Learn how to Model inside Unreal Engine 5

1. Introduction to Modeling in Unreal Engine 5: Hello, and welcome to Modeling Inside and Real Engine five. My name is Mao and I will be your instructor in this course, where I will take you step by step into showing you how you can model Inside and Real. Now, modeling Inside and Real doesn't necessarily replace the treaty apps you are using like Blender or Treaty Studio Max, but it will eliminate a lot of back and forth between these two, and you can save a lot of time. And real modeling tools are very powerful. So I will guide you step by step into learning the basics, how to create basic primitive, how to deform, how to use basic operations, and how to add more details and basically all the most important tools that I use for myself. And obviously, we are going to create a tower. So that you can apply those skills. And hopefully by the end of this course, you will become very, very confident on using unreL modeling tools. You will be able to model inside NRL, and you will feel very, very good about yourself because you will learn a new skill. So with that set, let's get started. 2. Viewport navigation: So before we start into modeling, we need to make sure we know our way around real engine. And if you first open it, you will see a window like this. This is our billboard. This is our representation of what our game will look like. On the right, you have the outliner, which are all the objects that are in the scene. If I click here, for example, you will see here on the right. I outlines the actor that I'm using. Right, you have your details panel, which is the details of each actor, especially the location, rotation, and scale that we're going to touch on later. The most important thing is that you know your way around on how to navigate in real, how to move around. And it's very easy. It's just like a game. So I will right click and while holding the right click, I will move the camera. And that's how I can rotate the camera. If I left click, I will move the mouse up and down, and you will see that I'm moving in two axes, pretty much forward and backwards, right? If I press the middle mouse click, you will be able to pan around different axes. But my favorite method to navigate here is by using the right mouse click and then using the keys W ASD, just like any game where you can just move around. So I'm holding the right mouse click and I'm moving around just like navigating a spaceship, and I can go up with E and I can go down with Q. And that's all I need to know. Like, another thing you can do is press F to focus on an actor. For example, I can click on this one, press F, and the camera will focus on this. Now, what can you do here is hold the Alt key, left click and you will be able to rotate the camera. And now, your camera will move around the object you focus. If I focus on this one, I will rotate around this object just by holding the Alt key and the left mouse bottom. And that's it. So my fair bit method, obviously is the right click WASD to move around. You can also use the scroll wheel to change the speed. If I scroll wheel down, you will see that I move slower. If I go up, you will see that I move faster. Last but not least, let's take a look at the selection mode. We are here on the selection mode. We can also change to a modeling one to a foliage one to landscape. And obviously, in this lesson, we're going to be focusing on the modeling tools. So let's get started. 3. Creating primitives: Alright, so in order to use the modeling tools, we just need to go to selection mode, then go to modeling. Here you will see that I have different panels, have created, you have transformed deform, model mesh, boxel bake UVs, attributes, and miscellaneous. So each panel do different stuff, and obviously we're going to focusing on the create panel now. Creating primitives is really simple here. You use drag a box, for example, you want to create a box, click here, then move the mouse around and you will see that your mesh is snapping to the ground. Now you can change some properties here, but first let me create this. As soon as you click that, you can click on Accept. And now you have a mesh. This mesh, it's already created in your memory. It's not only in this level. How do you know that? You go to the details panel here on the right. Click here, browse the box that you just created, and you will see that you have a box here. Now, I will go to these mountains here very far, and what I will do is to create the same box, but this time, I'm going to create it here. And you will notice that the box is actually snapping to the surface to the normal of the surface that you're clicking on, and that may or may not be a behavior that you want to create. Like, for example, like this, this is maybe something you want, maybe something you don't want. This is where line to normal becomes really handling. If you go here to positioning, go to A line to normal. Click here. And now when I create the box, you will see that no matter where I put it, it always looks upwards. It's not aligning to the normal of the surface. Also, target position. You can see that when I'm clicking, I'm creating this object here. I can just go for ground plane, and you don't see it here because now I'm in the zero, zero, zero space in the world, and now all my objects will be created here. Now, I usually like to put this on sync just so that I create my objects in context of what I'm doing. So I can just click here. Except now I can create my object. Now, there are a bunch of options that you can change, you can change the width, for example, like that. It's a little bit fun because when I'm moving the mouse here, I need to go left and change the position of this. You can change the depth. You can change the height. Let's just click Okay. And just like that, you just create your object. Another thing you can do obviously is change the rotation of this before clicking Accept. And what that means is that you will just change the rotation after this. You can always go back here. All right. So this is a very simple primitive. You can also play with some other primitives like sphere, for example, you can create sphere. And it also have different types of options. For example, the radius, you can change it. You can change the subdivisions, for example, four, you will have less resolution. Click here on this arrow to go to the default settings. You can also go for lat long if you want to have a different type of sphere or going to go for box type, that also can work. So you will find a different primitive, have you, different properties here. For example, the Taurus, you have the major slices. Minor slices to change the resolution of this. And by the way, if you want to check the wafram, just go here. You will see that is Alt two. So from now on, I'm just going to go here and Alt two. Alt four will be for my lit mode, Alt three for my lit. So Alt two, you can check the resolution here. As soon as I change the major slices, you will see that it's also changing. So you can also change the major radius. To have something like this. And if you want to increase the resolution, you can increase this one here, and let's just say that's something you want, then just go for this. Click here, except and just like that, you can just create different primitives, such as an arrow. You can also click Enter to accept. If you want to use the keyboard, you can create a capsule and different primitives will have different properties. So I highly recommend you to play with those. The last primitive I want to show you here before we move on to other complex type of primitive is just stairs. The Sirs is such an important aspect of any kind of project. So it comes with a very specific toolset, such as linear staircase, floating staircase, curved just like this one, and also spiral. So you can increase the number of steps. You can increase or decrease step width. And you can just play with this. You can increase the inner radius, or you can just go for a linear, and you can just create any kind of step that you want. Increase the number of stairs, and there you go. It's very easy to create stairs here. So because it's such a common element, it's not really a primitive, but it's such a common thing to do that you may want to use it in the future. So the next thing we're going to worry about is to create other types of primitive, which are more complex. So let's take a look at that now. 4. The Cube Grid: Alright, so let's take a look at another type of primitive you want to create. Maybe you're creating a game or you want to plan out some kind of architectural plane, and you may want to play a little bit with more dynamic stuff. So you can go here to the cube grid. So what is the cube grid? The cube grid, it's a way for you to paint where you want your meshes. It's basically a bunch of cubes come together. So I can just right click and just like that. I can hold this. And you will see that I can have the dimensions with me. And let's you say I want to create something like this. So nothing has happened, and the reason is I haven't push. So I can pull. It's like or push. So for example, if I pull, I press E, which is this one, I will, like, kind of, like, pulling the faces upwards. If I push, so I click this one, I will push it downwards. I can pull, and you will see that because I push first, it will go down, and then I can pull two times or three times, it doesn't matter. They always have the same measurement. So how can this come handed to you? Well, maybe you want to do something like this. You can just click here, and it will snap to the same dimensions that you have put here. So I can just instead of just pull pull like this, I can just press E. Or maybe I can just go here, press E, and maybe I want to close this. So I will go here. One of these something like that, and I will just go for this. I can go for something like this, or if I don't like it, I can go for a cue. I can go also like this to create more stuff. And the cool thing is I can merge them. I can just go here. And just like that, you will have everything snapped together. Now, another thing you can do, obviously, is you can select some of those and you can go for corner mode and you can just click on these corners and just like the same, you can press E to pull or Q to push. So for example, I want to go from here to here, I can just press these corners just like that. I can also choose individual corners, and as soon as I click on this, they will just manage to update at the same time. I'm just clicking here and it will just do the same location that I end up with with the last one. So I can just click here and, you know, that's done. I can choose the corner mode. I can slice forward. So for example, Chief Q. Basically, what I will do is I will just move this down. Like, for example, I can just go here. Slides forward. And basically, what I'm doing is Chief E will slice up just like pulling. Chief Q will go down. So for example, if you don't like this position, you want to be a little bit more down, you can go for hit Q or Chief E. All right. So another thing you can do obviously is go to push, and it will automatically delete the faces that you are not using. So for example, I can push here, and then, for example, I can go here, corner mode, click on these two. Press E, just like that. You can tell that it's a very, very handy way of modeling some platforms is very, very handy. So you can just go here, delete this, you don't like it, maybe you want to put this one like this. It's very, very useful. So just pressing E, E again, or a Q if you want to delete, you want to delete these faces, go for a Q or go for this one, and go for a Q all the way here so that you can have your faces deleted. So that is the cube and grid. And when you finish, you will notice that you have an actor here, right here in the outliner, we can go here to the static mesh, and you will see that you have this actor. So you can just move it around or whatever. If for whatever reason you want to edit, you need to click here and then go to Cube Grid and then you can just do the same. However, if I click on this one, for example, and then go to the cube grid, and then I start adding some stuff just like this, except what will happen is that the object I click, it will add the geometry here. So now when I check this mesh, let me double click on this to show you another stuff. This is the static mesh editor. It navigates exactly the same as the viewpoort Alt and Left Mouse click, and you have all the properties for your TD models here. So you will see that this sphere no longer is along, and that is because when I click the cube grid, I click on the sphere first. If you don't want this to happen, just click anywhere in the map. Don't have any actor selected, press Escape. Like you can see, I don't have any actor, and I can just go to Cube Grid, and now I can just go here, except. And now you will see here that I have a unique object. I didn't edit something else. So that's the cube grid. Very, very useful, very cool. Let's move on to the next one. 5. Creating Primitives Drawing: Okay, so let's move on to the next ones. The next one is extrude polygon. So extrude polygon is just really simple. As soon as you click on this, you will see that you have a gizmo here where you can just draw whatever you want. So what happens here, I can just click here. At any point, I can just create any shape. For example, this one. And when I click, for the first time, you will notice that I have a volume. And what happens is that I can actually go here and just select the height of this. So as soon as I click this, I can go for complete, you will see that I have a new mesh. This is extremely useful when you want to create more complex meshes. Now, you can obviously have circle here, for example, like this. You can go for something like this if you want. You have different primitive rectangle, rounded rectangle. For example, this one, I can go for this. And then I can create a rounded rectangle just like that. Now, if you don't really want the height to be interactive, let's go back to freehand. I can just put a fix and I can choose the height, for example, 200. And now when I go here, let's go for a strut polygon. When I go here and just click on these ones. I don't need to select the height. I will automatically just put these messes here where I can just hit complete, and that's it. So I like it to be interactive, but you don't really need to do it that way. Another thing is enable snapping or not. So if you disable snapping and you just click here, like you just want snap to the to vertices or edges, but you will still snap to the gizmo that you have here. So that's really, really important. So if you want to change, obviously the direction of this, first, you need to change the gizmo, rotated 90 degrees, just like that, using this green line. And then you can just click here and notice that now my extrusion will be along this plane and not the ground, so I can just keep complete. And that's just really, really cool. Another one is extrude path. It's really similar except that I find this very useful when you want to create, for example, walls. So I can just go here. And let me create something like this. And then the second one, this will add another ef. The second one is the width of this. So I can use, for example, select this. And the third one, it's going to be going up or down to select the height you want. So it is very similar in the sense that you will draw, but except this one will have a width. And obviously, what's not in the width will become a hole. So it's very useful when you want to create walls or things like that, and that's it for this one. It's very self explanatory. The next one Revolve Path, it's a little bit funny. Let me just delete this for now so you can see what's going on. Go to Revolve Path, and what you can do is actually draw something here and draw like an interesting shape. Let me just draw something like this. And notice that something happened here. And it's basically extruding things here in a way that is following the shape that you created. Now, this doesn't work quite well. Just like that, you need to