Make Stylized Gun for Games in 3D Blender

1. About that Class: If you ever dreamed of being a part of a game development, but didn't know where and how to start, welcome. After finishing this class and creating your first stylized three D render, you'll gain skill that will help you confidently break into the world of games. Structured lessons from start to finish are what I wait to you here. I choose this site to illustration that will turn into stylized three D render, which could possibly be your first portfolio piece. If you still have a desire to know what exactly we'll learn, here it is. Firstly, of course, we'll go through the basics of blender. Accompany the modifiers, we will model our gun. Your work need to be highlighted. That's why I block two will establish our lighting, I share industry standard technique that will turn your lighting from this to this. In Block three will delve into the texturing process. The best part that after you learn how to convert that boring flat color into such a cool material, you'll have unlimited space to apply your creativity. I can strongly guarantee you that after attending all the lessons, a strong desire to keep modeling your things and blender will arise. If ever thought that learning is a boring tedious process, forget it. Having fun is a more relatable state. The important question is, how advanced do you need to be? I'll be honest, a little bit of experience would be nice. But if you never touch it any three D software, just bring your stubborn attitude and a little bit more time, and you'll get it there for sure. What are the other ways to grow in your skills if not solving more advanced tasks that are out of your comfort zone? With all of that being said, I encourage you to take your first step and learn how to turn your ideas into three D reality. Having fun, finishing project, and acquiring new skills. Doesn't that sound cool? If your answer is yes, then I'm waiting for you in our first lesson. See you there. 2. 1.1 Gun's Base: Hello, everyone, and welcome in our class. Before we start, I want to say that everything that I press, you can see in the left corner. The second one, this class is divided on three blocks, modeling, lighting, and texturing. If you are beginner, the most important thing is just to have fun. Bring your tea, coffee, and let's start. But before we start, we have to activate one important add on, so we go to the edit references, add ons, here search for loop, and check in on the mesh loop tools. A little bit later, you'll found it what it is. The second one, under this class, you can found a zip file with a few references, download it, and let's turn, first of all, let's delete our cube, and also our lighting. Then we go the shift A image reference, and in our folder, folder reference, bring the reference image. Great. Then we go the out er to make it flat, X 90, 90, then you go the G x, and move it a little bit on the left. In case if you're complete complete beginners you never open it even blender, use your press on the mouse wheel in order to move yourself around the world. Then if you want to keep the same angle and to move yourself, hold shift and the mouse wheel. I hope it does make sense right now. Then slowly, let's go forward. In order to we're going to create this part, this part, and this part in that lesson. Let's start with the orange one. Very simple. We go the shift A mesh. Circle. Then we go the r x 90. Good, three on an pt, which means to take a look from the side. G, greek, and move this one a little bit in front. Remember that we use this reference just as an inspiration and we'll not do this one completely completely the same, but we're going to keep it, very close. Then you go on the edit mode, which is tap, or you can go here and choose the edit mode, the shortcut tap. A, to choose all of these vertices. Again, if you're a complete beginner, every object contain vertices, which is one on the keyboard, edges, which is two on the keyboard, and faces, which we can see right now, but a few more seconds and you'll see that. One for one, The vertices A, you choose everything three on the pd, and we go the E for the extrude greg and move this one right here, create, something like that. Then we go the S for a scale nice. Then these are phases. Good. Then phase mood, A, to choose everything, and let's extrude inside, how simple E for the extrude and S and bring your mouse wheel inside like that. Some somewhere here. Great. Let me check right here. I want to make how we can see that part in flat. I want to make it flat. We got the three on the empt, one for the vertices, Alst for the transparent mood, choose all of them which are behind and press S greg zero. And now we need it flat Alst to get out of the transparent mood. Nice, then we go the control in order to add a subdivision modifier. For the people who don't know what did it, this modifier increase the amount of polygons that you have in your object, which allow you to make it more detailed. And before we go forward, let's quickly save our file. Quantrl S. Choose a folder. Let's call this one stylized underline gun, and save blender file. Good, because blender sometimes love to crush unexpected. So that's why we have to be prepared. Then we press right click, Shade Smooth. However, this one is better than this one. No problem. What we have to do? There is one very important thing, like very useful thing in order to make them smooth is to add more loops. There is a bevel modifier, Yes, like this one, which how we can see can sharp these edges, and it's important to move this one above. Now it's a little bit more better. We can inc, increase the segments. But at the moment, this could be a great solution. But there is another one, Let me hide it. We can go in the edit mode and press Control err, which allow you to add the loop. Left click once, move this one on the right. Left click two, and the same thing here, Control err. Let's move this one right here. Now I hope it does make sense. When you use this and when you use that I think firstly, we'll be better to add loops and to create your own because it also can increase or not increase, improve the topology of your object. But as the second plan, you can use Bevel, which we will use throughout our class. Right now, leg just add loops. Then we go the control er right here and bring it down. Then we go here and move this one here. Let's go here, control err on the right. Keep it close here. Down here. Let's take a look and V, from what we got before, now we have good shape. Good. Let's give it a name. How we can give a name. You can double click right here. Oops double click or you can press F two. Let's call this one point orange part. Good. Let's go forward and choose this one. Or actually, let me show you that we can now bring the bevel modifier and make it even more better. So let's go toward the two or even one. I think two, and keep it like that. It's more than enough. So