters, they seem not to be the same ones as that we have in our engine. I will have a quick look and see because I do have these ones which are in our engine, but what I expect happens is that these already have their poses, which will mean that they are useless for rigging because we cannot just rig those specific poses. However, what we can do is why the last one is generating is I can go into custom and then in here, I can go new folder, make a folder called Or. I already over here already have some of the characters that we already have rig on. I can actually already just import these. And then for our skeleton, we want to press the Sheriff walk a skeleton, most likely, and press Import. Unless it gives me an error, I hope not. Oh. Hm. Okay, so that is interesting. So it seems to have different notes. Um, let's go ahead and press Cancel for now. So you need to be very careful about this because you can completely break it. So what we first want to do is we want to try a few things. So let's first of all, just import girl one and then just import it like normal, just to see if we can actually apply the same animations to this or if they will just completely break or not even work. So I expect that they just won't work. So let's say that I have girl A over here, and else you need to export the animations for the specific character. So it's not like that big of a deal, but it just takes a bit longer. Use animation sets. Okay, see here, I'm not able to use that unfortunately. And what will most likely happen is if I go ahead and yes, delete that one, and let's go ahead and select all of these and delete them also. Just do it like a force delete. It's quickly safe machine. I expect that if I import this and try to match the other skeleton, it will just completely break. So if I would go ahead and go in here and select this skeleton, yeah, it will break. I just know that it will break. So if I would press Import I'll. So it looks like that the girl just so they apparently just changed around the bones a little bit. Which is quite annoying. I'm not going to do that. That just means that we need to basically export per character. We need to export all of the animations. So what I'm going to do is I'm going to import this girl with a walking animation. I'm going to import this girl with a sitting talking animation, and then these default guys are just going to have also talking animations. That is going to take me quite a while. At this point, I will just go ahead and finish off this chapter. And in the next chapter, what we will do is we will go ahead and we will implant all of those, make them actually move around, make them all interact, so that we already have that kind of stuff done. So let's go ahead and continue with that in the next chapter. 76. 75 Creating Our Character Animations Part3: Okay, so we are back. So over here, I have already imported my characters, and these are rigged characters that we have over here. I had quite a bit of trouble with this one because her skirt is basically showing her feet through it. So we will most likely not be using that one for, like, walking animations, except for maybe in the distance. But knowing that we now have these few characters, what we can do is we can, first of all, start by replacing them. I am going to actually replace this one over here. Like this. And what I want to do is whenever we have an animation, we can just go down here, use the animation and already use, like a default. Oh, so she has a sitting, but she should also have a walking animation, 02 walking over here. Excuse me. Why can you not be used? That is strange. Okay, then I guess that we also need to drag in, like, the walking animations. That's a pain that I need to do that, because that means that I need to, like, re art my materials every single time. So, okay, fair enough, let me just go ahead and for the sitting, we cannot really do that. So maybe I will have, like, her sitting over here instead of the guy. Yeah. So she's sitting over here like this. And then of course, these guys and everything, they are in the B folder, so I can just turn them on and off. So then I know which ones I want to animate. Just give me a second to, like, re art the materials to every single character. So that's a little bit of pain, but I guess that we cannot get around it. Okay, so I've now just added all of my materials. Of course, one thing to keep in mind is that this will go a lot easier if you, of course, have one character that you have specifically rigged or that you have multiple characters that are rigged using the exact same bones. All of my characters seem to be slightly different, which I have no choice in because I did not create them, nor can I create them, of course. But in any case, so here we can do character standing talking. Use animation and play the standard talking. So we have one sitting here, one sitting there. And what we can then keep doing is we can keep turning off. So let's see the next one would be that we need to have one character here sitting. So I'm going to replace her sitting with probably like a guy sitting over here. So we have the guy, use animation asset, guy sitting. There we go. So we will use this one over here. Move it up a little bit. Temporarily turn her off. There we go. So we have now the guy sitting over here, and then we also had a guy talking, I believe. Yeah, so let's go ahead and just do that. So for the guy talking, we have the girl over there. We have a girl one walking. However, we do not have a girl one talking, I believe, which is too bad. I forgot to add that animation. So this girl will just later on become a girl talking, let me move it over here. Then we also have the girl one walking at this point. So let's see. I'm going to turn off the B functions. This guy, this guy, and this girl can go away. You use animation assets, so this is the walking girl and she can go over here. So she's walking. And if we just go ahead and just maybe, move it forward a little bit. So if we have a look over here, by the way, her move her forward like this. This one will be for the static shots. So we have those all replaced. We have these replaced. And then the last one that I will replace is I will also have the girl walking over here because even though the walking animation is broken, I can most likely get away with adding it over here. So that's where we look at it from distance because you can only just see her walking away, and I don't think it will really be a problem with, like, the girl standing over here. So that is about it for our animation. So we got all of those done. Now, it's just a matter of temporarily turning these off. And then last one that we need to do is we just need to replace this one to be a talking animation. However this character is still processing, so we can always do that later on. For now, what I'm going to do is I'm going to go into my animations and open up finally my character movement over here. Okay, so what do we have? We have a sheriff that is over here, and he is walking at a pretty correct speed like this. Now let's go ahead and now let's do her. So we can simply drag in the girl on top of this and then close down the sheriff. And what we can say is, Okay, so with the girl, let's go ahead and let's grab a transform over here. I don't know why there's sort of like a leg going on, which is a little bit strange. So let's go ahead and now move her over here and add another transform. And now you can see, so now we have these two. So there we go. And then if we just go ahead and go to the animation and grab the girl walking animation, we can just test it out, make sure that it is at the right level. Oh, for her selected. And don't forget that we need to make this at an angle. Over here and then press safe so that she does not start slower. So let's have a look at this and maybe, have a look at it for the main