first create like a plane first. So let's create a disc, for example. We can have a disk here, press F to focus. And now while clicking this, I will go to Revolve path, and I'm going to do the same. I'm going to create another path here. So for example, I'm going to go for something like this. And then I can just go for something like that. And what you will see is that it creates an interesting shapes pretty much based on the shape that you had first on the plane. I can also unselect the sharp normals, and what you will have is something really, really smooth. I can also increase or decrease the number of max degrees that you have explicit steps. Obviously, can also be a way for you to control the resolution. But in general, it's just to play with, you know, very, very interesting shapes. To be honest, I don't use this that often. I don't feel like I've needed at some point. The other one is just dry spline word. We're not going to do this yet. Not now. For now, I think this will pretty much cover all the create primitives. So the next thing we want to do is what do you do with a primitive? Because obviously, you need to model something. This is a modeling course. And first, you create a primitive that you want, which will give you a good base based on the forms that you want to create. You create different primitives. And then we will go here and model something, and that's where this is the toolset that will help you to do that. 6. Polygroup Editing: All right, so let's start modeling something. I'm going to create something first. Let's start with a box. Let me go back to the all the default settings, 100 by 100 by 100. Click here, except. And now what I want to do is we're not going to touch the deform tab yet. We're going to go straight up to model. And into modeling, you will see the polygroup edit. So what happens here is if I check the wireframe pressing Alt, you will see that I have triangles here, and each phase is a polygroup. Now, polygroups are in a way, just what the name implies. It's a group of polygons, so it's easier for you to move stuff. So for example, I can just go here, right? I can click on faces, move them around. I can also click on edges, move them like this. Or click on vertex, click on a vertex and move it up or down. So how you decide which object you want to move? That depends on the changes. When it's a big change, you will go for a phase. When you want to make more adjustments like the angle or things like that, you may want to go for edges and when you want to fine tune stuff like the angle of this, for example, you may want to go to the Vertex mode. Obviously, you can have a filter here. So if you don't want to select vertex or pass, for example, if I click here, you won't be able to select any phase, but I'm still able to select vertex here. If I click this again, I can just go back and move this around. All right. So other things you can do, for example, is press the delete key, and this will pretty much delete the the phase that you have here, so let's accept. Let me just create a new one because this one looks really ugly. All right. So let's go to model polygroupE dit. So I can just move things around, and an important one is obviously the extrude. So what's the difference between the strut and moving things around? When you extrude stuff, you're actually adding geometry. So for example, something like this. Or if you move, if you move this up, you will see that you are moving this vertex with you, right? So maybe you just want a wall here, so you can go to strut and now you can have something like this. If I were to move this up and down, you will notice that I'm changing the height. I can obviously change this. If I want, go here. Shift click if you want to select multiple phases or objects, click strut, and there you go. Now, offset is quite useful. Basically we create geometry inside a phase. So go here to offset. And what you will do is basically, it's like a strut, but it kind of, like, goes like offset, you know, the vertex go a little bit in a different direction. You can always, like, you know, I don't really like this. What I like to do. In my case, for example, I tend to do stroud normal. And if I want to make any change on the face, I can change this like this, for example. So that's a personal taste. Push, pull. So if you push, like remember the modeling, the cube grid that we use. So, so for example, if you push here, what will happen is that you're actually saving the geometry, you know, it's very different. So you're kind of, like, using bullions to preserve the geometry, just like that. So let me control C just for now. And notice that because I didn't accept, I lost my changes. So what happened here is I can go to a pool. Click here and notice that my geometry has changed. Whereas if I go here and go for extrude and go for something like this, you will notice that my geometry has changed and I have more polygons to work with. Whereas the push and the pull will actually either create geometry or delete geometry. Very, very useful. Another one very useful is the inset. So as you can see, as I click here, you will create an inner polygon inside this one. So very, very useful if you want to go here. For example, you want to go for something like this. This will create a nice angle within your faces. The outset it's obviously the opposite. We'll just create a face here and you can go for strut if you want and accept it will just do the opposite. Instead of inside, it will go up outside. Now Bevel, it's kind of like an important one. You can go here to Bevel, and you will notice that will automatically add a bebel here. Obviously, you can change the distance. You can change the subdivisions as well, for example, two or three to make it a little bit more smooth. You can go for something like even four to make it very, very smooth and change the bebel distance for something like this, for example, and you can accept. Another thing you can do obviously is if you use the Bevel, you can select multiple phases. For example, I can go for this one and this one and go to Bevel. And obviously, it will create a Bbel here, which is not really what I want. But just to show you what you can actually do, let me see if you can actually go here to these edges and go to Bevel. And indeed, you can. So you can just go here. And create a Vb just like this, selecting those edges. Click except. Then you have delete pass, very self explanatory. But I don't really use this because, I can just kit the delete key and that's it. So cut faces. I'm going to select two times in the upard to select the cut line, and you will see that I add an edge here. So what happened now is that if I move this, you will see that I have an edge, right. So merge merge the current set of selected phases into a single phase. So what can happen is I can go here, merge, and you will notice that I merge these phases, right. However, it does have a very, very funny shading. We can always fix that later. Okay? Retriangulate, will pretty much re triangulate the mesh. You can go here. Retriangulate. Normally, this is much easier to do me Control C. So for example, this is the mesh that I created earlier. Let me at two to see the wireframe and I can re triangulate and it will basically create a cleaner version of my faces here. And that's it. Decompose split each of selected faces into separate polygons for each triangle. So if I do this, I do decompose. Basically, what will happen is that I can go here and I can move these individually each triangle will be you know, a single phase that I can use. And notice that this is really useful when we're talking about merging phases and things like that. Very, very useful. Disconnect, it will separate the phase. So for example, this one, if I move it, you will notice that I'm moving everything that is connected with it. I can disconnect this now when I move it, you will notice that I'm moving without moving the whole mesh. And that is because these vertex are these vertices are already disconnected from the main mesh, so I can move it and I won't really change anything here. That's it for the model for now. We will touch on more stuff later. 7. Editing Edges: All right, so let's talk about the edge edits. So in order for me to try this out, I need to just strut things out just like this. Click strut and add an edge loop here, just like that. And I can just click Accept, Insert edge. I can just go here, for example, something like that, and I can move things around. Like this. And now that I have something to work with. But the way, I'm showing this wireframe because I have this wireframe here. If you don't like it, you can just put it folds. Like, let's use personal preference. For me, triangles are not really that useful, so I tend to turn it off, but sometimes you want to go into the tiny details. So so what do you do with weld? So let's start with weld. Well is very easy. Let's add another edge loop here. You will notice that you may think that you can weld these two together and you can select these two and weld them. But that doesn't seem to be the case. You need to delete the phase and then you need to select the edges and then go for weld. And basically, it will find an average, right? So what you can do is also weld two. And basically, it will weld to the second one you selected. So for example, if I select the other way around, I weld this one is the one that it's basically going to move. So actually, now that we have a hole here, I can go to fill hole as well if you want. Or an alternative is go to bridge. So you can select these two. And it will create a bridge here. Now, bridge and field hole are different, but they tend to work the same when you have this type of situations. So let's go for straighten. Straighten basically is, like, for example, when you add, add an edge loop here, which we cannot because our geometry is very unclean. So let's insert an edge. Let's just go for here, here, and then go here. There you go. Click Okay. And then move these things around. Let's go for polygroup edit. I move this edge, just like that. Straighten what it basically does is what the name implies, straighten things up. What happens is sometimes you want to you have some geometry that is floating here and things like that where you want to strength these things, so you can just go here. For example, click Done, go for something like this, and you can go for strengthen and it looks like it doesn't seem like anything happened here, but as soon as I hit strength, it kind of, like, you know, try to blend these two stuff. What usually happens here is that you have, like, something like this. You have let me just go here and insert an edge. And you will have edges like this, for example, where you are in the middle and you have a very organic shape like this one. That's where straighten is actually very good. You can select these two, straighten things up like this one, for example. Straighten, and you will see that it's straight. I only happens when you have a pace that is not connected. So for example, this vertex here is not connected to anyone here. So strength what straighten does is basically try to average things so that it looks flat. It tries to do its best, right? Next is obviously extrude. You can extrude faces, but also you can extrude like a like edges, let's see if we can go boundary edge selection, go here, go to extrude. For some reason, it's not working right now, but to be honest, extruding edges is not something that you will do quite a lot. So I will ignore this for now. Next is just simplify. I will just try to simplify some things you need to you need to use phases sometimes. If there's nothing to simplify, it won't do it. But what you can do is actually collapse things. So you can just go here and collapse. I notice that it says edge, but you can actually use phases as well. So you can go here. It won't happen anything with this. You can go for the edge. Collapse, and it will try to find an average and will collapse everything to this edge. Like, it's like everything is moving here. Like, you won't have any extra edges. So you can put collapse here and you will see what happens. Everyone is connected here. So it's a way to just like the name says, It's just collaps edges so that you have less things to work with, right. So that's on that. He edits obviously, I think the most important ones that you're going to use are field hole, bridge, and wealth sometimes. But other than that, you're pretty much in a good spot without any other tool. So that's it for the poly group Edit. Let's move on to more stuff. 8. Editing Triangles: Alright, so enough with the model for now. I won't touch on this yet. I just want to touch a little bit on the mesh, and that is triangle select. So what is the difference? You notice that this is polygroup edit and this is mesh edit. It means that when I select triangle, I can just paint here. And I can have a really, like a Custom selection, if you may call it. I can shift click to delete. I can decrease the brush size unless you say, I want to go for this. What you can do here? Well, you can delete it if you want. You can grow your selection, right? But most importantly, for me, it's either these three bottoms here. Um, or maybe disconnect or separate, they do pretty much the same. Delete we already see with the delete key, it basically will do the same. You can create a polygroup and apparently nothing happened, but when you go to polygroup Edit, now, what you can do is actually shoot this thing like this and you will see that my polygroup has been changed. So it's very useful to create polygroups. Let me just create a new image because this one is very ugly. So let's go back here to triangle select. So that's it for the triangle select. You can flip the normals. So when you do that, it looks like you have deleted, but actually you have just changed the normals. The normals are just facing in another direction. This is very useful, especially when you import models. And like, they are not really well imported. Like the normals are weird and everything. Flick normals can obviously save it, separate it's going to delete the selected triangles and create a new object. So basically, what this will do if you check here, this is a new object now and this is the previous object. So it will create a new object for you. Let's go to Triangle Select. Obviously, you can grow the selection. Invert Selection, for example, here, I can go to invert. That's it. I can do flat fill to basically it will flat the selection until I have an open phase, something like that. So you can shrink it, obviously. Let's clear this up, shrink and it will just be smaller. So I can just click here, shrink and it will just get smaller. It's just the contrary of grow. All right. So optimized border. This one is quite useful in some cases, for example, here. You can go for mesh triangle selection. I notice that my triangles are like this. You can smooth the border also, but you will change the geometry here. Let's say you want to change your selection, you can optimize the border, and you will get rid of those triangles that usually when you're painting, you want to select the whole face. You don't want to select like a triangle. Because usually we like to work with faces. It's easier for us, but real works with triangles a lot, the way it's rendered. So when you optimize the border, you get rid of those triangles, and you have a much better shape. So you can go to create polygraph, for example, click Accept, go to model, polygroupE dit, and now you have a polygroup for this one. You can move it around or extrude it or do whatever you want with it. It's like it's broken or something. So let's go back to mesh. Obviously, separate is different from duplicate. I can just go here. Uh, duplicate it, create a new mesh, contain the selected triangle. So what happened here is what happened before is that we not only create a new mesh, but we also remove the new mesh from this one. What we have done here is create a new mesh, entirely new one based on the geometry of this one. So we still preserve the original mesh, right? Oh, that's pretty much it. Like smooth border, for example, you can go here. You