how it was before and how it is right now. Now I hope it does make sense. With additional loops, you can create the common shape, and bevel modifier is something that helped to polish it. O. Let's go toward that black part. If you're a beginner, if I'm talking too fast, I'm sorry. But I don't want to waste our time, control S, and let's go forward. For this one, we're going to use the same thing, Shift A mesh circle. A X 90. Make it a little bit more smaller. G greek and move this one here. What we're going to do, you can check it one time and then we're going to do this one together. I press edit mode, A, choose everything and extrude right here. Yes, then extrude up, which means es, and move this one up and Greek, to move this one a little bit on the right. They have to be a little bit more smaller. Press having this one emphasized, press control E in order to reverse, and now the emphasized are the other one, and bring a for a scale to make it a little bit smaller. It have to be as this one. Let's go like that. Good. Control E to these vertices. Then we go the extrude grik, on the right, from here we go one more time, E S, go down G rick on the right, a little bit smaller G E. Extrude gre on the right. How you can see this and this are different. But if you take a look, remember that we create a stylzed What? What is the name? Stylized gun. Yes. That's why it isn't very important to keep it completely perfect because otherwise, it wouldn't be stylized, yes. But however, we can go with if you want to emphasize this one, two, you can press control plus on the NPD. Now you emphasized a little bit more polygons. As for a scale, great. Let's go forward, Control minus on the PD, to go a back, and then we go the E S, move it up. Let's make this one a little bit smaller than this. G greek on the right and make it a little bit more bigger. Then we go for example, with E, extrude on the right, make it a little bit more thicker, and then we go for example with the E S, smaller G greek on the right. Then we go one more time, E, greek ops. Then we go with the E. Again, On the right, a little bit bigger than the previous one. One more time, E S, make it smaller than the previous one, E and move this one G, and move this one G Erik on the right. E, like that a little bit bigger, and then Es smaller G E greek on the right one more time extrude and make with the previous one control plus amendment a little bit more bigger. Nice. Then we go to the right click shade, Smooth control two. However, Coss, I'd like to make it a little bit different and I'm still not very satisfied. Probably I want to make the orange part a little bit more bigger. As for a scale, G gre on the left. Good. Then let's choose this one. Let's make this one a little bit as gre. More. How we can see when you press, for example, S, it will be logical to stretch from the center. But usually, all of these changes came from this pivot point. In our case, we have to emphasize our object, right click, set origin, origin to geometry, and now the pivot point is straight in the center. Now if we're going to press S, the stretching work properly. G re on the right, nice, let's play with our shape. Transparent mood, for the edges. Let's emphasize this entire loop. Actually, this entire phase, you press Alt left click and it's emphasized G greek, and move this one a little bit on the right. At that. Now I like it a little bit more. Great. Then we go let's add a few loops in the same way how we did right here. Control err, one loop right here. As for a scale, and move this one a little bit on the left. Great control air right here, control air right here. Here on the right, on the left, and go down and one more here down. Then here we go down one. Two, three, n, four here, one, two. Here we need to add one, one, and n, two. Let me check. Beautiful. Control S two save F two, let's call this 12 point black circles. I'm not very creative with the names. I call them properly. They're blocks, the circles, s, problems. Let's go forward. They're nice. If you want to play around, play around, I'm completely good with them. But still, I want to make this one even more bigger, three ep, right click, set a regional region to geometry, Eric, a little bit here. What I think we will be important to do is go in the edit mode. Where this. It is inside. Yes, that part. Choose Pardon. Choose this loop, the last one, Control plus f to emphasize the additional one, and go with the S and make it the same as as the size of that loop. Let's check it. Now I'm satisfied, and I hope you're satisfied also. The last part that we have to do is this yellow part. We go the shift A, mesh, and UV sphere. Then if you go in the edit mode, we can see that we have two pivot points, one here and one here. I want you to turn this 119 degree. We go the air X 90, and now they are on the right and the left. Then we go the right click Shade Smooth and control two to make for the subdivision surface modifier in order to make it more smooth. Then we go the G E gre on the side, and let's make this one big. G greek, a little bit smaller, G greek. I think this size, so this is the biggest one, the second one, the third one. This is bigger than this. This is bigger than this, or probably just a little bit more, G greek and like that. Yes, let me check from different angles, and a little bit smaller or no. Okay, this is good three on an PET. Let's go in the edit mode. Let's go in the solo mode. In case you don't know solo mode is when you can work with an object apart. So we press slash on an pet, and now you can work only with this one ab with the slash. Solo mode, and choose this one, these vertices, press control plus on an MPT one and two, and press x and delete phases. Come back, come back from the solo mode. Now, we have that gap. Great. Now I'd like to make this one more thicker, how. We go in the edit mode, H to choose everything and press E S like always, and move this one inside like that. Great. Now we add added thickness to our object. There is one more thing in the reference like this he part, and I want to bring it right here too. We go in the edit mode, choose these vertices and press E S. And move this one up like that or probably even ops, even more juice like that. Good. And what we have to do, we got the same result as with that object. We need to add a few more additional loops. Let's do that one. We go in the edit mode. Control ir, right here. Control ir, right here. Control er, here, let's go in the solo mode, one here, one. Here, one, lower, one, up, and probably will be also good to add control air one inside and to bring it here. Now the shape of our yellow circle, Control S save. Oops as for scale, just a little bit and G egrek on a back. I'd like also to make that black part a little bit more longer on the green one. I go with the Sri, good, move the orange part in front. This one, a back just a little bit as for a scale, G E gre. Quant S two save. Let's call this one F two, three point Yellow circle, good. We finished with the lesson number one. My friends, I hope you are satisfied with the quality of the teaching. I hope everything is entertaining, and if it was a little bit too fast, well, it is what it is. But let's go forward, where we're going to create, I think two more lessons in order to make it more easy and comprehensive. We're going to do that and that, and then we'll finish with the details. See you in our next lesson. 