camecor. Okay, so she moves a little bit too fast. So what we want to do is we just want to go ahead and actually, we want to move this further out over here. Mmm. I still feel like, you can embassy like that there is a she she moves faster or not. It almost feels like she's moving faster, but I'm not 100% sure. Maybe this can be fine. Or maybe like the guy. Maybe it's the guy that is for some reason. Here, if you just go to the sheriff ValkOh hey, the sheriff valk is not having this angle. Let's try that and save. Let's look back. Transformation. Okay, so that should now be fines. Let's try that out. Yeah, there we go. So that looks a little bit better. Okay, so we got those two walking over there. That is fine. Now those were pretty much like the difficult ones. Now come the more easier ones. So first of all, what I'm going to do is I got the girl. So girl on score 01 on score standing. I can just go ahead and I can go in here. I can go to Custom Or and just import this one. And it's quite press Import. That's strange. Did I accidentally turn something on? Oh, yeah, here. I do not want it. Let's clear that over here and now press Import. So I do not want to reuse skeleton. I think for some reason, we recognized as if I wanted to have an extra skeleton. But in any case, what we can do is we can just go ahead and replace this character with this one. And then in our animation, it will be like the standing animation like over here. And then what we can do is we just need to apply our materials again, which I will just pass the video and do. Here we go. So that's now also done. Perfect. So if we now go into our sequencer, we can already just go ahead and grab this girl. So all we want her to do is we just want to add the standing animation and just have it going on for a long time. So basically, when we are talking, you can see that she is just moving and talking around, and it will just basically loop the animation, but that is all that we really need. We can just keep doing this. So here we have the guys we sitting. We drag him in. We art the animation track that it belongs to him, and now we have over here. See, we have these talking, we have these sitting. They're interacting with each other, all that kind of stuff. And the other guy just happens to stand quite still. That's basically what we're going to go for. So that when we look at it from a distance, and we go into like a camera, you'll see, we have these people talking, these people walking. And just like that when we also have the horses, and the main focus will most likely be on the horses because those are the biggest objects that are moving. So you will automatically look at those objects mostly. But you can see that this is going to be very easy to just edit. Here, we can just minimize these girl 02 sitting, animation. Over here, we have the guy 06 standing animation. Make sure that the animations are nice and long. And now if we just press play, you can see that now these people are also interacting totally fine. Great. Now, over here, we have this girl. She used animation asset walking. And what we're going to do is for her. Let's add this animation track. Oh, sorry, I want to have this animation starting at the very beginning. Do want to make sure that all of my animation start at the beginning. So let me just double check that later on. But for now, we can also just have a transform over here. And then if we go to around like let's say, like 180. Let's say that we are just moving her around over here, do another transform. Let's see how that looks. Here, you can see that the feet just go through the skirt, but you cannot really see that from the back. Okay, so we need to move this a lot closer. So let's try that. Now a lot further. Let's also quickly go into our curve. And we just want to click on the transform and just make sure that this curve is straight and save that. Let's try that again. Maybe a little bit slower. There we go. So now she is also walking. And let's see, from a distance, is there anything else that we can see? So if we have this, I'm just going to go ahead and I'm just going to double check that all my animations are at the beginning. So it was mostly like the guys that I wanted to double check that the animations are correct because I thought I saw something moving. Oh, yeah, the sheriff, we can also re use. So what we can do is we have these ones over here. If we know pas play, you can see some people talking. Yeah, that is looking really good. And then if we just go ahead and also add the sheriff somewhere else, maybe like over here, because we had, like, a lot of sheriffs now that are all just, you know, walking, sitting, talking. I believe that if I do this one, can this one reuse the same animation? Because it worked in here, which is strange that it does not work anywhere else. So this one is like talking, no, arguing. Well, it does not really make sense for him to argue, actually. Or for him to talk. Now I think about it. So even if I would set him here, that does not make any sense. Let's instead use him over here. And let's have the sheriff standard walk. Here, Sheriff standard Walk. Oh, wait. We can just use this one. Animation, sheriff standard walk. And let's just have him replace this guy. So actually, for this guy, I'm going to add him to the B. Okay, so we have this guy, and then for this, we can just go ahead and we can art him in here. Add the transform note. And maybe what we will do is we will make him go this direction, so we rotate him and make him go somewhere along here and add another transform note. And all we need to do is in our animation, we are going to go for a standard walk animation. Make sure that it starts at the end. And now we can just play around. Oh, as always, go in here, click on Transform and just set this to be a nice straight line. Over here, it's twilight again. So let's press play. I goes a little bit fast. Let's move that further back. Press play again. Yeah, that works actually pretty well. And sure you can make him, rotate if you want. You can make him, go in here, rotate him more, and then add another transform. And then what he will do is he will just play with his rotation over here. But from this distance, what I care about is just that when I look over here, yeah, you can see that now everything already starts to get a lot more alive just with lows few movements, and everyone else is just kind of standing there. But that is looking great. So here we got some talking, we got some walking around. And this will imagine that you have a shot that goes like this, and then it nicely, pens up. So we can also do that over here if you want. Let's say that we have a shot like this. We can even animate our camera. So we can even go in here, grab our camera actor. And what we can do is we can add this camera actor if I press G, set my mode to movement over here. And then what I can say is I want to start this camera over here, transform, and then around the 200, just to nicely move this up a little bit and rotate this down a little bit, and add another transform. So now if I go into my camera, everything is linked together. So now if I just press G, you can imagine that if I press this. Look at that. And like that, you can just have a nice final scene. I would say throw in some extra screen percentage, and then you can go up here in your render settings and you can render it out. But of course, we still need to have some stuff to do. But as you can see, our scene now feels like it feels quite alive, especially once the horses are here. I will all feel really nicely and alive. The only thing is that over here you can see the sheriff still walking into place. So there's some small balancing that we probably need to do. Over here, where we would go in and let's say that at this point, we grab our sheriff, and we then go ahead and we just grab his transform and move it