can go for smooth border, and we'll try to smooth things out here, like in a very, very harsh way. So just be careful with that. You don't want to overextend it, right? Smooth border here, and it will just pretty much average everything, right. So it's very nice, sometimes, but, you know, we only go to triangle selection, or, you know, triangle edit is the same as the modeling tools, but at the triangle level. So we have the same stuff here. So I'm not really going to go into that except for maybe the cut phases where I can just just cut a phase here and I can have even more control that I couldn't have in the phase edit. For now, this one, it's just really enough for you. I don't really want to touch on everything here, but I will touch on the most important stuff that you will actually use, like 99% of the time. 9. Important Mesh Edit Operations: Alright, so let's move on to more stuff that you can actually do with the mesh. So there are a bunch of useful operations that you can use here. For example, you have to fill holes, and what a fill holes does is just it will highlight all the holes in your mesh. So let me just delete this for a second. Like, let me just delete this one and maybe delete this one, and there you go. So when we go to fill holes, you will see that actually, it will select all the holes that I have in my mesh. And this is very useful because when you import the mesh from another software, sometimes it has holes, especially when you do treat scans and everything. You don't want the holes and you want to cover them. So what you can do is to select all, and you will pretty much cover all the all the faces here. And now I don't have any hole in this mesh. All right. So other cool things that you can do, we will go into bullings later. Let me just leave this. You can actually, like, merge these two, in a really, really cool way. So I can just go here, for example, and I can just merge these two here. Click here. Union. Like, accept. Notice that, let me go for this one. I can actually move on real time. And how cool is that? You can actually see what's going on here. Like, that's a beauty of real time, and you can see it in your scene. So if there's something you don't like, you can fix it right away. You can move this here. And then when you accept, you will notice that you have a mesh that is now combined with two of them. All right. So next one, let's go for mesh first. Remesh is very useful because sometimes you want geometry. And sometimes you have angles like this where your geometry is uneven. Like, for example, this has a lot of geometry, this doesn't have too much. So what you can do is go to mesh, and what it will do it's basically mesh, your whole mesh. It will create new even polygons, even distribution of polygons regarding their size. So it's an even distribution. And then when you add details, you don't have things where, oh this phase is bigger than the other one. So you enter in very weird situation. Now obviously, you can change this, for example, 1,000 to change the size of this. The less size you have, for example, I go for something like 30, you will see that it does the best to preserve the phases that it can, like these ones, for example, I think it's very easy to preserve. But these ones that are like, with a lot of geometry, you start losing the form. So be careful with the number. 5,000, just say it's a good number for us. Let's click. Okay, let's just say you want to simplify your mission. Now, you don't need to leave the unreal to do this. You can actually do this inside. You can go here to simplify, and you can go for different types of simplifier types. You can go for UE standard, which is a little bit of more complex version of this. You can go four percentage. For example, I can go for 10%, which means it will be much simplified, much, much more. Or I can go for 50%. You can actually see here how many triangles and vertex you have here or you can go for a triangle cont. Maybe you want exactly like 300 triangles, and that's the best it can do with this. Obviously, different Algorithm will give you different results like existing positions. Shape preserving will try to do the best to preserve the shape, but obviously, you cannot really change the triangle cont. Usually, percentage is it is a good target mode to use. Like, let's say, I just want it to be 10%. And here you can check how many triangles you have let's just say you're happy with this accept and then now you have am simplified mesh that you can use. Alright. So that's it for the triangle. Weld What does weld is pretty much it will just weld the vertex that are really close. Okay? So for example, I can use I will explain to you later when we have the opportunity. Sometimes there are vertex that are in the same position and you want to combine them. Otherwise, they cause, really strange features. For now, this is very useful because you can actually use it on messages that do import as well. So let's move on. 10. Subdivisions: Alright, so next thing I want to talk about is the model menu. We will go to subdivide and bullying operations here. So we will just create let me just create a cylinder just to showcase what's going on here. So when you go here to model and go to subdivide, you will notice that basically, I'm getting extra polygons, but everything is smoothing out. I can go for one, two, three, four, the more subdivisions model subdivision levels you have, the more smooth your surface will be. Catmul Clark is the one that is if you don't know about him, he's the creator of Pixar and he developed this algorithm of subdividing services. This is the most used one, of course, and everything here is just the most use algorithm here. So why this happens is because it tries to smooth out a lot of vertex here. So let's see this is my cylinder. This is my vertex. All right. And I have another vertex here. So it will try to smooth out like half, like, okay, you and you come closer to a middle point, and you and you come closer to a middle point, and eventually they will end up like something like this, right, where this is a middle and you will get a surface somewhat like this is the top, this is the bottom. So more or less, you will have something like this where everything is averaging, right? So in order to fix that, you will need to add more edges. So this is where our modeling tools come very handy. You can go for Insert edge loop and you can go here, for example, you can go here as well. Another thing you can do is because you already smoothing things out, you can go here and here and you can go for some inset here. Not this inset, like, there you go. Inset. And that's it. And now that we have this, let's try it again. We will go to subdivisions. Go to model, subdivide, and you will notice that all these vertex are averaging. And now I'm having a very sharp edge. But still, when you look at it, it will come with such like a smoothing pattern, right? That's because my edges were really close to here. If I want to have more of a bebel, I will need to put the edges a little bit farther, right? So that's the subdivide. Now, the bullion, it's very one of the most important notes that we're going to learn. So we're going to dedicate like a specific section for that. So let's go that now. 11. Booleans: So another important operation that you need to learn is bullans. So we're going to create a box here and we're going to create a cylinder here. So what is a bullion? A boolean is an operation that allows you to merge some measures or based on their intersections, change the shape of them. So let me show you what I mean. If I put this one here and I click on the box and then click on this one, I can go to model, go to Boolean, and you will see that the first operation is A and B. So A minus B is a substract. If I go for difference, it will do the opposite. It's basically as I'm choosing this one and then the box as an example. Intersection. I will just choose the intersection between them and Union. Looks like nothing happened, but in reality, these meshes have already been combined with geometry, so they are part of one mesh. So let's go for the difference for now, just so that you can see what happens. As soon as you click here, you will notice that our mesh is gone. So, but we update the original mesh. If we go for Control B, which opens the content browser, you can also go here and click here for the content browser. You will see that this mesh is being updated. So let's go for a couple of options that you can go for. Let's create a sphere. Let me put this one here and select these two. Go to model Boolean. And now, you can see here that the output type, these properties are pretty much the same across many different tools. So the output type, obviously we're working with static meshes, but you may be working with something else. Usually, you just put it for input and you're just fine. You want to work with static measures. And the next is you're going to write to a new object. So a new object will pretty much say that you're going to create a new one. Okay? So let's go for this one. And instead of deleting the inputs, let's hide the inputs for now. Let's accept. It looks like nothing happened. But if I press Control H, you will notice that I can get my sphere back and also I have the previous mesh and the new one. Okay. So this is a very useful setting in case you already have a mesh that maybe you are adding some modeling here and it's very useful, for example, for edges and this kind of stuff, we're going to work on that later, and you just want to keep it. Always keeping the inputs, it's really, really important. So we can go here for boolean. We can also keep the inputs. It will show them here or just keep the last input, right? But before I do that, something you need to consider is that when I take a look at the at the content browser, you will see that this one is different from this one. There are very different measures. If you want to update one, you can just go here, bullion. And instead of write to new object, you're going to go write to first input object. And let's go for something really obvious here so you can see what's going on. Let me just delete the inputs. I don't really need it anymore. And now I have a new mesh. If I go here, you will see that no new one has been created. This is the old one. The old one has been updated. I can just go back here, drag and drop, and there you go. Okay, so that's it for the bullying tools. Very simple but very, very powerful. 12. Poly Cut and Mesh Cut: So the next one we're going to learn it's polycot. Polycat allows you to basically it's like a bullying operation except you don't choose the mesh. I already give you a preset. Let's change the scale this to 0.5. You can see what's going on here. It's basically going through. That's why it's cut through, and it's just all the way here. This useful. Like, there are multiple ways to do this. You can also use a ceiling there and go all the way through with your mesh, or you can go with this one. And obviously, you can change the mesh for a rectangle, but you can change the height. And whenever you find areas like this where it will intersect with areas that are going to be deleted, then obviously it's going to be adding a new mesh. So just like that. And this is very useful because you can move it around. And also, you can rotate it. You can go here and you can rotate this 90 degrees. You can see the degrees here. And now you're cutting through at different angle. So let's say it's something you want. Obviously, you can already see many interesting shapes that you can create with this. You can go for rectangle, you can go for square or a custom one, which, you know, for that, I will highly recommend you just to use that. The the booleans that we have checked before. So that is a poly cut. Let's take a look at the plain cut. The plain cut. Basically, what it does, if you see the gizmo here, it will basically cut along a plane. So it's like it's cutting all the way here. If you want to cut through a different position, you can just rotate here, and you will see that you're cutting here. You can also keep both halves. However, it will cut them and you can later separate them if you want. Okay. Cut a hole, you want to fill this with a face or you want to leave a hole here. Now, obviously, you can flip the plane. Like, for example, you can rotate this 180 degrees, and then you going all the way around. However, there is an easier way you can just go for flip plane. Now, you can do this multiple times, for example, I can cut, and I can go here, you say something like this, and I can cut again, and then I can accept. And now this is my new mesh. All right. So that's it for the cutting tools. Let's move on to the next one. 13. Mirror and Trim Tools: So the next one we're going to check is the mirror, and it's very self explanatory. So let's go back and just put an arrow here that is very, very evident what is going on. So now that you have this, go for model, mirror and you'll see that I have a gizmo here and a plane that is basically telling me where I want to mirror this. So for example, if I want to mirror the other way around, can I already see how funny this can be. I can go for -180 degrees and the mirror will go here. You can also move the gizmo here. For example, something like this. Right. And basically, you have some presets that you can use. It's quite You know, it is quite interesting. You can go for left, you're going to go for the right. You can go up, down forward and backward. Like, you have very different presets. It's very self explanatory. You can always do this, for example. Very, very interesting. Let's just go and leave it like that. And let's go for the mesh cut. So the mesh cut, let's go for a spear here. And if I first select this and then this one, go to bottle. Go to mesh cat, basically will split the mesh into multiple ones, so you can just do something like this. Now, the difference between these and the bullans it's very similar except it doesn't show you the options where you can save the mesh or whatever. In this case, you already preserve this mesh. You can also try to fix holes that can also be useful. But let's accept to see what happens. So what happened here looks like nothing has happened. But now look at this. Now we have this, and it's like a piece that fall down and, you know, it was destroyed and now it's here, right? So this is very useful for this kind of stuff. The trim is pretty much the same, to be honest, you can use I can show you. You can go for this ones. Select this one and trim. So trim the selected mesh with this one and trim A. You can trim B. These are all bullying operations. You can already tell the difference is because you are not saving the the inside of the mesh. So you can put remove inside or remove outside to get the intersection. It's another type of bullian operation, except that you don't get these fill holes. And to be honest, that's not something I want most of the cases. Most of the cases, I will go for mesh cut or bullion. So that's something to keep in mind. So with that set, we have covered the whole model panel. Now let's go and talk about a little bit of the form tools. 