3. 1.2 Loop Tool add-on: So, welcome back to the lesson uber two, we're going to create a few more things. Panel, the circles, and probably this tube. Let's start. Emphasize our sphere, go in the edit mode, phase mode, and let's choose this 55 on four. We have a small distance right here as in the reference, and it's more than enough. Then we press S D to duplicate, left click, P, selection, and that help us to divide our duplicate from the original object. Back to the object mode, and choose this panel. How we can see there is the duplicate. F two, and let's call this 14 point panel. Great. From here, going in the edit mode. A to choose everything, seven to take a look above, and let's go with the E for the extrude, and move this a little bit on the right. Us a little bit like that. Then guess what? Control, one additional loop here, and one additional loop here, then one more here, and one more on the right like that. Let me take a look. Nice, Control S to save. Okay, so let's go with this one and this one. What we have to do, go to our yellow sphere. I'll recommend to watch one time and then and then it will be much easier to comprehend. We duplicate shifting. Great. Then we go in the edit mode, and another thing actually in the object mode, let's apply our subdivision surface modifier, and now edit mode phases and choose this phase. How we can see this one is a both of our panel, choose a phase like that. Good. Keep it closer to this one, far from this one. Then we go the control pass on the MPT one, two, and three. Now, three is two much, or actually no three is more than enough, and then we go the x and delete phases. Then we choose this entire loop and here where the magic will happen, right click loop tools, circle, and that how easily we turn our sphere into spheres, our square into the circle. Then we go the shift d and then p for the selection to divide this one from our yellow sphere. Then come back to duplicate of our yellow sphere and delete it. Now we have our circle. Someone will ask me, why we can't to d create shift A Merge circle? I'm going to show you. Because we'll literally waste a lot of time trying to fit this one on our sphere. And even more, we'll have this type of caps because this circle is flat. Meanwhile, our circle provide straight from our sphere, and it's aligned perfectly, which will save us from ugly shadows and not only. So I hope it does't make sense why we did in that way and not in the otherwise way. Then we go to our sphere. Let's recall this one F two, five point circle for blue tube, which means this one for blue one. Then we go in the edit mode, A, chose everything, and let's extrude E and move this one up. Great. Let's align this one. Let me check. Nice, and then we go the S for a scale inside, then we go with the E S. Then we go with the G. Let me check. Eight, and then we go with the E S, es, at sinter then right click shade smooth and control two for the subdivision surface modifier. Nice, I'd like to say that this is nice, but of course, you know that this isn't. We have to add a few more loops for the bevel, let's go. We go in the edit mode. We go with one loop right here. On loop right here, one here, one here, one here, let me check. And big before and after. Great. What do I like? Take this one, the vertices, Control plus plus plus, and just move this one a little bit more inside. One more thing that I want to do is control right here and just as f scale a little bit like that. To make that shape a little bit more interesting. Control Beautiful. And then I'll like to duplicate this one for that one. What we have to do right here. If we will we'll go with a duplicate, again, we'll waste some time trying to align that. Let me show you, we choose this yellow sphere, then we go with the Shift S cursor to select it, which means that red and blue, red and white circle pivot point is in the center of our yellow sphere. Then we go right here, transform Pivot point and choose three d cursor. Then we choose this one, we go with the Shift D. And now we can align it perfectly because it's moved straight around this pivot point, which means around our sphere. I hope again, you show how it works. It is aligned perfectly. Sometimes I can not like I can. Sometimes, I don't explain things with a perfect terminology, but my main purpose is to make you understand what I do, to keep it simple and comprehensive. Air and somewhere here, re a little bit lower. Yes, they're close to each other. Let me make this one just loser, Eric. Let me make this one a little bit bigger. In order to make it bigger, now we can see if a press S, it getting far. What we have to do is right click set regional origin to geometry back to the individual origins. Now as for a scale, for a scale. Good. We have two of them. Let's recall this one F two circle for big tube. Great. What we can do more in that lesson? Let's Let's go with this part blue one very quick, and then we'll finish again to make it simple and easier. Go here. Shift A, sorry shift A in the edit mode, and choose this loop. What are we going to do? Shift D, left click, P selection nice. Founded. Let's call this 16 point blue, sorry, blue, underline tube. Then we go with edit mode. Choose A, choose everything, and let's extrude grad from here, line this one g x x g greek. G. A little bit of tedious work, but it is what it is. I think we can make the initial part a little bit more thicker. We go with control, Let's go in the solo mode. Let's choose this one back from the solo mode. Let's make it a little bit more bicker like that. Great. Then go here and we go the ES, move this one inside and move this one a bit higher and move it a bit on the right because how we can see it go up and on the right. Then we go in the ES. Inside, just a little bit hoops, a little bit higher, and then we go with the E S E. S, and one more time. E and S. And from here, probably I'll go control plus a little bit lower, then choose this loop where you are. Es Es at center. Now let's add a few more loops, one here, one here, and probably u. Then right click, shade smooth, Control. No, it's sharp, so let's dissolve. Remember, dissolve, not dissolve one H. Let me try dissolve this one. Or probably this one I'll keep like that. Great, and control plus plus plus, no. I'd like to make it a little bit smaller, right click at the regional region to geometry and make it smaller like that, move it inside, then let's make the base again bigger, choose it out as for a scale. Probably that part. I want to make it bigger and that part more bigger. And it's still too sharp for me. I'll that for the transparent mood, dissolve. Sometimes you have to play around a little bit. Let me choose instead this loop, and let me make it like that. What if I'm going to dissolve this one? That one that was above. Let me make this one a little bit bigger. Good. Now I am better. Probably, I want to keep this one a little bit bigger. And here we are, here we are. There's one more thing, vector normals and autosmooth, which we don't need it. All good. A good, my friends. Thank you so much. I hope you understood everything. I hope you have no questions, and 4. 