like way further like over here. Maybe, move it a little bit further even so that it's like a lot slower. Even further. Let's try that again. And sometimes the rotation does not properly register. It does do it now, but not exactly the way that I wanted to. So I can go in here and just grab this guy and just set my rotation a little bit better. See, at this point, this guy will be sitting over here. I feel like that it has reset. Oh, yeah, here, so it has reset this setting, which makes sense. It is because we are adding a lot of extra stuff. So here we just want to kind of, like, move this correctly like this and press save again just to make sure that you have the same angle. So now you can see that the guy he's just like nicely walking. He just walks over here. And now it looks like that we do need to go ahead and just set this a little bit closer because we changed our curve. But as you can see now this guys walking around over here, which means that from our original viewpoint, and I will do these camera animations, of course, a lot better later on. But for now, I can just see the guy walking and the girl. Let's see. I can see her walking into place also. And technically, this guy is also just like in place, but that does not matter too much because you don't notice it as much. But what I can do is I can have the girl going up here. And then add like a transform. And then once again, we just need to double check that if we go into our transform over here, that the girl is going at like a nice angle. Let's move this down, change the angle around. There we go. And now let's see. So now she walks over here. There we go. And we just have a walking Wi slows that he gets out of view. At least by the time that the camera is done animating, no one will be just walking into place. So we get like this. We get those people talking. We get those people over there walking around, so you can still see some movement going on, and then by that point, it will be fade to black because your camera is completely done. Okay, perfect. So we got these pieces done. What we are going to do now in the next chapter is we are going to start by animating our horses, and I will do a walk cycle, and maybe I will do, like a standing cycle where the horse is just kind of looking around. We will do this animation inside of Blender. So this is one of the few ones where we can simply not use Maximo because Maximo does not have the type of rigs that support horses. So let's go ahead and continue with that in our next chapter. 77. 76 Animating Our Horse Part1: Okay, so there are only two tasks left to do that we're going to do. First of all, we are going to now focus on animating a rock cycle of our horse, and we are actually going to do this manually because Maximo does not actually give us the ability to animate horses. And after that, there will be one final chapter which will just be general polish, and that will just be timeless chapter. It's going to be things like placing some planks here and there, maybe adding some more signs, small stuff like that. So what we're going to do is, if you look at your sequence, we already have, most of this stuff happening. So we have the people talking and walking around. In the poly cycle, I will probably also like a few more people walking around. So we are now going to get started with the horse walk cycle. Now, if we go at a switch to blender over here, not that one, this one over here. Here, you can see that I already have a horse and it even is completely rigged. This is because when I bought this package, this horse came with it, and it is looking really cool. So we are going to animate this for you, because I do not expect many people to have bought this package. What I expect to happen is you just need to have an animal, so like a horse, and you just need to have it rigged and skinned. That's all you need. The concept is exactly the same on how we are going to now animate our horse. It doesn't even need to be a horse. All of this, you can same basic concept. So what we're going to do now is if, for example, click over here, I click on the base of my horse, and this is actually my rig. And now if I go to the top from object mode to pose mode, and I'm going to go ahead and I'm going to set this to transparency up here to the X ray mode. Here you can see that this is how this horse has been rigged. So that is why I want to show you this because all the rigging is often the same. As long as you have a character, for example, you bat the character or something like that, and it is rigged and skinned or if you have the skills, even make it yourself, this will just be the same concept of how to animate it. So this is our horse. So we have a few things over here. For example, if you for example, click on a bone, you can then go, for example, to rotate, and then you can see that it does rotate around and everything just goes along with it. So it is not too difficult. Let me just Undoing is very slow, however. But there is one thing and it's that I am not an animator at all. So what I will show you will be just the basics. Now, this is a good and bad thing. On the one hand, it's a bad thing because I will not be able to show you super in depth how to do animations, especially not for animals, but it's also a good thing because I will show you, of course, the most simple way to do it because as a beginner, well, sort of beginner in animation, I also just want to keep it nice and simple. So we are going to keep this very simple. And the first thing that we're going to do is that I would not know where to start when I actually want to know the positions of creating a perfect walk cycle. However, what I do have is over here in our reference, I got a bunch of images. So in your reference and in your horse, these will be supplied, and I found these images online. So if you just go online and type in horse walk cycle drawing, I got this one, and this is perfect because what we can do is we can simply map this onto a plane because it's a perfect square. And if I would now cycle through the images, you can see that it is literally a walk cycle. See? And then it goes back to the beginning again. So this is really good. So it is just like a nice animation that is perfectly looping and if I would cycle this fast, you can see that it is now just walking around. So we are going to use these images to our advantage because then all we need to do is we basically need to create 12 different poses, and that's it. Once you have those 12 poses, we will also have a walk cycle. So what I'm going to do is I'm going to go ahead, press Shift A and I'm going to create a plane. Let's go ahead and just scaled up a little bit. Excuse me. Let's rotate this 90 degrees like this so that it is behind the horse. Sorry, my over here, my thing is in the way. Okay, now all that we need to do is we need to go ad and d of material, and we are going to just load in an image texture, and we are just going to load in that horse that we've had before. So let's go ahead and open this. Number one, and we're going to get started with number one. There we go. Okay, it looks like I need to rotate this 90 degrees like this. And then what I'm going to do is press that button next to the one and then just go to, like, your right. And now, what we want to do is we just want to line up this horse with the other horse. It's mostly important to just line up roughly whether the legs are going to be located. So we want to kind of match the scale with that. It doesn't need to be perfect. It just has to be like sort of in the right location. So if my voice breaks up sometimes a little bit, I have a little bit of a gold, but shouldn't be too bad. So roughly something like this, and we just need to get it lined up once, and then it is Algod. So we got this one. We kind of, like, want to just, of course, keep its distance from the actual horse, and