14. Sculpting Tools: Alright, so let's talk about the form tools. Let's start with vertex sculpting. So let's create sphere first. Just see what it can do. Let's go to deform. Let's go to Vertex. So what happens here is with Vertex mode, you will basically sculpt on things. So as soon as I hit the sculpt, I don't just go here. You can see that we also have a mirror. We have enable symmetry that is going along the X axis. So that's very useful. So for example, you can have some checks here and you can just select shift to smooth or or control to go like this. I don't know what I'm creating, but it's definitely not very interesting for sure. You can also disable the symmetry if you want, for example, to have something like here. Now, you can notice here that your mesh is actually getting less and less resolution, right? So let's keep it like that for now, and let's go and do the same with this one. So let's go for the form. And this time, we're going to go dynamic sculpt. So now that we have this. Notice that dynamic sculpt doesn't have the mirror, so just keep that in mind. So if I sculpt here, and notice that I have a different brush here. This is the move. I can go to sculpt normal, which is very similar to what we had before, and notice what happens here. As soon as I add more geometry, it starts to creating new geometry here that you can already see. And as I shift, the less geometry I need, you know, it will start decreasing as well. So this is very useful sometimes when you just want to scope something like a road, I just want to, you know, just be a little bit more free with this. You can shift click to smooth honestly, move maybe the biggest one here just because you can create geometry, and then you can go for inflate, you can inflate dis tools. You can see how it's very easy to create organic shapes with this. You can go for this and you can move again. Just like that. Move here, for example, and go for inflate, just to get more geometry, and then go for moving. For example, if you want to create like a tree branch or something like that, that may be very, very useful. Not this, of course, but, you know, it has its uses. Now, move and sculpt inflate are the ones that I like to use the most. Pinch is pretty self explanatory. Pretty much will pinch everything has, like, a sharp a sharp result. But notice that everything, it's very it adds geometry. So all your geometry is pretty equal. Right. So you don't really need to play with this by itself. It's already very, very good. Now, if you ask what's the use of this, sometimes you just import some meshes. It doesn't necessarily need to you create a mesh from scratch. It also can be that maybe you are creating some meshes and you import them into real and you want to fix small thing, but you don't really want to do it in another treaty package. You can always do it here. As long as it's a small change, you can always do that. So let's go back to sculpt here because there are a bunch of modes here that are quite interesting. One that I like to use a lot is the flatten and the flattened normal. So if I use the flatten, you'll see that it's flattening things out. Just like here, I can go for the flat and normal and look what happens. It's basically like making the surface even here. And this is very useful for rocks and things like that when you want to add some edges. Obviously, when you have more resolution, it's more pretty like this, it looks like it looks very ugly, but with more resolution, it's quite useful. Smooth, you don't really need to put the smooth here. Scope normal is the most popular one, obviously, you can always choose an Alpha here where you can for example, we can do this. We can put a con down texture here or maybe you want to use let me see if they have some kind of noise here. Looks like there isn't. We can put an arrow. Anyway, let's remove this for now. And click non. And the next one. I think that's pretty much it. The next one should be inflate. It's pretty much the same as the other inflate except you don't get the same resolution. So obviously, I like to go to scope and which shift, you can always smooth things out. So you can change the size here. You can change the flow. For example, can go zero, and I don't have any flow. You can change the space like, basically what it does is try to increase the space between these ones. So for example, let me put something like two. Every time every click is very, very noticeable, like small dots. And here is like, very, very smooth. Lazy mouse probably it's like smooth. It kind of, like, projects the trajectory of your mesh. Kind of like painting, like if you want to do, like, a really smooth surface like this, you can use a lazy mouse. I find it very, very useful sometimes. But in general, like, sculpting has very limited use here. It's very useful. But it's very handy when you want it. So it's very used to play with this. For me, just sculpt the smooth and the plain normal and the flattening are the ones that I like the most. So with that set, we have hit the sculpting inside un reel, and let's go into other stuff. 15. Smooth and Offset: All right? So let's go for more tools. Let's go for the smooth one. So the smooth one is basically what it says. Let me grab one of these just so you can see what's going on. If I go for smooth, it will try to smooth things out. Like, that's pretty much what it is. And so, for example, Things like this, it will have a cleaner look like you can go here for smooth and you will see that you can have a slider of how smooth you want this. So for example, zero is the original mesh, and then maybe you want this. Maybe you don't want, a lot of noise in it. You can also increase more steps. Obviously, it's stronger, so just keep that in mind. So smooth unlike subdivisions that we saw later subdivide. It is very, very different. Basically, this mesh is very, very hard to subdivide. You will add divisions, but it won't really change the shape of this that much. However, smooth, that's kind of like a different thing, kind of, like, really try to make things smooth. And you can see that sphere, it's already smooth, so it doesn't try to smooth it more. It's just the other part the one that needed a little bit of help. So it's really useful when you want to create really smooth parts. So, for example, here, I can use the smooth and I can go for something like this, and everything will be super, super smooth. I can accept. And now it feels a little bit better, right? I kind of looks like a monster, if you think about it. So that's on that. Offset, it's pretty much it's this. Like, you have this, this is your mesh, and you will go offset and you will have another mesh here. And that will be your new mesh. It's kind of like a shell that you add. So you can increase the distance. I notice that it always goes again, along the normals. If you have baked some models, like you need to bake normals or this kind of stuff, this kind of useful for the cage. The cage is basically your intersections where the rays will go through, and you will make sure that the cage covers the whole thing. With this thing, obviously, you can select You can create a cage if you want. Obviously, this will replace the mesh, so you will need to duplicate it. We will talk about that later. Rap. Let's talk about rap lattice and displays in another chapter because they are quite similar to each other. But for that, this is the smooth and the upset. 16. Warp and Lattice: All right, so let's talk about the warp modifiers. Let's create a cylinder first, and we're going to change the height subdivisions to maybe 16, something like that so that we can show you the wire frame just like that. So we have many subdivisions we can work with. Alright. So let's go to deform and let's start with Rap. So what rap does, it's basically what you see here. I mean, Animas talks louder than 1,000 words, right? And the warp comes with a gizmo that you can draw the visualization of the warp here, it kind of bends the mesh. And here is where you can change the degrees. For example, notice that I'm changing these values here, but in reality, I have the gizmo. I can actually change the gizmo here as well. I can do it up just like that. You can see that the upper bound is here. You can go here or the lower bound, and I can also go for something like this, right? You can already tell what's going on. I can rotate this. Like 90 degrees if I want, I can rotate this just like this. In other degrees, and I can just, you know, just just play with it and have different deformations and just just to be play with this stuff, right? So basically, what it will do is to bend the mesh. Like, that's exactly what it's doing here. You can also twist the mesh, right. And so, for example, you can go for something like this, like, very, very strip. And you can see that the mesh is kind of like twisting here, right? You can flare, squish. You can already see what it's doing, right? And you can go for something like this. It's just really, really, really, really cool features. Bend obviously, it's the most common one. These two are new. So and the reason twist and flair may be more unique to this mode is because the other tools pretty much do the same. So you have different algorithms that you can use, let's just click except for now, and let's go to the Lattice. So what is the lattice? The lattice is basically what you see here. You can kind of like sculpting, by using points. So for example, if I select all these points and just move them here, it will try to kind of select the vertex that are around this influence area and we'll try to move it along with. It's a very abstract way of working. So what you will notice here in this, let me accept this for now and let me go here again. You can change the axis subdivisions, for example, tree by tree by tree. And for example, I can go for something like this. Right? You can also go for a soft deformation code here. And it will pretty much like, have a bigger influence here. So let's not do that. What you really want is to have the Cubic one. So the Cubic it is going to be giving you a lot a lot more smooth results, like kind of like more smooth areas, which 99% of the time, I don't know why they don't change this. For me, cubic is the best way to work with this just because it gives you the smooth normals here. So you can deform normals as well. I don't really touch this. Just let it be. And you can pretty much play with this to have really extreme deformations. And be a little bit more creative with your shapes. It's kind of like having an anchor where you can just move things around. It's very, very useful, especially when you want to change some stuff like the ground or anything, you can just move points and it's like, really, really, really, really cool. The next one is a display, and because this one is a little bit different, we're going to do it in another video. 17. Displacement: Alright, so let's talk about the displaced one. For that, I'm going to bring a box here. And what it will actually do, and I'm just going to show you what it will do. So first things first, this is a node that basically adds noise. You can already see here what's going on. I can increase the subdivisions to maybe six. So you can already tell like we're having a lot of noise here, and that's the purlin noise. So you can change this purlin noise in the purlin noise options. So, for example, you can go for frequency, you can go for more frequency. You have different layers of this. So for example, you can change the intensity of this one. So you can then increase the frequency of this more frequency, obviously, the noiser it becomes, right? Or you can go for this one and can have less like big shapes, something like that. And you can really tell what exactly is going on here, right? It's just basically adding noise. So why is this useful? Sometimes you want to make a bullion. For example, I want to make a destroyed edge here, and I don't really want to have a sharp edge like this one. Maybe you want something like this, and maybe you scale this and then go for this one, go to model and go to BollanG to difference. And you will see here that you have your cut mesh like this. Not exactly like that, but, you know, you get the idea. So you can have things like that. When I use this and it becomes really useful, it's with rectangle. So let me add this here. So why rectangle? Well, a rectangle, sometimes you use this because you want to add a lot of details. And if I go here, let me just show you another note. We actually did saw this is the remeasure one. Basically will add polygons to my mesh, so I have some geometry to work with. Whenever you go for the deform and go to this place, you want to have some geometry. So this place and mesh work really well together. Go to this place here, and you can already tell by having more geometry to work with, this looks much better, right? And you can have different types of noises, random noise, which is very noisy, sine wave, and you can change obviously the frequency of this, for example, something like this, maybe if that's what you want, I don't know. But for me, I want to talk about that texture to the map because it's really, really cool. So I'm going to cancel this, and I'm going to show you how to import some texture. So I'm going to go for bridge here. Let me open it. So go to AT, go to At QuickSell content. And here you will see that I have my bridge and it's loading here. It's going to take a while. Basically, you download assets that you can use, and I downloaded some textures here. So here in the home, for some reason, it's not loading, but you can add some textures here. You can just go here, go to at and as soon as you do that, you will see that in your content browser, which is a folder of your project. We're not really touching this because this is a modeling course. I don't really want to go off topic on these things. But since modeling and texture go hand to hand, I might as well show you this. So what you want to do is to actually drag this and put it here, just like that. And what you will notice is you have a flat surface, right? You have a really flat surface, even against the lining. So let's see the lining is coming from here. Like, it's just really, really flat. So what you can do is actually go for this place and go for texture to the map. And then you can control space to open the content drawer, go to Mega scan surface, go to this one and drop this texture here. I'm going to double click on this so you can see what this this is about. This is texture, and it has three channels, the red, green, and the blue. And the blue channel is about the high texture. It basically has the information of basically how the surface looks in three D. The white areas are areas that are push to the surface and the black areas areas are push to the other opposite direction of the white ones. So combining these, you will have a really, really cool effect. So I'm going to put it here, pressing this one. You can also track and drop this one. You can already see what's going on, but we're using the wrong channel. We're actually going to use the blue channel. And now that you have this, take a look at this. Now all these bricks are actually being displaced here. And that's the beauty of it. You don't really have to do anything. You don't really have to do anything, and you can put it in any surface. Let me create a cylinder first. And that's how you can, you know, add a lot of details really fast. You can go here, you can add these textures here. It looks a little bit weird because this texture is a little bit stretch. We can actually go for, for example, this one, or maybe some rock cliff or something like that. And we can actually put it here, control space to open this one, and you will see that I have this. Go to this place. You can see we're using the other one. So let's track this here. And just like that, now we are having displacement here and we can even increase the displaced intensity, something like 50, and it will become very evident what's going on. You can already tell like this is a rock, right? It's a rock surface. And it's very easy for you to add detail with textures. This is probably one of the most important features that you can have in unreal. You can add these detail. Really, really easily. You can increase the subdivisions to make it more high quality. And it's just an amazing feature. You can already tell, like, even this leaf, like, it's like, it's alive. It's really, really cool. And it's one of the coolest features to have. You can add very natural detail based on textures, and this is probably my favorite tool in the whole modeling tool set because I can just add a lot of detail to everything. Everything that you see here, you can go here at the detail put it here. There you go. Obviously, this is a terrible example, but you get the idea. Like, you can go for something like 30, for example, or 20, a lot of these things will have a lot of details, especially from distance will just look quite good, quite quite natural. So that's it for the displacement. And we're going to take a look at other things now. 18. XForm Tools: Okay, so let's talk about the transform tools. They are