1.3 Gun's Pipe : Hello. Let's number three, where we're going to create this tube. Let's start. How like always go here edit mode. Let's choose You know what we can do, Control err, move this one above, and then B, selection nice, and then choose this circle, where you are. Here you are. F two, and let's call this 17.2. Or pipe here. This is the more proper word. Then here we'll have to play a little bit, but we will get it. If we'll render from this angle, we have to get this tube like that and there to move this one there. Great. Let's choose it. Let's go in the edit mode. Edit mode, A, choses everything. Let's start. We can create another window. When we have the two arrows, right click, vertical split like that. Seven to take a look above. Good. Here we go the E. Move this one up. Then g and go like that. A for rotation Good. This is going to be the first one. We will not make it completely like one, two, three, four, five, we'll make similar shape, air for rotation, and then we go one more time, E extrude, and move this one up air for rotation. Great, we have to move this tube like somewhere here ab. Then we go with the E rotation as for a small scale. Let's choose this one. Air for rotation. Nice, choose this one and how we can see start to go in the wrong direction. Control plus, and let's go air and right here, nice, Air greg. Good control minus pd. Let's go forward. We go with the E extrude, one here, air for rotation, one more time E, and here, again, control plus. G r. We have to move this one a back. Then we go the control minus minus good. What is the shape? Come back. It's a little bit more on the right. Don't keep it too far. Good. We have the reference. I want to create this letter and to move this one here. Control minus, Duck we go with the E S, not big S, and then a little bit lower, then choose that loop ops, r for the rotation. Nice. Move this one a little bit higher as for a scale. Then once again, this one G on the left. Get it. I want to choose. Let's choose this loop. Let's make it a little bit more thicker. The same thing for this loop, a little bit more thicker. Again, go here. Let me check what we have. Good. Then we go lower ones as for a scale, and we go with the extrude air for the rotation, as for a scale, and then one more time, extrude on the right. Probably good rotation because we have to extrude once again air and once again, air just move this one in the yellow sphere. All set for the transparent mod, seven to take a look above, control plus on the NPT, G air a Let me check. Va. Right click, Shade Smooth. Now, let's align the thing. Again, if this will be our render, it's pretty similar to what we got. Not really but kind. Let's make it more appropriate to our reference. Let's choose this one. We have to move this one more here. Yeah. Now there is a gap, there is a gap. Let me go. Probably, we have to dissolve that one x dissolve edges and take this one. Sorry where this one moves slower and more close to the ab. Now it's more proper toward our reference. I think this one, we can also get a little bit higher as for a scale, I say higher. As for a scale, great. Let me take this one where that one that is in the center. Let me move this one a little bit more on the right like that. Take a look control two for the subdivision surface modifiers already edited. Let me. Me. Let me check. Great. It's great except I want you to move more closer and probably I would like to add one more here, Air for the rotation as. Like that, to make that form a little bit more proper. What if I'm going to if we all will dissolve this edge? No, we need this edge, rotate it and move this one more closer. Consoles to save. Now, let's go here, join Aria, on the right. How we can see in our reference, we have these things in between. How we can do them, at least how I did them. We have to add one more loop right here and choose Alt Shift left click here. Here, here, here, here, this one, so just emphasize all of them. Hello. You I think this one have to be a little bit more thicker. O k, let me align this one because I want quality. Before we go forward, I just notize that this one is a little bit more higher, meanwhile this one is pretty lower. Again, I want to keep it better. Let me move this one more higher like that. God. Let me rotate this one once again. This one. Hi. Let me pay attention to the shape right now. Okay. This one, do stay a little bit smaller and this one to Good. So now let's create these things. How I'm going to show you. Take a look one, and then we're going to do this one together. So emphasize all of them. Shift O left click, shift Out left click, here, here, here, here. And two. Now, having them emphasized back to the object mode, press on apply the subdivision and come back to the edit mode. Which means we save ourselves a little bit of time, having them already emphasized and improving our topology. Having them emphasized, you go with the control B, which is another form of bb modifier, and drag holding shift for the slow effect, drag this one, drag the mouse, L that. From here we go with the E S, and move this one inside. What is very important is to have your pivot point in the individual regions because let me show you don't repeat. If we have, for example, pivot point and three di coursor, ES, it go in the wrong direction, which we don't need. We go here individual regions, ES, and move the mouse inside like that, take a look and V control to for the northern subdivision, and we did it probably not very appropriate to our reference as here, for example, or that one could be removed. But we already did it so so why not? But you know what? Actually, sometimes I love to play the perfectionist side. I'm not a perfectionist, but I'm going to come back. I'm going to remove this one. Great, and now one more time, control B E S t two, hey. Now I'm good. H. What if I'm going to finish this lesson right here, again, to not overwhelm your head? And that was for our lesson number four, suppose or three. Thank you so much for your attention, and let's go toward our next one. Hope you enjoy your time. 5. 