that's it. So what we're going to do now is we are basically going to go to our VU. I will save my scene. Of course, this scene will not be supplied, unfortunately, because I'm not allowed to supply the horse. But we're going to go ahead and click on the horse, and then we want to go into our post mode. Now, this is going to be our very first post that we are going to get started with. So what you want to do is you want to go into your layout, and it is quite simple. Here we have all of our key frames over here. The first thing that we're going to do is we are simply going to set this horse to give it its pose. So mostly just want to use rotate, although sometimes we will use the move tool, but that's about it. I am just going to go ahead and all of these bones, they kind of fit together. If I move this one, the other ones will also fit together. So they kind of, are all linked. One thing I forgot to actually do is let's press Oh, we need to go outside of pose mode for this. Let's press Shift A, create a cube, make it a bit taller and just make it very thin, but not as thin as a plane. And this is going to be just to measure out where the floor is going to be over here, so that the feet are actually sitting on the floor. I like this model. It is really detailed. But okay, so we got this stuff over here. Let's now go ahead and go back into Bose mode. Oh, we do need to click on our base horse for this. Bose mode, like this. And now what we can do is we can just basically go ahead and rotate this roughly the way we want to. I will also have this one on my other screen. And the reason for this is because I, of course, need to make sure that I set the front and the back legs correctly. So the darker ones are the back legs, always. So we have this. We rotate this, and then we can see that over here, we kind of just want to rotate this nicely on here. Now with this one, what I expect to happen is that the muscles will actually move backwards for this one. Over here, we want to set a movement to global instead of local, and here you can see that you can actually move your back leg back. Don't do it too much, but basically what you will see happening is that over here. See, I literally just moves part of the entire muscle group back. So if I now go ahead and go to my right view, I am able to move this back, give this a rotation. Yeah. And now what we can do. So if we just roughly give this an echo totation, you can see that it will just move those muscles back. It will push them in here. Once again, it doesn't need to be perfectly precise because, of course, this horse is not the exact same from the drawing. But what I can do is I can then go ahead and, like, do this, and let's say that I move this one down a little bit more. And of course, this is also on the way, we have a horse that goes quite close by, so I do want to make this quite well. And what you can do is when it is not hitting the ground, then you can just carefully, move this down. So I'm going to actually go ahead and I'm going to rotate this a bit more. Go over here and then go ahead and do this one. And I will probably do around oh, sorry, it's not flat. I will probably do around three or four walk cycles. And after that, I will kick in the Taps because this is quite time consuming, as you can see if you want to do it really well. So let's say that we have this one over here. Great. Okay, so over here we have the font leg. Let's see, that's this one. And the front leg is that is why I always like to, have a look over here. I also need to kind of like double check make sure where the front leg and the back leg are. So these ones are over here. And this one, you can see over here that the hoofs. He's in the middle of stretching out his leg. And then over here, this one, he has his leg on the floor, so they need to be quite properly packed. And then, of course, make sure that you go ahead and move it correctly. I think we need to go ahead and we need to rotate this one. You might want to change your shortcuts in pose mode. Right click assigned shortcut W. I need to go in here and see. What's this one set to? Sorry, 1 second. Shift space for R, really? Can I just do Rotate, move. Rotate move. Okay, so you can just right click and sent your shortcuts. It's because every single window every single window often has its own shortcuts. So even though with editing mode, we have W and E or object mode in the pose mode, we do not yet have that, but this is, of course, a lot easier. If I now go ahead and I simply move this around. So we got over here. We got a horse and this one is sitting quite nicely. So here is our first horse. Maybe for this one, we just kind of want to move it up a little bit, but here is basically our first pose over here. So, that's great. So what we're going to do now is now that we have this pose, let's go ahead and go back to our right view. We actually want to go ahead and first of all, select all of our pieces, and then I'm going to set my key frame down here to zero. Now what we need to do is we need to give all of these pieces a keyframe. So this is going to be like the base keyframe. We can do this by first of all, go ahead and press over here auto keying. What this will do is whenever we move something, it will automatically place a keyframe. When we place multiple keyframes, so we change the positions on multiple keyframes, what it will do is it will do the same as in unreal, where it will basically smoothly just cycle between those keyframes. So with this one to do everything in Mango, you want to go over here to keying, and then you want to click on here and you want to just scroll down oh, I don't think. Um, that's annoying. You cannot see it because of that Gifre. You basically want to skull down. All the way to the whole character over here. And once you've done that, you want to press key over here, which is the little plus sign with the key. And then you can see successfully added 433 keys. We only need to do this one at the beginning. So now that we have this keyframe, I messed up my viewpod because I was so focused on the cutting. Now that we have this keyframe, now what we're going to do is, let's say we set our keys now to around ten. And then what we can do is we can simply click on the plane. So let's go Object mode, click on the plane, and you then want to go ahead and just change your reference to picture number two over here and now you can see that picture number two is slightly different. So I'm going to over here. Here, C picture number two is like a little bit back. So what we can do is we can now go ahead and we can just click back on our horse and make sure that you are on ten, make sure you are not on zero because else you are going to overweight, and I do not expect that you want to do that. So now with our horse, what we can do is we have this one, we can move it back a little bit, and then you can see that as soon as we move it, it will create a keyframe. So I can move this one down, this one out. This one back and move this one up so that it is in center. And just like that, I can also go over here. This one, let's say that it started to move around like this, and it looks like that it has its leg already slightly into the air. So what I'm going to do is for this one, I'm going to also, move it up. Maybe rotate this one a little bit. Yeah, and you just kind of want to make sure that you, of course, move it up far enough so that it's not clipping into the ground. A tiny bit of clipping we can handle for our version. Of course, if you're making this for, if this is like a game character, then of course, you want to go absolutely perfect, but we are just going to go for, like, something quick and easy. Now, it looks like this one needs to be moved forward a little bit, because this is like the back leg that you can see over here, and it looks like this, so he has his leg, but he does not