very, very useful. I usually use the duplicate. So I will tell you what it does. So if you add and click, you will be able to duplicate an object. However, if I want to make some adjustments, like, for example, I want to make this one like this and accept you will notice that this one also gets updated. And that's kind of weird if you're coming from another software where duplicating doesn't necessarily mean that you are instancing an object. But in a real it's like this because when I press Control B to enter the content browser, we are always working on this asset here. So duplicating it's pretty much that's exactly the same as this, you can go here, right click, duplicate, and then whatever you change here, you can just go to model, go to here, make it big, and you will notice that this one doesn't change because it's a different object. So Duplicate does exactly that. What Duplicate does is just basically create a new object based on this one. And now, when you change something here, for example, something like this, you will notice that this instance is not updated anymore because this is a different object. You can see here I have three different objects already. So duplicate very, very useful. The other useful one it's the edit Pivot. So sometimes, for example, you're making a wall or something, you want to change the pivot point. The PBOtPoint is here, and when you press E to rotate, you will be able to rotate the mesh. However, maybe you want the pivot point to be somewhere else, and you don't need to go out of unreal to do that. You can just go to Edit Pivot, and you will have here a bunch of a bunch of options that you can use. Let me just go here and press zero. Go to Edit Pivot, and you can just go to center, go to bottom, go to left, top, right. Even world origin, you will put the Pivot point somewhere in the world origin, go to front or anything, but if none of these presets really satisfy you, you can always drag it like, for example, here. And now, when you accept the original pivot point will be updated, and now you can just rotate this and just create different instances based on the new pivot point. So pivot point very, very important. Just keep in mind, if you change the pivot point, again, so for example, going to the center, you will update all the messes that are instance here. So just keep that in consideration. So the next one I like to use is Align. So in order to align two things, you can just select one, then select a second object you want to align, and then go here to align. So you can check all these to see what happens, and you can see they are finding a middle point between them and they are exactly in the middle. So you can go for the first selected, which means you will align to the first object that you select, or you will align to the second object that you select. You can also change the box position, for example, like bottom so that you can just put it right here at the bottom of the bounding box. So the bounding box is basically the invisible measurements that basically tells you how big this object is. So you can also align to different axes. So, for example, you only align toZ right? Or maybe you want to align to Y only and not the C axis, the axis, you want to leave it like that. Maybe Y and X will give you exactly the center position. And just like that, you can align objects very easily without having to try to move these things and see if they are exactly in the middle. They are really, really important. All right, so that's it for the transform tools. Let's move on to the next one. 19. Pattern Tools and Merge: So the next tool I want to show you is the pattern. So let's go here, very far away where you can see it. And let's go for pattern. And you will see exactly what it names implies it just creates a pattern. And what pattern it can create. Well, it will depend on the properties that you have here. You have a line, you have a grid. You also have a circle, right? So this is very, very useful when you're creating columns or things like that, and you want to align things. You can also change the number of instances that you have the radius, maybe you want to put it lower, the start angle. You can always change. And obviously, this will change depending on which one you're using. You can change the extent of this. You can change the count. And obviously, you can change a bunch of things. Basically, you have these for now, you know, and you can just go for grid or, you know, SCL is one of the most useful ones, I believe. You can change the rotation where they start. So every one of them have, like, a different rotation. And you can always play with those things to have, like, very, very interesting shapes. Star translation also can be like very, very useful, right? So you can offset the translation of this and proportional. You can just change the scale like 1.5 or just end scale like one point let's put two. So each one of them, they are like a little bit bigger each time. You can do the same with translation. Like translation is like ten or 50, 50 and 50. And then you will just notice a big difference here. Like each one of them, it's offset by 500 units each time. And this is just very, very useful sometimes when you want to duplicate and you want, especially, honestly, the circle is the most important one. Line is also a very useful one. However, I don't find extremely cases where you will use this a lot, but it is there if you want it. If you click Accept, now you have the pattern here. So if I click here again, can move things around. I can just change the pattern once again because now this one will save the properties of this one. You can harvest instances, which basically, it's like it will kind of merge them into Usually, every instance static component will try to merge them, right? So strike them as each individual actor. That's a little bit more complicated. We don't really need to go into that, but you can also change, like, individual instances of these meshes, right? So you can move them around, and they still inside one instance. That's a little bit of optimization stuff if you want to learn more about it. But overall, this is a transform tool. And another one is the merge. So the merge, unlike the Booleans, I can just click these two, Merge, and I can just call a new object. And what it will do is just merge these objects. So you can just combine them into a single static mesh. So if I click on this, you will see that my static mesh Editor, I'm holding out and left click, so you can see the new object. This is all merge here. So that's it for the transform tools. Let's go to the next one. 20. UV Tools Part 1: So let's talk about UV mapping. UV mapping is something that is not really related to modeling, but at the same time, you need to apply textures to this. So let's apply that texture that we had before. So, for example, this one, let's put it here. And you will notice that because of this texture is very long or to the map just like a little bit compressed. So what we can do here, we can have a bunch of options. For example, we can UV and wrapped, and it will basically create this. Now, you really want to have, everything's square here, and a bunch of settings you want to check here you want to check the checkerboard, either you want to check the original one. So now you can see that my UVs have changed. Right? I can also go for repacked or use non, and I will have extremely small UVs, right? I can go for polygroups to have different island for different polygroup. For example, you can create a polygroup for each one of them and they will just do it. Basically, it's like autoUV UV and rap, it's a very, very common one. So auto UVs is a little bit different. Let me just go for this one just to show you what it does. And let's go for the checkerboard. So basically, you will have different patches that you want to make so that the less patches you have the obviously less sems you will have. I will put here enable the preview UV layout so you can see here the two D what's going on. So if I put one, it will try to create one island as much as it can. So obviously, when you have a complex mesh and you have a big island for everything, everything will kind of, like, get distorted here. So as soon as I go to two, three, even ten, everything starts looking much better. So it will try to create patches based on the angle of this. So you can also go for UV atlases or different packing methods like patch Builder, usually the best one you can use. Angle threshold. Obviously, the lower angle you have will give you a very, very different result. Have more sharp angles or we'll try to combine these two into one sometimes. So just keep that in mind. Smoothing steps it will try to smooth things out, and you can see that it's actually merging very nicely these ones, right? Repack. Obviously, you want to repack your meshes, otherwise, just going to look very, very, very bad. So just leave that there. And this is basically the auto UV, very, very, very, very useful. So project UVs, project UVs are basically when you have very simple geometry, project UVs are very simple. So plane mostly work for planes. Like, you can see that I'm doing a projection from the top. And obviously, I can move this, like, have the projection here on these degrees, and I will have this area projected. Let me go back to this one to everything at zero, zero, zero. There you go. So you can see that the top is being projected. And you can change you can change the dimensions. For example, all the time, you really want to have a square here. That's the goal. So you can change the dimensions here, and that works very good for me. Now the problem with this is that it's only a plane. So what I want to do is instead of plane, I will go for box. And you will see that the box is actually covering all the angles. It's doing a tree D projection of all the angles. And what happens here is I only need to play a little bit with the dimensions to make sure everything is square, nice and square. And, you know, even if it's not perfect, it doesn't really matter. So you can just go here. And now you can just put your material and you will see that it's working quite well. So obviously, for different purposes, you will have different projections. Box doesn't really work quite well here. Notice that it does a very good job at the top, but not at the bottom. So instead of that, you have sealing there. And sealing there, you can just change the C axis until you have something like this. Like yeah, something very, very square. There you go. And as soon as you have that, then you can add another one. Now notice that the UVs are kind of like repeating a lot here. That's because our UV map is very, very big, and we are repeating each island quite a lot, not like this case where everyone is packed into one. So this is where you can use the transform layout UVs. Let's take a look at that next. 21. UV Tools Part 2: So for transforming UVs, is very simple. You can select each island by holding Shift, you can select multiple, and you can scale this. So for example, I can go for this. I can move them, or I can scale them, right? I can do the same here. Let me go for original one until I have the the same resolution, right? So that can work sometimes when you're working on something like this, or maybe you want to move it a little bit because you want to adjust the texture, that's fine. But you also have another mode that is layout UVs, and layout UVs will pretty much like you can repack. So everything will be inside the 021 space here, right? Or you can transform and transform what it does. You can change the scale. And you will notice that I have more textile density here, and I can go back to one or 0.5 if I want it to be very, very blurry. So that's exactly what it does. Transform and repack very, very useful. Normalize it will try to put everything into a zero to one space, try to be as fair as possible in this case. And a stack will stack all of them together to save a lot of space in the UVs maybe you want to put something here. So pack very useful. Transform very useful, especially when you want to change the tiling. I personally like to use that transform more a lot rather than this one. Because I need to click on each phase, but if you want to be very specific, you can go for Transform Us here and just make some adjustments. If you want some general adjustments, you can just go for this one. UV Editor is a little bit more complicated. We're not really going to go for this. You can move, you can arrange stuff very manually here. So we don't really need it for the moment. So we're going to now that we have this, we're going to jump into creating our project. We're going to model something very, very interesting. 22. Modeling the Tower Base: All right, so let's start our project, and we will create a little tower, a little medieval tower, like an outpost that they use in medieval times. And it's going to be a little bit like fantasy. We're going to play a little bit around our tools. So first off, we're going to model the base. And for that, we need a cylinder. Let's have the default values here. And let's just go for this, to be honest. I don't think we really need to change this. Hike subdivisions, maybe we need to change this to 16, just like that. Let's take a look at the show wide frame just to see what's going on. Right. So very, very cool. So now what we want to do is to actually make it a little bit bigger. Alright. So what we want to do is to not go to model, but actually we're going to go from here and go for something like on a very thick base, something like that. Yeah, maybe this can work, right. And now that I have this, I'm going to duplicate. Sorry, bake the transform. So bake the transform will basically make the scale and rotation base to zero. So right now, I'm going to show you if I press Control B, just to see where is it. If I drag it, I haven't really do anything. I only change the values here. So as soon as I bake the transform and click Accept, you will notice that this one also gets updated. And now this one is the new scale. So that's great. Next thing I want to do is to actually I want to build the top. So I'm going to alt and click to duplicate it. And by the way, I'm using W E and R for move, scale and rotate. You can always click here if you want WNR, very, very common operations on the treaty world. So now I will duplicate this, put it like this. And now I will just make something maybe, maybe like this. It can work. And now I'm going to just go ahead and make it a little bit bulkier. I can also change the snapping here instead of 0.25. I can just have a free hand. There you go. Something like that, and maybe I can use. Put it like this. Wonderful. Alright. So the next thing, I'm going to build the top. So the top is it's gonna be a like a cone, if you think about it. Is it a con? Yeah, maybe it can be like an arrow. Let's go for a cone. I think a cone will work very well here. Or let me see if there's something that assembles better. Yeah, I think a con is fine. So let's go for this one, and we're actually going to increase the height subdivisions to 16. And we're going to align these two because we want to make sure that these two are on the middle. So let's go for align, and let's go for the less selected, and I'm going to align it into all the axes, just like that. All right. So let me Alt and two to check the white frame. Let me select this Alt and four to go back. Now what I want to do is actually make this like this. I want to I want to have something like this, right? So maybe that's fine. Let me go ahead and do something like this. There you go. Beautiful. All right. So now that I have this, let's move on and add a little bit of personality to this. Let me just move this one down. This one down once again. There you go. Now, let's continue. 