1.4 Screw-Bolts: More lessons and we'll finish. That one, I think to create this, this and that, and this two to be at the end. Let's start with that part. Go with a shift A, mesh and circle and solo mode, which is slash and MBD. As for a scale, create, and we go in the Edit mode. There is one thing, too many vertices, let's delete it and one more time, shift A, mesh circle, and here we have a setting. Let's go in the vertices and bring 16. Now it's good. Now edit mode, Great. From here, we go the E S E S M at sinter. Choose everything faces, and move it up like that. From here, seven, to take a look above transparent mood vertices and delete this health. Great. Then we go in the object mode, search for mirror. Everything is great. Everything is great. Then we go here and take a look what we're going to do. We're going to choose these vertices and delete them. Nice. Then we have to connect. We have to clean the topology because with this one, the shape going to become CCSA, and I don't want it because otherwise, even the subdivision service modifier will work properly. So choose the vertices and this one and go in the pivot point and choose the median point. It's very important. Then we go the E S, move them toward each other, and then at center, which mean we connected two vertices into one. The same thing right here, es ops, es, at Ciner. Then with this one, es, at Ciner. Take a look nice. From here, go to the edges, choose this one out left click and shift out left click this one and press F. Then we go the shift Out left click here, shift Outlet click here F, here and here F, and choose this and this F. Nice, one for the vertices. What we have to do is to connect these vertices with each other. Choose this two press J, then this one J J and invalid, y. Ops, J. All good. Just connect this one, this one, and we have J. Now we have proper topology, which is great, I'd like to say grate, but actually not because firstly, we have to delete this one and this one, dissolve vertices, and from here, what I'd like to do. From here, choose these phases and press E not for the extrude but for the insert and move them like that. From here, I'll actually align these two lines. We go, choose this one, this one, and press S x zero, and that how we did them properly, the same thing for these two loops as x zero, choose this six, and then we go the z and move them up like that. Great. From here, go the object mode, choose it, and go for the search and subdivision surface nice. From here, let's add a few more levels in a few more loops in order to make it more sharper. Control air one here, control air, one here. Control air one here, control air, one here. Here, One more additional. Here. From here, what I want to do is firstly we go apply the mirror, then apply the subdivision and one more time, control to. Now we have proper form and then come back from the object mode. How we can put this one over our gun? Very simple G move this one on the right as for scale. Is it enough scale? I think yes, move this one here, make a small rotation, come back to the individual regions. As some small rotation. From here, take a look, there is a function like Snap. Turn it on, choose vertices, take our bolt, and let's search for good alignment. It have to be somewhere here, which means ye. Let me choose, for example, this one. Great, from here, turn it off. Let's make small rotation. Let's go with the G hoops, G. To move this one a little bit above. Let me take a look from the side. And one more time, there is a small gap, G that z. Now it is in Perfect. Ctrl S to save. Let me take a look. Nice. Now your next question is how to move this one, how to multiply them all over the gun. Very easy. First thing first, the pivot point have to be this three d cursor have to be in the center of our yellow gun, which we did before, if not, choose your yellow shape. Shift S cursor to selected. Then we go toward the pivot point and choose the three d cursor. Then we go toward our bolt, and it's very important to firstly right click, set origin, origin to geometry. Another one is to apply scale rotation and what is location. We press control A, apply all transforms. One more time, right click, set origin origin to geometry, and now take a look. Shift D A rik and Valla. That how easily we can move it all over. It is on the surface. Yes, yes. Now choose both of them. Shift D greek. Go lower. All of them for Shift D greg. Very easy with some simple tricks, tips and tricks, we can duplicate all over the gun. Shift D greg Perfect. Let me take a look. Is it? Yes, it is from the site, control S. Nice. In order to save our time in future, will be great to choose all of them inclusively U, and let's connect it with C. Now they all are only one object. F, let's call this 18 point bots eight point bolt. Great. Probably, sometimes too much things, click here, click there. In case if you have any question, just turn back this video, but I hope there is no question and I hope you solve this one very simple. There is nothing hard. Once again, pivot 0.3 d cursor set region to geometry, apply all transforms, and just duplicate and rotate it. Pretty close to our reference. Let's go forward and let's create this thing. Very easy. Go toward our sphere. Si D, Great. Then we go in the edit mode. Let's choose the faces, choose this one, this one, this and probably this. Let me take a look. Too much here. I don't want it. Nice. Probably I'll take even that one, this three, and then we go with the P for the selection and divide it. Nice, then the duplication of our yellow sphere, deleted, then choose this one. We go with the edit mode, A, you choose everything and actually no. Let's take this vertices and just drag this one G down like that. As in the reference. Then take this one, g a little bit lower and this one also. Now choose everything for the extrude. And move it a little bit lower like that. Few more loops, control air one here, control ir, one here. What if, what if control ir, one here? Now it's going to be too thick, which I don't want it. Right click, shade smooth. Then we can S. I would like to make it a little bit more thinner. Let's go with individual regions, right click, set the region to geometry, S, G Nice. Apply the subdivision one more time. Subdivision surface Mdifi. Great. Let's call this 1f29 point patch. D to D. I do want in that lesson to make that and that, but I think it's too much for one lesson. I don't want again to keep too much information, so let's finish here. Finish the task when you finish, jump to another one. See you there. 6. 