have it completely. So down. So he's basically already starting to move a little bit like this. And then his back leg over here, just move that one out a little bit. His back leg goes over here. And then later on what we can also do is we can also do some head bobbing and just have the head like properly moving with it. There we go. We have this cycle. So what has happened now? We have now moved these cycles. So now if I would switch between the two, you can see that it smoothly switches between these cycles. And you can imagine that once we have all of them, it will just be a walk cycle. So if I now would go ahead and press Play, here you see, and based upon the speed that we want to do, we can change the speed later on also. So now that we have this one, we go to number 20. We go back into our object mode. Let's go ahead and let's grab the third one. Yeah, I will do three and four, and then I will do the time laps. So here we have a third one. Now we can go ahead and we can click on our horse again, go back into Post mode. And now what I'm going to do is I'm just going to go ahead and let's see. Let's move this one forward. And now he is in, like, a full bend already. So he has already, completely lifted up his hoofs like this. Maybe move it down, maybe not do not rotate it too bad like that. And then over here, if I just have a look. Okay, so his front leg is sweeping over the floor even more. So we just want to move this one back. Let's see. Let's move this down. Make this a little bit more straight. Yeah, so something like that. And then for his back legs, his completely behind neck over here is probably moving forward. And then it is, like, completely Oh. That wasn't won rotation. Do make sure that you do not do won rotation because's your leg, because it can also rotate this way. But of course, that would not look very logical. So just be careful about that. So let's go back to our right. Okay, so a font leg, I think I need to move the actual muscle forward a little bit more. So we have a font leg over here. And then this one is starting to prepare to hit the ground, which means that this wants to go nice and forward and then give it a little bit of an angle like this. And the backside over here, it has changed very little. So we just kind of want to move it around like this. Okay, so we got this one. Now what you will see is we can go ahead and we have over here, all of these cycles like this. What you can also see is that there is no keyframe in between here. Normally, that's not too bad because it does mean that it will lurp between this one and this one, but often that is totally fine. Of course, if in this version, this leg would be bend extremely, then by the time that you get to this band, then it would all of a sudden just lower. But that should be fine. So if we now go ahead and press Play, for example, you can see that now it is starting to do that cycle. And now we just want to have the horse walking calmly. That's why I go for like ten key frames per piece. So let's go ahead and let's do the last one over here, which is going to be number 30, and we're just going to go in object mode. Well, last one. I mean, like the last one that I will do in real time. And then this is number four that we're going to do. Yeah, it's not too difficult when you have these pictures. And Po tip, these pictures, you can characters also have these pictures. So it is just if you're new to animation, it is a lot easier than trying to figure it out all yourself. So this one, the horse leg, let's say that the muscle just cannot go any further. No, wait, it does need to go a little bit further. So the muscle goes a little bit further. It is bend, and then it bends this one. And then it bends this version like this. So it is starting to prepare to put its foods down. And then over here, it has this version. At this point, this version is completely straight, pretty much still. Here you can see it is just moving its upper muscle a little bit. So we're just going to move this a little bit down. And then the backside is now taking quite a transformation. So if we move this forward, let's see, let's move this forward a bit more. You go here, and then this one is now fully going like that. So it is moving that one forward. And then the back muscle we already pretty much did. Although this one is a little bit straighter now. So it almost looks like it This is going backwards. This one is going down. This one is now a little bit straighter, and then move this one up a little bit more so that it is properly just sitting here. Okay, so we got that one done so now we can see that if we press play there we go. So he's now slowly starting to walk. Okay, so that is these four. What we're going to do in the next chapter is the next chapter will be a time lapse chapter where I will just go ahead and create the entire walk cycle, and after that, it will just be the posing. Then we will go straight away to real time, and then we will start to get this animation and the character and everything into Unreal engine, and that's going to look very nice. So let's go ahead and continue with that in our next chapter. 78. 77 Animating Our Horse Part2 Timelapse: I M. 79. 78 Animating Our Horse Part3: Okay, so we now have a pretty decent animation. The thing that you saw me doing at the very end was that I simply set my keyframes to the end, which was 120 because we had up until 110, and then I simply selected everything, all of my bones. I clicked on the first keyframe, and I right click and then press duplicate. And I placed that at the end keyframe so that we have the same loop that you can see over here where it goes like this, and then when it goes to 12, you can see that over here, it kind of just switches back. Now, it's not yet looking as nice as I want to, but this is most likely because of the speed because right now our horse is a little bit slow. But basically, if we go ahead and, like, walk quite quickly, you can see that it wood. Yeah, so let's see. So the first key frame, that is fine. The only thing that I would say is that I feel like at this point, yeah, something feels a bit wrong with the keyframe. Let's go ahead and let's go to object mode, select this one. So this one is number 12. So it looks like that one of our feet are a little bit wrong, which is most likely because we copied it, it archs this keyframe at the very end. But if there's nothing in here, then you can see that the cycle will kind of break. So what we need to do is we just need to go ahead and we need to make sure that this one over here, that it has a few keyframes in between. So that it looks a little bit more logical. So we just basically move it around a little bit, and that's about it. So we just have keyframe here and here, see. So we just make sure that the cycle is correct. See. And that should do the trick. So if we just move this one over here, there we go. So they now all have key frames from the very end to the beginning C so yeah, that looks a bit logical or a bit more logical. So now let's just go through it a little bit slow so that we just have a quick look if we see any problems. So number one. Number two, the back feet go into the air first, and they hit the ground again. These feet go over here and hit the ground again. Well, sorry I'm going too quickly. So those feet are going over there, and then the fourth feet go into the U here we have a problem because it is not possible for a horse to have three feet into the air. So let's see, so we go over here, and then number 70, let's have a look. So let's see. This is 60, which means that this one needs to be number seven, I believe. Yeah, okay. So number seven, Whoa. It all of a sudden closed down every single program I have. 1 second. There we go. That's weird. Okay, so I'm looking on this on my on screen. So number seven is correct. Then number eight, in number eight, this