23. Adding Deformers: Alright, so now that we have this, let's add a little bit of personality to it by going to the deform and actually, you know, do something with that. Before we do that, I want to create a base. So let me out and click. Okay, I will go to transform, duplicate, click Accept. Another thing you want to do if you don't want to align stuff, like I did the other way around, you can just copy the location and paste it if you want. This one I'm going to height with H and this one I'm going to do it like this and I'm going to move it just like that. Now that I have my base, I can use for something like this. Maybe something like that. We can change it later, obviously. A little bit thicker, a little bit taller here. There you go. So now what we're going to do for this one, we're going to make sure we have a lot of resolution to work with this because what we're going to do is to actually deform this, and we will go to the lattice. We'll make a tree by tree by tree. And instead of linear, we're going to go for UVC to have a more smooth result. I'm going to select this with our left mouse click. I'm going to grab everything here. I'm just going to do something like this. There you go. I'm also going to grab the top, go to move it a little bit. And I'm going to also grab the bottom to make it a little bit bigger. Used to emphasize the fact that we're doing something a little bit more stylized, you know, a little bit more. So that's great. So now that we have this, click except we can go for the top and actually do something like this. And let's leave it like that. For now. Let's work on this one. So for this one, we don't really want a taper. I think the size is fine. But what I want to do is to create some nice transition on these edges. So what I will do is to go to model go to polygroup Edit. I'm going to go for this one, and then I'm going to go for bel. Let me see where is my bel. There you go. For this one, I'm going to go for a bel distance of maybe eight. G to be a little bit exaggerate this kind of stuff. Subdivisions, I'm going to go for maybe three. Maybe three is a good number. Yeah, maybe that's what we're looking for. Can go a little bit higher maybe here. That will be okay. Let's go for four subdivisions. Just like that, except you will notice that actually, everything is very, very smooth. You will notice here that this is not super smooth and the reason is we don't have much going on. You can always subdivide this or we can go for mesh. Let's go for model, not model deform. Smooth, and you can go for a little bit of a smooth transition here to see if that works. I think it's fine. I think it's fine for now. So let's work on this one. We're going to use the same. Going to go for the lattice, same settings. We're going to grab everything here and we're going to go for something like this. Wonderful. And then we're going to go for the top, and we're going to do the same here. I'm going to do it very, very pointy here, very, very, very, very nice. So now that I have this, I actually want to create a shell for this. So what I'm going to do is to actually alt and click and then go to duplicate. And then I can select these two, not this one, select this one first, Aline one of these will be like this. This one will be like I'm going to actually select the model polygroup edit and select all these here. Yeah, there you go. I'm going to select all of this. And I can also select the bottom just to see how it feels and go for strut. Actually, let's not select the bottom. Let's just go for this select This one. Yeah, just this. Et's go for this, all of them. Okay. Then actually, what we can do is invert selection and delete. Okay? So now we have a let me hide this with control edge to put it. Now we can create a shell around it. So we can go for here and extrude things out. Select all of them just like that. And extrude. Always strewed down if you want, but for me, I like something a little bit like this, something like that. And then I'm going to go for all these edges. All of them. All right. And I'm going to do the same here. I'm going to select all these edges. Always want to work with very low geometry. There you go. I'm going to go for bevel. Let's find a bevel mode and let's just do something like something like that. That could work. All right. So now we have this. It's kind of working here. I do. It does work quite well. So let's go for something like that. Except Great. So now we have this base, and now we have a little bit of a little bit of a shell here. It's going to give us some nice silhouette to the thing we're creating. Look at that on our slow but steady starting to create something nice. So let's continue in the next video. 24. Using Extrude to Model more complex shapes: All right, so let's add another shell here. We're going to go for this one. We're going to and click. And we're going to do the same. We're going to go for transform, duplicate, and then we're going to go for this one, line right, hide it. And then this one we're going to go for model, polygroupE dit, and we're going to just select. We're going to see if we can select the pass just like that. Okay, this looks like a good selection. So we're going to go there. We're going to invert the selection, and we're going to delete it. Click Accept, and now you're going to go for Poly group Edit. Select everything. All right. And let's control he so we can see what's going on here. And we're going to go for extrude, single direction is not really one that direction of the normal. So in that case, maybe we just want to make this one bigger. Okay. And also, like, we can see if we can extrude now. Maybe something like this. All right. There you go. So it feels a little bit better. All right. So next thing, I want to actually, I want to create another one. I want to create I want to create a cylinder, actually. I want to create a cylinder. Let's align these two. Let's click on this one. Go to a line. Not the same. Go to a line. There you go. Now we're going to go here and we're going to make it really small here, just like this. Very, very small. We can always go for the scale and do something we like. So we're going to go here, and we're going to model this. We're going to go for polygropEdit, go for up or even we can scale this like this. Okay. And another thing you can do is go for Polygrop Edit, click here, and you can just inset, just like that. Extrude. Something like that. Go for extrude again. And now you can make it a little bit bigger and go for extrude again and make it a little bit smaller, just so that we can create some shapes here. And then you can go to extrude once again and this one we can decrease the size of this just like that. So we have a pointy cylinder here. All right. So now that we have this, what I want to do is actually insert some edge loops. So let's see if we can if we can do that. If you cannot do that, what I recommend you to do and I'm going to change this first before I do this, I can just go here for this one. Let me go for mesh, remesh, and I'll go for something like 1,000. Yeah, maybe that's better. Alright, now that we have this, we can go for the form, go to Lattice, and start making something like this, something like maybe very, very pointy. All right. Starting to look good. We can also change these smoothing groups. We can go for attributes, normals, go for normal threshold. And here you can change how much threshold you want, so we can go for 35 looks like a nice number. Just to keep the smoothness of it. And look at that. Now we have a very, very cool tower. Let's add a little bit more details now. 25. Modeling a Door: Alright, so let's go ahead and model a door here. A door is going to be very important to get a sense of the scale of what's going on. So we can go for a cylinder. Let's remove the height subdivisions, and we can go for more radio slices maybe, maybe something like 32. That may be. All right. So we can go for something like this, and we can change the radius to maybe 75, make it a little bit wider. Yeah, that looks a little bit good. So let's keep it like that. And now what I need to do is to actually cut this. So what I'm going to do is to go to let's go to model, go to plain cut, and let's change this to 90 degrees. Click Accept and now this one we're going to go here and go to Extrude and notice how we are slow but steady just creating our door. So let's go here. And let's just move this like this. We can also change the PiBot point, go to Edit PBO bottom and make the transforms well and edit the PiBot again. Now you put it to the bottom, and now that's much better. And obviously, we want to want to make this a little bit more just like this. All right? Cool. So now that we have this, we can just put it here. And it looks like we need a little bit more depth. So we're going to go here. We're going to put it like that. All right. Obviously, this one, we need to strew things out a little bit. So in order to do that, we're going to go here and go to Inset. We're going to go for something like this. All right. Or something like this, that could work. And also let's move all of this and just put it right here. There you go. So now, what can happen? Either we move this like this, we can extrude things just like that, and later on we can worry about the details. But I think for now, what we can do is to extrude this just like that. Just like that. Later on, we can change this. And we also need to delete the floor. So we're going to have to delete all of this, and we're going to have to move this edge if I can just click on it. Come on. Little bit hard to get. It's a little bit hard to get the edge. Let's try here. Oh, maybe oh, sorry, I didn't select the edges here, so now it's going to be easy. Make sure you have the right selection. Go for this guys and just go down. Just like that. Now I can just go here or here and just move it down just like that. Alright, so now we have our door. Obviously, we need to fix this part. But let me hide this. For now, we're going to leave it like that. Later on, we're going to when we get into more details, we're going to fix that. For now, we're just going to leave it just like it is. We don't really going to worry too much about it. So the next thing it to start adding other small details here. I'm going to go here and add some support for supporting this roof here. 26. Creating the Roof Support: Alright, so let's model the supports that go here to this roof. We're going to go for create. We're going to go for a box default values, and we're just going to create this. Now we're going to go to model polygroup Edit and then we're going to try to make an L shape, something like this. Something like that could work. Maybe something like that. All right. So let's go for insert He loop. We're going to put it here. All right, click done, and then go to go for Strute and then I'm going to shoot this face just like this. All right. So now that I have this, I'm going to go here, go to this edge, and I'm going to go for Bbel I'm going to increase the Bbel distance just like that until we we can see the shape that we want. And we can increase the subdivisions like four, maybe five would be better. Let's take a look at the white frame with A too. It looks fine to me. So let's kip it like that. All right. And now we're going to go here, go to this phase, and to me, that's a little bit long. So we're going to go for something shorter. There you go. And I also want to put a little bit of bevel in these edges. So I'm going to go select all these edges. Just the ones at the front because I don't really going to see the ones at the bottom. And I could potentially go for this ones as well. Yeah, let's go for these ones. Let's go for all the edges that we want to show. And let's go go here edge Edit, go to Bebel let's change the size of this. Obviously, that's too much. We can go for something like this. Maybe that's too many subdivisions. I go for three maybe. Maybe a good number. All right. So now that we have this, we can go for the form, go to Lattice, and make sure it's cubic here, and we're going to go here and make this one like this. Just to see how it feels. I don't really want to do that. I want to just select all these with shift. Select the left one first and go for this one. I'm just going to taper this. So I'm just going to select all these points. Make sure you don't select anything without too. I just put it just like that. And it looks like it's good to go. It's good to go. So now what I want to do is to just change the Peabod point. Edit pivot, put it at the bottom. And I'm actually going to put it here at the put it right, but we're going to move it down just like that. All right. And now we can align this with this one, so we can go for this and this and we can align. Last selected is a first selected, actually. Now we can find it somewhere. There you go. It is here. So now it's perfectly in the middle. So we're going to put it here. Now, I end up being a little bit bigger than what I thought. So let's scale this down just like that. Let's take a look at the length. Do we like the length? Yeah, I think it's fine. I think it's fine. So we're going to leave the length there and make sure you bake the transform before anything. Okay. And now we're going to go for pattern, and we're going to go for a circle. And obviously, we don't want this there. Like we want to put this, like, over here. And we don't want to change anything here proportional. Everything that we have been playing with, we don't want that. So actually, let's cancel and do it again. So let's go to pattern, and let's leave everything as is. And we can actually move this and rotation. We don't really want to, we want them to be oriented. That's for sure. And let's see the count. Looks like they are all facing this one, so we don't really want that type of orientation. So what we need to do is to change the Pivot points. Edit Pivot. We can change this to look at the X axis for 90 degrees. And let's try it again. So this is not really working for us. So I'm going to take a look and let's continue to work on this. I'm going to move this here at the middle and make this smaller radius smaller. There you go. Maybe we don't really need to change oriented, something like that. We will see we will see. We can also do an angle shift like not this one, you can go for there you go. That's working much better. So 90 degrees here, that's the start rotation. And we're going to put like ten maybe. And obviously, the radius needs to be much smaller for 175 180, maybe. Yeah, something something like that. But since this is not exactly at the middle, we need to make sure that it really is. So make sure this is like this, and we're going to decrease the radius to 150, 160 maybe 155. Yeah, it's working quite well now. All right. So now we have evenly distributed all these by playing with the rotation a little bit. And it adds a lot of scale to our environment. Let's take a look at this and look at that. Now we can delete this. We don't need it anymore. But we always leave it like that. Let's just duplicate it. Let's just move it here just in case we need it. All right. So that's it. Now we have our pattern, and it's working very, very well for us. So let's go on and add more details now. 27. Adding Textures: Alright, so before we start adding more details, I actually want to put some textures on this. And the best way to do that is by using Quicksil Bridge. So what is Quixil Bridge? Bridge is a program that comes for free with unreal where you can download assets, textures, meshes, plans, like, a lot of stuff. And it's really handful. So in order for me to find something that I like, I can just type break here and I can just go for this one, for example, or this one, and I can just hit Download, and it will download and have it in my library. And then all your assets that you have download, they are here in the local so you can just hit at, for example, this one, you can click at here and it will add it into your project. I already have a bunch of assets that I can use. So let me try here with control space, and I can go to mega scans surfaces, and I can filter this by material instance. Let me do that again. And now I can just drop this stuff here. So let me just change the scale of this. So I will go to Project UVs. And cylinder looks like it's working for me. So let's go for the default settings, just to see what's happening here. So let's go for the checkerboard. And what I need to do is to change the size of the. I want everything to look like, very, very square. There you