1.5 Red Button and Arrow: Hey one. So two more lessons, and we'll finish it. I think this could be more bigger and this one too, but I'm not sure that this is the perfect time to align it, so probably I'm going to keep it like that. Well, sometimes, what if S for scale, A little bit later, we're going to align it. But for now, let's do this and this and then this and or actually, let's start from these two because they are more harder, and then we're going to keep the easiest part for the next lesson. So let's go. Choose our panel, Shift D left click. Then let's go on the solo mode and apply the subdivision surface modifier to make it bigger. Then out, Let's choose this phases because it's somewhere a little bit lower than the center line. Control plus like that, three times x and delete phases. Then choose this loop, right click loop tos, circle, and then B for the selection. Yes, and then choose the duplicate of our panel and delete it. Then take our circle, and let's call this one F two, ten, I suppose, red, button. Good. Now, let's make it a little bit smaller Slode. Great. F here we go the tap A, teases everything, and then we go with the E and drag this one on the red one. Then let's align it and then a little bit more in front. As for a scale like that even more. Out of the solo mode, let's take a look. And my question where you are, why you are so far. Mmm. Interesting. Very interesting. Control one to take a look from behind and then go in front like that. Let's go in. Click at a regional region to geometry and pivot point individual regions. Let's keep it like that, and then a bit here, a bit inside, small rotation. Nice. Good. Then we go in the edit mode, choose this loop, and then we go the ES, then one more time ES and go inside like that. From here, let's align that. Let's make it a little bit more bigger, and then we go the E E S at center. Nice two, what are these lines? Probably I know L et me check. Yes, I was right. If you're beginner, this information is going to be very useful, if not, however you going to be very useful. Our polygons, our faces. They have orientation like outside and inside. If we go here to the overlays and turn on the face orientation, you can see that the colors are different. Actually, well, let me tell you, the blue one are the one who look outside, the red one are one who have to look inside. And for example, this one is a proper one. The proper one is blue. Red have to be inside. Here we have a mix of the colors. That's why our shape is so dirty and ugly. What we have to do, Go in the edit mode, use everything, At N, and recalculate outside. Now, come back, take a look. Everything is beautiful. The same thing right here. It's also very important to set the face orientation because otherwise, even the texture can look very bad or the hair, for example, for the particle systems. That why always check it. Let's go quickly right now. A ue everything out and recalculate outside. Let's go here, A to chose everything out and recalculate outside here. Outside here outside and here outside. Now everything is great. Come back and how you can see the result is completely different. Back to the edit mode. One lop here, one loop here, one here and one here, nice, control. Let's take, for example, this phase or actually even this one and extrude Good from here, because like always one loop here, one loop here. Let me take this one and move more on the side. Great, and one loop here and one loop here. Nice, right click, shade smooth. I'd like to take this one control plus one time and let me drag it inside air for rotation, and let me keep it like that. Great. I'd like to say that this is great, but for some reason, it isn't because of that. Okay. Don't expect that your workflow will be perfect. It's always Control. Let me come back to check where I've commit this mistake. I understood. I've commit when I didn't align it properly. Let's go one more time. It is what it is. I don't want to cut this part. I want to show that we all commit mistakes and it's completely in life, in blender, wherever. It's okay. One here, one here. Now it's good. Thank you. Let's go one more time. Control plus, Move this one. Inside air fed rotation, bring it like that. And Z. Is it? Yes, right quick. Shade smooth. In order to create these buttons, it will be again one to two additional minutes. But let me show you. Firstly, I'd like to align this one. Control plus Z, good Great. Let's go in the solo mode, Let's choose it and take a look. We have to choose shift left quick, like that. This three, how I say, we'll waste some time, but qu quickly, let's go together, and let's go this, this and that. Now, make sure that you have the median point in the transform pivot point. Oops, I was very close to make it be, sorry, quickly. Now we go with guess what? Of course, E S. Like that good v. From here, we go in the Ed modifier, sears for bell modifier. Move this one above of subdivision. It's too sharp, you like it. I think no. Increase toward two, here in also toward 0.2, and angle increase or even more drag the mouse until we it, that. Great in my case is 97. Without width, without width. I a little bit more sharp? What if you going to increase the amount of segments? No. We'll keep it this one on three. And this one on 0.2. Also we can go to the profile, increase the shape. This is how it was before. This is how it is right now. Voila, Let's check it. Great. I would like to make it a little bit more smaller as for scale, small rotation. Is it inside? Yes? The name is red button. Let me check. As for a scale, probably a little bit higher as for a scale. Greek. Nice. I thought this one going to be the most hardest part, but it wasn't. I hope you did it great two. Now let's go to work that part. Let's choose our panel like always shift D, then solo mode, then apply the subdivision, then CI the control plus or actually minus, delete phases, choose the sloop circle B for the selection, and delete that one. Choose our panel. Let's call this one F two, 11 point arrow. Then we go from here with edit mode, you use everything es Es at Ciner. Now, let's check the phase orientation. E. Let's go with the, use everything out n, recalculate outside. Come back, check off from the phase orientation. We can work forward. Then we go with the E to extrude. And Let's come back from the solo mode to check how it is right here. Great S for a small scale and X to delete faces. Then choose this sloop, we go with the E S, nice, then ES and G x actually inside like that. Align, and then we go the es es Es at center. Control T, right click shade smooth. One loop, here, one loop, here one, here one. Here, Let me check. Is it? E. Probably I would like to move this one now. We can go in the Slomde, choose this one out and move it a little bit inside like that. Great, as for R click, set a region, region to geometry, individual regions, a bit more smaller and ale bit ther G. Nice. That button have to be smaller. And that's what we have at the moment right now. Thank you so much for your attention. I'll see you in our next and final lesson from that block. That was probably the hardest part. The next block is going to be the most enjoyable because lighting, texturing, it's very enjoyable. So let's go forward. 7. 