one goes forward, that is fine. This one goes backward, that's fine. This one goes into the air, that's fine. This one is still on the floor, that is fine. Let's see the number nine. This one over here, number nine is weg. This number nine should still be on the floor. I don't really need to have the image for this. I just need to make sure that number nine is on the floor. So number nine, and then the backwards feet are on the floor. This feet is in the air. You'll see, I'm just basically looking, and that feet is kind of bent. And then in number ten, this feet is further on the floor. Right now it is going a little bit too far from what I feel comfortable with testing out. So let me just quickly grab the image that I can properly do it. Number ten is the one that we need. Oh, yeah, see. So I don't know why that one Wong. In the tips you could also see that I accidentally for two frames, I accidentally had the Wong feet. Oh, yeah, here, see. There's a lot of distance going on in between here. So it's most likely the rotation of this leg that is causing the problem. It's probably it. So if we just have this one over here. Okay, so this rotation of this leg. So over here, the rotation does not really matter, but over here, it needs to kind of, like, help. Okay, so we have now number ten, and then we go over to number 11. Number 11, this food is forward. This food is on the ground. This Food is now, that's not logical. It's a bit tricky to see this one. This food is on the ground, both of them. So this one, we probably need to just go ahead and rotate a little bit and move it over here and rotate this. So this food is on the ground. And this food is also on the ground, which you can see that, yeah, it's just those two key frames. So that's what I was talking about that sometimes normally doesn't really matter, but sometimes the lurping between them is so far away that it doesn't work. So we go then like this. And then the next one has this food going forward, this foot going down. This food is still on the ground, and this one is back. And then it goes back into its own position. I'm just going to go ahead and I'm just going to give this, like, a little wiggle so that we have, at least a frame over there because else I don't really trust it. So let's see. And then over here, you know what? I'm going to just give this like a little frame. Like that. So there we go. Now here frame. Okay, so now walk cycle, forward, backwards. Forward. Okay, so that is looking a little bit more logical. Let's go ahead and just save our scene. So that is that one. This is now all playing, so we can just go ahead and we can over here, as you can see, we can have the walk cycle. Like that. We probably want to go ahead and we do want to have this going a little bit faster, especially around here, I don't know what it is. It's almost like a hesitation. So we go over here. Maybe it's not a hesitation. Maybe it's just a bit strange that there are so much movement in the front legs. But then in the back legs, they are kind of not moving. But when we walk a little bit faster, they should not really be that noticeable. Another thing that I want to do is that I want to go ahead and just have my horse spine over here. So let's say that if we do this, let's see up until here, this point. Let's go ahead and just move this up a little bit. Then it goes onto the ground, then move it down a little bit. And then we can go up again. Although, no, wait, sorry, I'm going to do the other way up. I do it one again. I meant to say down. So you go down, then you go up again. Then you go down again because then the cycle just continues properly. And then you go up again. So now, when we walk, you can see that the horse is going and is doing its head. And then, of course, what we can also do is we can also go ahead and we can also give it a little bit more life by just like moving a few more pieces in his face. It doesn't need to be too perfect. I'm going to see in unreal how much we need to do for this. But at least now is how we say it. Now he's also just moving like this. Now we can also go ahead and we can also have a quick look over here for if there's anything else that we need to kind of move. Maybe there's some general movement, although these pieces will most likely not move, but maybe over here, there could be some general movement. Where I like grab these pieces and move them around. And then maybe like over here, that they are just like jiggling around. They don't have anything special. It's just like that they are kind of like moving. But we need to be a little bit more careful about this because, of course, we have characters. So we need to be careful that we do not make too drastic changes to the places where the characters are sitting. But here, so just something like this, just so that there's a little bit more movement going on. And I don't think there's anything that we really want to do in our body. Yeah, I don't think maybe. Let's see. So if these bits are into the air, then maybe it would be cool if it's like there's, like, a tiny bit of, like, a rotation going on. And then here it's the ground again, and then the rotation goes, like back again, but I'm not sure if this should be fine or if this here this will work. So let's see. So now, yeah, you know what? Let's leave it at something like this. I think if we go too much with all of this stuff, because I'm not the best animator, I would probably just end up ruining it again. So at this point, we just want to know roughly when that we actually want to have all of this animation. So we basically going to select everything, and then we just like, select one of them. So ten was a bit too slow. Let's see. If we set it to 50% of speed, would that be enough? Maybe. So what you can do is you can simply go ahead and, you can hold this button over here to give us a better animation view or not this button, but I mean, use is dragging that we have all the in between. So let's go ahead and see if we like now select all of this and we basically just move it up. Oh, that feels like it is very slow. So even now, let's see if I cross play. Huh? Why are you going backwards? Did I you know what? Maybe that might work. Let's go ahead and just simply select these keyframes and just move them a little bit closer. Instead of ten, we are just going to move them five frames apart, which will hopefully make the cycle faster, not too fast because, of course, if it's too fast, then we get the problem that it looks like the horse is almost like running or it looks unnatural. But if we go to slow, then you can see that the animation is not that amazing. So if we go for 60, and that's at the end, I'll to like 60 over here. So it starts playing. Let's see that. Let's have a look at that. Yeah, that does work. That's just like, for some reason, something still feels wrong. Let's have a quick look. That looks fine up until 20 frames looks fine. I think it's near the end. I think when it's looping it is giving me a little bit of a strange look. Mm. That is a tricky one. Maybe it's better if we just go ahead. It's like over here, there's a lot of movement going on, but it's not that bad. You know what? Let's get it into reel. I think it's better to set over there. Right now, I don't do it dust it. So I'm going to turn off my outer animation. I'm just going to go ahead and save this. Okay, so we got our horse now. We got all of that stuff done. We can go into object mode. And just to keep it easier, I'm just going to hide these planes, and I'm just going to go ahead and I'm going to basically select everything over here. Just click on the top, select everything. And yeah, save a scene. And then what I'm going to do is I'm just going to go ahead and export this to FBX. And I'm going to export this to exports. Oh, sorry, I cannot do that over here. Horse, because, of course, I'm not allowed to give you guys