go. Something like that looks very square to me. Let's go to the original one, and it looks very nice. But it looks a little bit big. I also want to rotate it because I have my seam I want my seam here at the back. Let's just keep rotating these maybe here. Yeah, that's better. I want to scale this by two, two by two. This is much better, in my opinion. Let's accept let's try to do the same thing here. Go for this material, put it here, and then go to Project UVs, and this looks a little bit weird. Let's take a look at what's going on. Checker board and indeed, it's a little bit weird. Let's change the dimensions here in the C axis or something like this. Right? That looks better. Let's take a look at the original. Okay, it looks nice. We need to change the scale. Alright. This looks good to me. Fairly good, fairly good. Now, you can always try with different textures once that you have this. So, for example, I can go ahead and put this one, see if I like it. It's also very nice, too. That's the beauty of this. And also, we can go and try to put something here just to take a look at how it looks like. And we can change the UVs here for the ones like repack repack here maybe. Maybe that could work. Let's just leave it like that for now. And also, the reason you're not seeing this is because this is a pattern. It's not a It's like a collection of static mesh components that we created. We can always move back to what we had. I believe it's harvest instance. Click Okay. Let's not go there. But let's just leave it like that. For now, we can also find a a texture for our door. For example, I have these wooden planks we can put here. Let's worry about the door later. Let's worry about these ones first. So let me find, for example, maybe this one can work. Let's take a look at the UVs, UV wrapped. Not this one, sorry, project UVs. Go for my checkerboard and increase the scale of this. There you go. I just like that. Take a look at the original one. I like the size of the, to be honest. Even though it's not really, like, maybe something like this, like super big. That's something I think I would like. All right. So let's accept this. Okay, so now that we have this, let's continue to work on the rest of our mesh here. 28. Texturing the roof: All right let's add some textures to the roof now. By default, this one already comes with some really nice UVs, so I don't think we need to change much. So let's take a look at how it looks like. So I have this slate roof and I like it, to be honest. So we need to do a couple of things here we need to go for. Either we go for transform UVs and you can click here and then we can change the scale to something we want, something like this, or you can go for layout UVs to transform. Just like that and change the scale here to something you are more comfortable with. I think I will go freehand this time just to have a feeling of how it looks like. Alright. So that looks really good to me. This one, I want to try something different with this. I want to try to put something like forge metal just to see how it looks like, and I'm going to do the same here. So for this one, I'm going to go for transform UVs. And I'm going to go for maybe this to change the UVs here. I can also go to Project UVs and go for a cylinder, and that can work. Let me take a look at the checkerboard. It's actually not bad. It's actually not bad at all. So let's go here maybe go for one by one. Yeah, we can potentially go for this. I don't dislike the idea at all. We can go for this one again. This one looks a little bit better, to be honest. Yeah, let's go for transform UVs, not for transform UVs, but to layout UVs, transform, and go for something like one here. Yeah, in any case, we're not going to see this very often, but this one, I want to change the smoothing groups. So what I'm going to do is just to go for attributes, normals. Let me see if I can find something like, something like that, 44 looks like a good number. I don't want this sharp edge that you see here. I'm going to go here. And this one I already did that, so that's great. Let's try to do the same here. Let's put some of these, and let's let's go for I don't know if we really need this, to be honest. Eventually, we can cover this up. If we want. We may want to put some support beams here, but I think maybe we need to delete this. I have a feeling. I have a feeling we will need to delete this or we will need to maybe do an inset here just like that and then delete this. There you go. But for now, we're going to leave the inset there. It's not really going to bother me that much, but we do need some support for this one, maybe. We will see. So that's it for the roof. Let's move on to other parts. 29. Texturing the Door: Alright, so let's start texturing the door. I'm going to move it just slightly so we can check what's going on. What I want to do is to actually separate this mesh. So I will go for modeling, go for this one, and actually I want to delete this. I don't really I'm not really going to use it. And I'm going to go for this one, and I'm just going to go for I can go for disconnect here, or let me just accept and I can better go for mesh, triangle selection, select all these. And now I can go for separate. Okay. So now, this one, it's own mesh, just like this. And this one is its own mesh, right? So for this one, I'm going to add a wood material just like this. Let's take a look at the go to modeling, go to UVs, project UVs, and let's go let's go for a plane. Looks like we need to rotate this around. Or I think it's fine. It's not fine. Okay, it's not fine. So let's put this into this one and let's rotate this 90 degrees. So now we're fine and everything is nice and square. So let's take a look at the original material. So the door is like this. We can do it like that, as well. And also rotate it, and I think that's much better. So we're going to leave it like that. I think it's working quite nice. So the next thing is this one. So we're going to go here. And actually, I'm going to go and go to Model, Holy Group Edit, and I'm going to go here. And I'm going to go for a bevel. I'm actually going to do the same here. Go to go for a beviel. There you go. Something like that. Let's go for go for one just so that we have something for now. All right. Click except now we're going to go for UVs. Let's put a texture here. I don't know which one can work on this, maybe this or this is too small, so let's go for maybe this one. Maybe this one can work nicely here. So let's go for Project UVs. And we can go for a box, actually. And what we can do is to actually move the Y axis a little bit so that we have all these. And look at that. I like it. I like it a lot. So we're going to leave it like that. All right. And another thing that I want to do is to actually model this a little bit. I'm going to go for polygroup Edit, and I'm going to go for Inset. I'm going to just put it just slightly here. And then I'm going to delete this one. And then I'm going to go here. Let me accept first. And actually, I'm going to go for the edge here, the whole group, and I'm going to move it just like this. There you go. I don't really need this. I think we can get away with those deleting all these. So let's select all the edges. I just want a clean geometry to work with for now. It's not really necessary, just in case. Okay. And also, I'm going to delete the one at the bottom. And there you go. Now we have architecture like this. We can make sure and make sure this is actually working. So we can go for UVs, go to project, go to ceiling there. And let's take a look at the checkerboard. So here we're going to go for something big like this. And it's not really connecting here for some reason. So let's just go here. And let's just leave it like that for now. I think it's a little bit better, so let's just go here. Shift click and just move it just like that. Eventually, we will get rid of this. But for now, let me take a look at another material. I think this one is working much better. I don't know if we're going to go for this one or the other one. Let's see, maybe this one, but we will see. So for now, we have the base textures for our model. Now let's add a little bit of detailed surfacing to this. 30. Adding Displacement Details: All right, to add the details is going to be very simple. We're going to use displacement here. And first, we need to decide which texture we're going to use, and it's easier to decide which one we're going to use when we're already seeing the end result. So we're going to go here to the form. And actually, before we do that, let's make sure we have enough geometry. And also, I want to get rid of this. So let's go to polygroup Edit, delete this one, and also delete this one. Yeah. So just so that we work with this. All right. So it looks like it's pretty even, but just in case, what I'm going to do is go to mesh, go to remesh. Yeah, let's go for something like 5,000 for now. All right, so now that we have this, go to deform this place, and we're going to change this to texture to the map. And we're going to find here Control B to the texture you want to go and you will be sent to the right folder. Here, you will find the mask texture that we saw before, go put it here, and now we're going to put it on Blue so now that we have this, we have a good idea of how this looks like. You can even go for five if you want more detail. And let's just leave it at four for now and just put 30. 30 is a little bit too much, to be honest, but we're going to leave at ten for now. So that's our first option. Let's go for the second option, and that's going to be this one here, the damaged brick plaster. So let's go for this one. And let's go for this place, and we just need to change the texture here. And I think I'm going to go for the first one. To be honest, let's go for 30 just to be a little bit more exaggerated. Yeah, I think we can go for the first one, maybe a little bit better. Although I like this look, I think the first one will be the best choice. So let's go for a curated stone, go for this one, go to this place, for this one as well, and there you go. Instead of 50, we're going to put something like ten. Maybe 20 kind of work. Maybe 20. Right. So now that we have this, we can actually do the same here. This part, we need to make sure we have the right textil density. So we're going to go for UVs, transform UVs, and this one we're going to make it bigger. And let's change this to original. Maybe something like this should be okay. So let's go here and also let's make sure we don't have a roof. So let's go to model, polygroup edit, delete this one. And also, what I need to do is to change the resolution of this. So I will go to mesh I go to free mesh, just like that, 5,000, Alright. And then I'm going to deform and go to this place. And that's a little bit too much for me. So I'm going to go for going to go for ten for now. And let's see this one. It's working quite well, to be honest. I like the fat that's displacing, and it's actually merging the things, the vertex. So let's go for ten. Now obviously, displacement this will work different from different surfaces because each one of them have different textile density, so just keep that in mind. And also, I feel like this one may potentially be wood. We're going to leave it like that, I think. So, now that we have this, I feel like our tower looks much better. Let's do the same here. Let's go for this place. Actually, before we do that, let's go to remesh. And this time we're going to go for maybe 22500. I don't need to be super detailed for this one. Go to this place, and let's try to find the wood here. So wooden planks. I think it's this one. It should be. So let's grab this one here. And now let's go for do something really like something like this, maybe ten. And you can see, it's actually adding all the details here. That's really cool. Let's go for this one. And the last one we're going to make are this one. So let's go for this material here, go to this place, change this. All right. We're having a little bit of trouble here because it's displacing the geometry up and down. So if I make this even more evident, I like how this looks, but at the same time, we need to fix this. So maybe we can go to model. Actually, it may actually be happening because we don't have enough geometry, but just in case we want to go here, Okay, and we want to decrease the size just a little bit just like that. Okay. And then we're going to go for UVs, project UVs. We can go for plane, actually, just to see how it looks like. Plane is not really going to work. It's gonna go for a box. And let's go for the checkerboard, and let's increase the size of this. That's right. Let's take a look at this one. We could try. We could try to see how it looks like. So let's go back to deform, this place. I think it's better. We're going to just make it really just small little detail here, just like that. All right. Last one is going to be this one. It's going to be very easy. Let's just go for mesh, re mesh, put it like this. And now we're going to go for deform, go to this place. And since it's the same one, we can go for maybe 15. Okay. And then we're going to make it a little bit smaller. Just like that. There you go. So we can cover everything here. And starting to look good. Obviously, this part, it's a little bit funny. So we need to fix that. We're going to use bullions for that. But for now, I like this a lot. So let's go and fix more stuff that we need to fix here. 31. Fixing intersections with booleans: Okay, so we're going to fix this door. It's going to be very easy or actually going to do something really similar to what we had. So I'm going to alt and click here to duplicate this stuff. And what I'm going to do is to go to transform, duplicate, accept. And now I'm going to go for mesh, remesh, and let's go for 5,000. All right. And also, I'm going to go to model polygroup Edit, and obviously, I'm going to select all these and extrude things like this, just like that. All right. So now that I have this, I actually want to change the material just in case. I'm going to put this one here. And the next thing I'm going to do is to select this tower, select this bullion, and just going to go here for here. And now we have it. We don't really see the we don't really see the mesh anymore. So that's great. So let's accept. But before we accept, we're going to keep the last input. Okay. And we're going to accept this. Which means we will have a boolean here. We still have this. Like if you move this, you will see that it has a hole here, which is great. But also, I'm going to do the same one with this. So I'm going to go here, select this one, select this one here, and now I'm going to go four boolean. And you will see that it's already gone this part, click except Now I can move this here. I don't really need it, and look at that. Now we have our mesh here. I don't feel like this working quite well, mainly because I believe this has to do with the resolution that we had before. Unfortunately, that's not good. So we're going to fix that now. 32. Fixing the Bottom part of the Tower: So in order to fix this texture, it's going to be very easy. We just need to create a new cylinder here. Just like that. Perfect. We're going to go here. We're going to go to model, poly edit, put it like this, just like that, kind of like the same height. And we're going to go here, here, and then go to a line transform a line. There you go. And now we're going to move it down just like that. Make sure it's on the ground. Perfect. And now, what we're going to do is to make it like this, not this one. R you go. Oh, sorry, I was moving this one. So Control C. Make sure you stay there. And only move this one. All right. So let's move it just right here. Okay, so I'm going to scale this. Okay, so I'm going to have this. And what I'm going to do is to actually we can delete the top, just like we did before, we can just go for inset, go for something like here, and then we can just delete this part, delete this part. And obviously, we're going to go here and put it up. It's a little bit, just like that. Perfect. So now that we have this, let's delete this one. Okay, this is much cleaner, in my opinion. So what we're going to do is to go for mage. And the reason we got this problem before was because one, our UVs were kind of wrong. So let's go let's do that mage later. Let's go for UVs. And before we do that, let's put the same brick texture that we were using. So let's go here for Rama and you can see it's very, very stretchy. So we're going to go here for project UVs, not go for box, go for cylinder. Let's move this up. Even Auto UV. Auto UV actually works very well for us. Let's take a look at the checkerboard. Let's put a ten and also maybe UV atlas can work for us, maybe a little bit better. Only one island. And then we can just go here and transform UVs. And we can change the scale of this. Let's take a look at the checkerboard. Just like that. There you go. Wonderful. And let's go for this one. Yeah. This is much better, much, much better. So now that we have this, we can go for layout and change the scale. So before we do that, let's take a look at the original. Change the scale to maybe three. Three may be a good number. Maybe five just to have more resolution to work with. And now we're going to go here to mesh, remesh, keep it like that. And now that we have this, we can go ahead and go to deform this place, and we're going to use this one here from the same texture. And just like that, to me, this is working much, much better. So I'm going to leave it like that. And then what I'm going to do is to just bring this one once again, just like that, and go for this one, go for this one, and then go for model and go for Boolean. Now we will get rid of those parts. Click except. Okay. The last thing I want to do is to get rid of the bottom part that is intersecting. So I'm going to go for deform, lattice, and I'm going to go two by two by two, and I'm going to go here. Make sure I don't select anything on the top. So I'm going to press control to remove it. I'm going to select the bottom ones. I'm going to go for something like this. There you go. Much better. Much better. So now we don't really need this, but just in case I'm going to keep it like that. You never know when you're going to need this kind of stuff. Look at that. Now, things are starting to look much better. So in the next lesson, we're going to work more with Bullians to add more details. 