1.6 Gun's Holder: And our next sorry, last lesson. One thing that I really want to do is to set a region into geometry, set a region into geometry, choose both of them as to make it a little bit more bigger. This one, let me bring it higher because Y. It could be perfect if it will. My perf gin side want to jump once again. Three dcursor, U and U. Let me choose them r gre, great r, g. Somewhere here. Let me take a look. Now it's aligned more properly. Except this one, it will be perfect if er ric. Let me rick, like that. Great. Because it really was very annoying for me, but now I like it, and I hope. Yes, how I say there is no perfect world flow we're here to play. I want to show you that I commit mistakes too, and it's not the problem to commit a mistake. You have to know how to solve them. That's why we are here. Okay, my friends, that part and that part. Let's go. Okay, let's create this thing. So we go to the mesh. Plain rick 90 go lower like that. And then we go the z z, then let's make it a little bit larger on the green one, and then choose this one. The edge below, extrude create, then As for a scale, move this one a little bit higher. Move this one a little bit on the left. Then one more time is as for a scale, nice, and then control two good. It will be also good to add one additional loop right here, drag this one on the right, right here, drag this one on the left. Then we go with the A, choose everything and extrude on the right side. Ma one loop right here and one loop in the center. Then Transparent moot, choose this ops, transparent moot, choose these vertices, x and delete them. From here, g x, move this one more toward the center. Then Serge four, mirror modifier, move this one above. Then in order to get the proper result, we have to apply all transforms, control A, all transforms, clipping and merge Valla Control S to save. Right click, shade smooth. Then then what we have to do, I'd like to apply or actually no. Let me work a little bit with that. Control er, one more loop right here. Let's make it a little bit more bigger, a little bit lower. Let's take this one, a little bit higher. Let's take this one below. To this phase, turn the proportional editing, and G, move the mouse wheel inside in order this circle show area the influence, the more smaller, less influence you have, the bigger, the more influence you have. Let me go somewhere here and just let me like that. Nice proportional it off. I also don't like that part. One more loop, and move it lower like that. Let me take a look. Nice. Actually, let me go higher. Let me make it. Let me choose this entire loop and G, move this one a little bit more higher than it was. Great. What I'd like to do? Let's apply our mirror and then subdivision second. Let me make this one right click, set region to geometry as a bit more thinner. From here, we go one on an pt. Choose again this middle part, X and delete vertices. Then once again, search for mirror modifier. A little bit later, you understand why because we have to do some changes, and it's very important. If we'll keep the mirror that we got before, but apply the subdivision surface, the result going to be bed. That's why we should apply, then add another one. Do it. Let's go right here. We have here a small circle, so let's choose these faces, x and delete them. Then this loop, loop two, circle, then three and an mp. Let's make a small rotation. Let's decrete this one S, like that. Great. Then we go to the median point transparent mood, and we go the E x right here. We have the mirror, press the clipping on and then we go the Gx and finish it. Nice. Now, if you don't have the clipping on, they can go more farther. But when you have the clipping, it's like a wall for them. That's why be sure, make sure that you have a check in right here. Our form is pretty bad. Let's go with one loop right here. From here, control for the subdivision surface modifier, now everything is properly. Great. The holder, let's call this one F two, 12 point holder. The last one going to be the button. We press shift A mesh, and then we go with the cube. Then you go in the solo mode, and then S greg like that. Then you go in the edit mode, Control a mouse wheel one time forward. Left click, left click. Choose this phase and extrude on the Agric one. Then we go the Control two, and then let's go with one loop here, one loop here. Here and here, one more on the left, one more on the right, and probably probably one here and one here. There's one more thing that I want to do. Firstly, let's come back as for a scale, go here. You can see the shape here straight is some small arc. Firstly let's align it as good. Add one loop in the middle. Then transparent mood, choose these vertices and go with the G ric like that. From here, choose this one, move them ab, choose all of them three S grec zero and make them perfectly flat. Because it's stylized, I don't want to make it completely perfect. I just want like that. Create. Let me check. Now from the side, G greek, S gre, G. Let's call this one F two, 13 and button. Let me take a look once. There is something probably what I understood g X as X. And let's have a small rotation like that with this and with that. A little bit on the side. Let me check. Great. My friends. We did it. It was a lot of time. It was a lot of hard work, but the block number one, which was the hardest one is finished. I hope you'll really learn a lot, especially as a beginner, how we can see. Sometimes you just have to know some tips and tricks, and that's how you can easily build things like that. However, I did a great job, and in the next one, let's say you can call it a vacation because in the next block, we're going to bring the lighting, the texturing, and it's going to be the very pleasant workflow. But for now, I tell you goodbye and thank you so much. Don't forget to save. 8. 2. Lighting : Hello, everyone. Block number two, we're going to establish the lighting, and without wasting our time, let's start. Shift A, mesh, and plane. This is going to be the general light, which means S for scale, make it bigger, then we call it the G t and move this one up. Firstly, let's move this one in a collection apart, which is going to be new collection. Let's call this one Studio Oops Studio. Okay. Then let's hide our reference, click and hush to hide it. One more thing that I want to do, let's select our gun and a Z. The reason why in the rotation, we got this type of result because we have to switch the pivot point toward the median point. Having everything emphasized, and move this one. I want to keep this one on a diagonal one. Something like that. Then one and MPT, g, g, somewhere here. Great, Control S save. Then let's go toward our lighting. Let's go in the random mode. From here. We go toward material properties, having our light emphasized, press U, let's call this one general underline light, instead of principle SDF, let me make this one a little bit bigger. Choose emission. You think that nothing is changed, not really. We go here in the render and instead of EV press cycles. Now without our light and with our light. Great. Then back to the