this horse, unfortunately. So let's make a folder called exports in the actual folder where this horse saved. Selected objects. Horse, underscore walk, underscore nim. Oh, let's not do anim walk horse, underscore walk. Okay, that's all turn on. We have our bake animation all turned on. So that's all fine. So let's go ahead and export that. And let's see if that works. So if I just save my scene, I hope that all the materials are still correct because I have not yet tested out the exporting of this horse file because these horses, of course, are static, so they kind already work. In any case, if we go ahead and go in here, what did we do? We went into this folder and I'm just going to make a new folder called horse. Which makes it easier for me so that I can just remove it when we are done. And now I'm just going to navigate to my file. Horse exports. Okay, let's go ahead and just import this horse. I also am not completely sure about the scaling. I guess that scaling is fine, so let's just get started with one and just press Import. And then we can just give this a go. Okay, so yes, that is fine. So if I now go ahead and let's say place next this horse, Okay, so the horse scaling is a little bit too much. Let's go ahead and go in here. And what we can do is we can scroll down, transform, 0.9 maybe, and let's just press press reimport in here? Let's do this. Rimport. 0.8 maybe. This one is always a bit trickier when you have animations on it than because the displays change. So let's reimport this. Okay, 0.8 is fine. Now if I quickly go to my horse, I want to see what kind of materials it has, and then I can go ahead and go in here and just make sure that those materials are the same. Okay. Hello, horsey. Let's go up. Okay, three materials, so that's looking good. I'm just going to see if I can just drag in the material. So I will do this on my other screen. Okay, that one is correct. We have our hair. No, that is not the hair. This one we need. And then we have our outfit. Okay, so outfit is incorrect. I think No, wait, I think it is this way. That's the outfit. This is the horse. So it's always a bit backward. There we go. We have our horse. Let's go ahead and save zi. Bit laggy. There we go. Not this one, this one. We have a horse over here. Let's go ahead and let's go into our animation set and then we can just play and we play the horse animation. I think it is this one. Yes, that's the one. Now what you can do is just go ahead and press play just to see how it works. Let's see. Am I accidentally bending something strange? No. How is it looking from the distance? Not perfect, but it is already, like, a good beginning. So I think that is fine. Like, it is a beginning that we can get started with. Hmm. I'm just trying to figure out exactly what's wrong. It feels a bit floaty. I think that's yeah, I think that's the problem. Like, it does not feel like it like it has a lot of weight to it. So that's something that I will go ahead and try and fix. However, we already have like the base horse in mansuO I will go ahead and try and fix that in the time laps of, like, all the polishing. So at this point, this horse is pretty good, although for some reason, it just reset all of the scaling again, and that is a little bit strange. Is it because of the animation? Oh, the animation. That is tricky. I did not think of that. If we go ahead and go in here, I think what we need to do is I'm just going to do a reimport. So if we go ahead and look, what was the final scale 0.8. Yeah, I'm going to go ahead and delete all of this. Delete the horse, save your scene because this is easier for me. If I just go ahead and delete all of this stuff, like that. And then if I just go ahead and reimport it, but this time set my scaling to 0.8, that should be fine. So basically, what we're going to do now is we are going to set up our sequence, which should be pretty much the same. So over here we have a horse. I just need to quickly drag on the materials which are going to be the horse. Outfit or skin. At least now I know which ones I need to have. So the horse is now done. And now over here we have our doctor and we have our horse. I'm going to go ahead and I don't think like the doctor we really need to animate except for maybe bobbing him up and down a little bit. But for the rest, that means that what I will do is I will select the doctor and the horse and I will go ahead and I will duplicate them over here, and this one is going to go into our animated characters folder. And then this doctor and the horse is going to go into the B folder, which can be hidden. So now in our animated characters folder, the first thing I'm going to do is, I'm going to replace my horse with the animated version over here. So we got a horse. Let's go ahead and grab it over here. Now I'm going to go ahead and grab the old horse. Or, actually, let's where's my new horse. Horse, walk, let's throw this also into the animated characters folder. Link the doctor to this horse. Oh, cannot Oh, that's annoying. I didn't know that that you cannot attach it. In that case, we just need to animate it separately. In that case, so let's first of all, get rid of this horse. Now, we have a doctor. Let's go ahead and just sit the doctor down here. Like this. Yeah, it should still be fine. Is my horse not looking too small? I don't think so. I think that is a pretty decent size. It's a little bit smaller, but I don't think we can really twine scale it up, but in the animation, it might just say, like, no, I don't want to be skelted, then we'll just revert it. So let's say that we got this one over here. What we're going to do now is we are going to give the animation. So if we go ahead and go into our town animations then we are here, we have our character movement. So now what we can do is we can just go ahead and start adding this one. So we have our horse and we have our doctor over here, so let's go ahead and add both of these two here. Horse walk. Okay. And with our horse walk, if we go ahead and go into our transform, let's have a look. I'm going to first of all, animation, grab the horse walk animation. Let's have that one just running all the way through. And then in our transform, I'm just going to go ahead and select it, click on our Transform, and this one we will go ahead and we will simply move it from here to over here. Oh, sorry, we do need to have it at the end. Let's say this is probably the right speed. We need to figure out the right speed. So let's have it roughly around over here. Now, first of all, let's press plate to see if the speed is correct. Oh, I forgot to do that. I forgot to go ahead and go into our bridge transform and just make sure that this is rotated. Flat. I really don't know why they would do that, why they would not just keep it like this. It's safe. Let's twilight again. So horse, No, you are going too fast, so let's move this back. Let's play it out to it again. Whoa, still too fast. Let's go ahead and go back. Even more. Let's try that. Wow, this one really needs to go quite far in order to. So the horses they are walking very slowly, which, of course, makes sense. Horses often even walk slower than people if they are in the town, you would think. Mm, I just need to double check because I feel like, yeah, here, see, because we move this, it is trying to once again mess around with our curve. So we just need to reset this back. It's twilight again. So play. There we go. So that's looking a little bit more logical. Yeah, we will, of course, just fix the animation a little bit later on, but we only need to do this animation once. Okay, so we got our horse over here. And now we have also our doctor, which is sitting all the way up here. And with our doctor, what I'm going to do is, first of all, let's just go ahead and try, go to our horse walk, and then right, click on transform Damn this thing is getting annoying