33. Using Booleans to create windows: Okay, so let's add a little bit more details here. I want to add some windows. So in order to do that, I will need some bullions. So I will create a box here, just put it here. Then go to model polygraph Edit. And I will just try to have something like a a little bit taper here at the bottom. Just like that. Actually, the other way around, yeah, just like that. Let's take a look at how this looks like. All right. Not bad. Not bad. So first, we're going to add this material. So we're going to click here and we're going to put it. Okay. So now that we have that what we can actually do is go for UVs, project UVs, go to box. Looks like this is working so far. So we're going to sorry, not one, one, this one here. Go for project UVs box, and we're going to leave it like that for now. Looks like it's working. All right. So now that we have that, we are going to actually these places just like we did before. Let, we're just going to put 1,000. I really want to put that much geometry here, go deform this place, and we're going to put this one here. And we're going to put ten, just for now. And now that we have this, we can actually save this. And what I will do is just to duplicate this with Alt and click. And I'm just going to start putting those here. Let me just like, for example, here in this area, I can even do a pattern, but I'm just going to make sure the size is right first. Okay. Also, I'm going to go here and reset the rotation of the just to be sure, all right. I can try with something like this. I can do the scale a little bit. Let me just go here and do a Boolean just to see how it looks like. I go for Boolean and look at that. It works quite well, to be honest. I'm going to move it here. I'm going to rotate this. M there you go. Something like that. And I think I will just put them in position first before doing that. Like, let me just grab this one and just put it here. And also, this one here is, like, very, I didn't like the UVs at the end. It turned out to be very, very small, let's take a look if that actually makes a difference here. It doesn't really matter. You don't really see this. So it's fine. So we're going to keep that for now. Keep the last input. All right. So actually, first input object, we will replace this. So let's go for this one. And we're going to do the same several times here, maybe here. You can just go for this one and select this one and Boolean. There you go. Except. We're going to do it a bunch of times here. So we're going to move this here. We don't really want to be super accurate with this. We just want to have something to work with. So let's go again and just select the boolean. And notice that the booleans already come with the UVs, which is very, very handy. And you can always change the UVs later. I will show you how. So let's go for this one. Let's go here. The back we're not really going to see it, but just in case we want to have another shot. Let's go for this one. Go to Boolean, except. All right. So let's go for this one, as well. Let's put it very deep so that the shadows actually work well for us. Just like that. All right. And we can actually change the material here to put like a black box or something just to fake the illusion that it's actually, you know, going more in depth. So we're going to go here. We're going to do the same boolean. Except you don't need to be perfect with this. That's the beauty of doing working with this kind of organic shapes, is that delete this. You don't really want to be super accurate. The more mistakes you make in that sense, the more mistakes you make, the more natural it will look. So that's something to keep in mind. You can already see what's going on. I'm going to do the last one here. There you go. So I'm going to go here and make it really deep. Yeah. Pull in. All right. So I'm going to do the same at the top. We're going to do it in the next video. All right. So let's move this here and look at that. I'm having much more interesting shapes to work with. Beautiful. So let's work on the other one now. 34. Using Modeling Tools to fix the window depth: All right. For the other one, I'm going to go here. What I'm going to actually do, which is something that I should have done before maybe is just to change the UVs, go to UVs, layout UVs and the transform, we're going to put 0.1, maybe 0.2. That's good enough. And this one we're actually going to do something like this. This one is going to be a little bit different. We're going to go for very, very deep here. Very, very deep. So you can actually see the shadows, and we don't need to worry about that later on, right? So let's go back for here. And this one will be like a kind of like a sprinleeplacement, where you have a bigger shot. So let's go here. It's always nice to have different shapes in your model. So go to pulling. Look at that. Works much better. Now, it's a little bit too deep to my taste. Okay. Maybe we should just leave it like that. Yeah, it's a little bit too much like this. Let's make it a little bit thinner and like this. That was too much. So let's go here. Yeah, beautiful. So let's go for this one. Accept. And we will work on the other ones. Now, we're not going to put too many. We're just going to go here and move it around just like this. We're going to put it here. Maybe a little bit more like this. We're gonna rotate this around. Go for this one, Boolean. There you go. Like, I have a feeling we should do the same with this one, but, you know, it's already done. So it's not to worry too much about it. So let's go for this one. Put it like this. Do another bullion. We can always move it around with the modeling tools, and I will show you how in the second because these already come with polygroups, so it's very handy. So let's go for another one here. You go 180 degrees. Perfect. All right, so let's move this here, bullion. I notice the nature of all the noise that we have is actually, kind of, like, helping us to to add more into the realism of this thing. Alright, so we're going to put a couple more. Another one here. Bullion except. We're going to put this one and a last one, I believe. So let's try it out. Later on, we're going to worry about the roof, don't worry about it. So let's go here. And let's go for this one now. Alright, so let's go for this and let's go for a bullion. All right. Perfect. So now that we have this, let's just move this around. Look at that. Now have more holes into our measure. You can already tell, like, it's actually helping us. We're going to take a look at this. We're going to go for polygroup Edit and we can actually change the UVs here. So we can either do it here in model or in the UVs for transform UVs and go for a increase the scale. It takes a little bit because we're working with quite a lot of geometry. Okay. Before we do that, it's actually more important than that. Let's go to model polygroup Edit, and we can actually move this. So I can go here to here in the top icon, you can see the world transform. I actually want to move it on the normal. So I'm going to go here and move this like that. Make it deeper. So I can have a shadow there. So let's just like that. Yes. Perfect. Make it deeper. Do the same with everything here. This we don't really need to worry about the UVs if everything is, like, hidden, so just keep that in mind. All right, so we're going to go for, I believe this is the last one or one of the last ones. Yep. Alright, so let's take a look at this and see if the shadows actually help us hide our mistake here, which is the UVs. So it looks good, to be honest. It looks quite good. All right, so let's keep working on this. It started looking quite nice. We just need to worry about this roof because it's not really giving us much not really giving us much love here. We don't have much detail going on here. So let's do that now. 35. Adding Details to the Roof: All right. So in order to fix the roof, we're going to do pretty much the same that we did before. We're going to go to model, polygroup Edit, go for this one, and go for inset, and we're going to do a very big inset here. And now we're going to select this and delete. And now that we have this, we can actually, let's accept. And let's go to mesh Triangle Select. Let's remove the brush for now, and let's try to just select the bottom ones if we can. I's like it's very easy to select. So let's just select the bottom ones. There you go. So obviously, you want to go for something like this, it but faces off shift to delete what you already selected. Just paint the areas at the bottom. Okay. So now that we have this, let's create a polygroup for this. So let's go here, create polygroup. All right. So now that we have this, let's go to model polygroup edit, and obviously we can grab this edge and move it like this. This is exactly what we need. And also we're going to change the UVs here. So we can leave it like that for now. We can actually go for UVs and transform and Actually, yeah, let's do this here. Holy group edit, like planner projection. And let's see. Maybe, actually, we're going to leave it like that. Now that we have this, which looks a little bit better, in my opinion, you can always go here and go to UV layout or even go to the UV editor, so I can show you what may be going on here. So this big area, it's my UV, so I can just press W to move, and I will just move it somewhere else where I don't really click on it. And these ones are the new ones. So we can go for here and maybe we can go for wrapped and go for polygroups. And I think that works much better, in my opinion. I think it's fine. Click Accept and we can also go to scale here. I believe we can scale this one here or just save it for now and we can actually go for transform UVs and click on this. Let me see if I can click on this. Now. Let's go for transform. All right, have something like that. All right. So that's going to be it. And also, let's try to do the displacement first just to see how it looks like. It may look good or bad. We don't know. I'm not really sure if we're going to use this one yet, so I'm going to hide it. So let's go for mesh. Go to remesh leave it like that. And now we're going to go for deform this place, and we're going to go for the roof. I believe it's this one, yes, weather roof raged here. And instead of ten, we're just going to gonna put something like three maybe. Maybe three works for us. Look at that. Our roof is now having some nice lining here. Works very well, I believe, works very well. So we're gonna for four maybe. Tree looks like a tree looks like a good number. We're gonna leave it like that. And also, because this is too smooth, maybe we can go to attributes, normals, try to change the normal threshold a little bit, maybe something like 90 to spice things up. So that not everything is super smooth. And I believe this one we can leave. We don't really need it. So we're going to delete it. We're going to just stay with this one. This one is just going to be like this, and we're going to just go for this one just like that. Oh, beautiful. Beautiful. We can hide the mistakes like that. It's part of the modeling process. And this one, we're going to get rid of it really going to use it. But look at that. Now, this one, obviously, we want to move it a little bit more like here. There you go. Actually, it's not working quite well, so we're going to move it. Let's change the Pivot point, Edit Pivot. You're just going to put it here, and now we're going to scale, which will work much better for us. Let's do the same here. There you go. Much better. Alright. So now, look at that. Now, let's delete all this stuff. She want to get out of modeling mode, delete all this, really need it, save it. And now we have a tower. We can always add more things, you know. But hopefully, with this, you can see the power of modeling tools in RA press Control L to change the lining. So you can see what's going on. We can add a lot of stuff. We can add some lights here, for example, like this. And I will put it like this. This is not part of the course, but just to show you what you can actually do with this. You can have a very warm light. And then you can here and, you know, light this up. We're not going to touch on that. Hopefully, this has been really good information for you. And let's go for the next lesson. 36. How to take a Screenshot of your project and share it: So we finish the tower, and in order to share this, I want you to share a screenshot of this. And there is a way to do that inside and real that is very easy. You can just go here to the top left corner of the map, go to High Resolution screenshot and just move the camera to a place like you really want. For example, this one, I can just be really close here, for example, to get a nice and clean shot. And as soon as you do that, you can go here and go for a capture. And you will go here to the top bottom right corner, and you will see that I have some screenshots here, and the new screenshot that you put, you will get it here. Now, as soon as you have it, just upload it to the project class so you can get some feedback from myself, and I will gladly give you a hand. 37. Wrapping up: So if you reach this lesson, it means you have finished the course. Congratulations. And I hope you feel more confident about yourself on using these modeling tools inside Unreal Engine five. They can be really, really helpful, and you will save hundreds of hours into not jumping between back and forth between blender and unreal or treat smacks or whatever. For just doing a simple thing. You can just make it in a real, do it there. Even you can model some stuff there. And hopefully, after all these tools that I've shown you, you will realize the potential of these tools and how you can incorporate them into your workflows and improve as an artist. With that said, my name is Mel and I will see you in the next one. Bye.