all of a sudden. Right, click on a transform copy. Go to our doctor, let's go ahead and paste over here because there is not a, there is not a link function, I believe, to this and online, I can also not really find any way to easily do that. So let's just go ahead and press Paste over here. And then the next thing that we're going to do is let's see this one, let's just go ahead and press delete that transform so that we only have last transform left. For last transform, all we need to do is we do need to go ahead and we need to place it properly into position like this. And then what we need to do is we just need to also make sure that the curve is correct, which it is. Now, I have feeling that this is going to not work as well. Oh, hey, wait, it's working perfectly. Okay, fair enough. Okay, so we got this position over here. What we can try to do with this, just to give it a little bit more life is, let's see. If the horse does this, we go down a little bit. It's a little bit slow for some reason. Oh, and now it is not linking. That is interesting. But I only want to really transform it on my Which location is this on my XYZ, on my Z location. So if I maybe go only over here, here, if I move this one down over here and then do a Z location, now it works. So if we just set this on our Z location, then it does not get confused and try to change our curve again. Let's just do this a little bit, just to see if it is even working before I spend my time doing it more. It's on the location. Let's see. So you have an operas play. Not perfect. But let's go ahead and just see how it looks if we go over here. Yeah, so we definitely need to give the horse a lot more weight. That's definitely one thing. I feel like the person, if a year is not moving, it's not the worst thing in the world. You can go ahead and you can. I will not probably do that, but we can go a little bit more drastic in terms of, like, the movements up and down, only that will probably take quite a bit of time to really do this, or maybe we can go ahead and, like, select these duplicate them, duplicate them again and again and again. Something like this. And I don't know if that maybe, like, gives me a better look. Yeah, because you can see him bobbing up and down. But yeah, you just need to have a look and see whatever works best for you. So at this point, I would say that this is for me, this is looking pretty good. So we got the horses walking around. So the only thing that I need to do in the next chapter, which will be a time match chapter is I need to go ahead and art this cycle also for this horse and for this horse. Then I'm going to do a little bit more enviamin polish. And after that, what I can do is I can probably add a few more animations, just like I have a few more people walking and maybe have another animation for the horse in which he's just like drinking or something like that. That is about it. So at this point, this will be the end of our real time chapters. So I really hope that you enjoyed it. I will go ahead and I will just do a quick out row later on, so you will still hear my voice for just a few more minutes at the very, very end. So let's for now continue to our very final chapter in which we'll just do some general polish and just really make sure that this is going to become an end product. 80. 79 Final Polishing Of Our Scene Timelapse: I h Do M No. And I Uh, Do a Banana. Okay. D. D. D. D. D. 81. 80 Outro: Okay, so here we are. Welcome to the Outrow. Wow. That was quite a big course that we have covered over here. But I think that the end result speaks for itself, and it is looking awesome, if I say so myself. So, of course, as always, I always recommend that you spend quite a bit more time on it than I do. Unfortunately, the nature of tutorials, I cannot simply spend 100 hours on an environment. However, you can. So I definitely recommend that. So in the quick time laps that we did in the previous chapter, so we just improved the horse animation. We added some more animations. We added some more walking animations and some general assets and signs and stuff like that. Yeah, that was about it for us a little bit of cleanup, a little bit of balancing here and there. But look at this. We have a really cool looking environment. Of course, this now is just like a still, but we have fill on animations and everything. So that's looking great. And as you know, you can go ahead and create a high resolution screenshot here. Don't forget to set your screen percentage to 200 if you really want to get the best of the best out of it. And of course, let's just have a quick look just because it is nice look, let's turn these off. Let's go into our animations. And here we have our final sequence animation for which we just need to quickly. There we go. We just had to reset it because it's a little bit broken. But let's have a play. So you can see camera moving. Everyone is just doing their own thing. They're talking, they're walking. The horses are walking. It's looking great. Okay, that is really cool. Of course, of course, you can improve more on this. You can have more characters walking and talking and just being idle. You can have more horse animations of them being idle. But I'm going to just leave it off here because I'm pretty sure that you get the point by now. Yeah, we also like these planks and everything. And some decals over here that is just like some dirt decals. Okay, so that's great. So I'm sure that by this point you already know what we've covered, but just in general, the biggest recap is that we went over on how to do modular asset creation. We went over on how to do procedural textures, how to create decals, how to do advanced shaders and materials inside of Unreal Engine five. How to create training in real engine five, how to create also those normal details for those. We did, of course, general presentation, lighting. We went over how to use the modeling tools to easily create these Boolean functions and everything like that. We went over set dressing, which basically means just the level art of our level. And on top of that, we also went over as a bonus on how to easily animate some characters, how to place some characters around, and also how to even manually edit or animate horses, which was all looking really cool. So this is looking great. This little guy over here, I will go ahead and just fix. Oh, wait, we don't need to fix them. We just need to go ahead and switch this back just to give you, like, the final look. I will go ahead and I will clean up the scene a little bit more just like in our World Outliner. But for the rest, everything will be included. Every single source file is included in here. The only thing that will not be included are the characters, the horses, and those few static assets. And I already explained to you why. I really hope you enjoyed this tutorial course. Next to this, I also recommend that you have a look at our YouTube channel, which is also fast tutorials, as we have a lot of free content there. And, for example, in there, we sometimes cover things like weighted normals. We cover them a little bit more in depth, which we cannot really do when we have so much stuff to do in these tutorial courses. There's also a discourse. You can find it when you've bought discourse. You can find it on YouTube bits scattered all over the place. And, of course, do not forget to please leave a good review if you have enjoyed this tutorial course. If you did not enjoy it, then please, of course, first talk to me before you leave like one star review because those things are not really nice to receive, and I'll see what I can do to improve discourse or future courses. If you need any help, the discourse is the best place to go. In any case, that was the Outro. I really hope you enjoyed this Dial course. There are many more courses to come. So let's go ahead and keep learning.