materials. Let's increase one toward 1.8, and also one very important thing that we're going to do a little bit later. Control St save. Let's decrease the color of our world. Go here in the world properties, color and make it a little bit more darker like that. Three an NP, G that move this up, Air, G ri like that have a diagonal lighting. Great, create. Then we go with the shift A, light and area. Let's create another window. Right click, Vertical Split, move this one right here. Here, let's hide this overlay, which mean do you see this grid? Let's hide it like that. Now we can see only our gun. Then having our area emphasized, which should be in the studio, create. We go with the G grid. B. A, move this one toward our gun. Let's go in the lighting properties, which is data right here. Firstly instead of shape, square, choose rectangle. Then size x going to be six meanwhile rig, nine good. Let's hide the plane in order to see the result. What I want with that area behind is to create an outline around our gun. Let's go with color. It's going to be A eb9f8, create and power going to be 345 V. One MP, I'd like to move this one more here. Now we have an outline behind our gun, which will make it better. Probably, I would like to turn my gun a little bit more like without a. How to di select you. Okay. One more time, only you shift Control E great great like that. Nice. Pardon, Let's go forward. G, what if I'm going to move this one a little bit more closer, too much, a little bit more farther, like that. Great. I think it's great. Then let's switch our pivot point where this pivot point going to be around three d cursor. Then let's move our three d cursor in the center, which is going to be shift cursor to roll the region. Then having our area emphasized, you press Shift D in order to duplicate Shift D, er, now move this one on the left. Let's keep this one right here. I want that line to move through our gun. Then take a look. It's beautiful, yes, yes. Left. The color going to be EDF B E, more greenish one. The power 333, the size x is going to be four, meanwhile gre going to be seven, and then we go with shift D, Air, move this one on the right. We have three sources of lighting. Create actually f with the general one. Here, the color is F two BF, the power going to be 300 and size x five, meanwhile greg seven. Let me move this one a little bit. Too much. Okay, I want to keep this one here. And then come back with the general lighting. Great. Now we have three sources of light, which is very good. And let me show the overlay. So where this one behind, you here. One is on the left. Probably, I would like to move this one from the left a little bit more closer like that. One. Also this one behind, I want to increase the size x toward seven and here toward ten. The same thing here, I want to increase toward seven and toward nine. Good and general lighting. Great. There is one more thing that we can do is to work with exposure, which means we go here in s in the render, go lower in the color management, and here choose medium high contrast. Great, contra S save. Alla, that all. Thank you so much for your attention with that block we done, and in the next one, the most interesting one, pleasant one, we're going to bring the texture over our gun. Thank you so much, and I'm going to see you there. 9. 3.1 Stylized Texture Explanation: Lock number three, lesson number one. In that lesson, I want more to explain how you can create what are the steps in order to create a stylized texture, which will make which will help you in future easier to apply this knowledge, to acquired knowledge on your personal project. So in that lesson, more listen, let's do, but in the next lesson, we will more do than listen. So this is my first gun that I've created before, and let's go toward our gun that we have at the moment right now. Also, under this course, you can found the Zip file with texture images that we're going to use throughout the lessons. Let's start. Firstly, let me get this yellow part. The biggest one, let's go with a second window shader editor, drag this one on the right, go in the materials, and let's go with U, and we call this 11 point yellow underlying part. Then how I say before, more look than do. Don't repeat. Just take a look. Let's go to the empty, which mean our reference. Let me bring this one here, one, I need the colors. Let's go in the random moot. Let's choose in the principal BS DF, to the color picker and take this yellow. Nice. Now go back. Reference, I don't need you in the moment right now. So let's keep that yellow. Firstly, from the principle BSDF, we have already a few useful things. Our gun have to be we have metallic roughness. The two is usually what we can work. With the roughness, the more the less is the value, the more shiny, going to be, the more better it will reflect the lighting. And if you're going to go toward the one, it's going to be the plastic one, which means no lighting going to be reflected. In our case, I want to keep this 1.8. Metallic also, now it's zero, which means it's not metallic. If you want to make it very metallic, you bring this one toward one. In our case, I'm going to keep this one on 0.13, just a little bit. But at the moment right now it's still very boring. Let's go forward. Firstly. Firstly. We go with bump, modifier. If you don't know what it is, don't worry. I'm going to explain. Then we go the normal map. And then you go with the image textur then on the image text, press Control T for the mapping and texture coordinate. If you press Control T and nothing was wait a second word screens. Now we can see everything that I press. If you press control T and nothing appeared, go in the edit preferences, ds, dons, not wrangler, and check in right here. Before we will go forward, there is one very important thing to do like a golden rule. If you want your texture to be displayed in a better quality over your object, the more bigger amount of polygons you have, Uh, where the overlay, yes, the more bigger the amount of polygons, the more detailed it's going to be. In our case, it's not bad, but let's apply our subdivision surface modifier, which we have apply, and now we have more of them, which will help us to make it look better. Great. This is the point number one. Then Let's go into Google and read about bump modifier. The bump node generates a pubit normal from a high texture from bump mapping. The height value will be sampled and the shading point and two near the points on the surface to determinate the local direction of the normal. My simple question, did you understood, if your answer is no, we me, neither. I am not that good in all of this hid terminology. My simple explanation for you, bump and normal map are two nodes that help you to make your object better. Do you need something more? This explanation is very simple. Now let me prove you that I know what I've talking about. Let's connect normal toward the normal. How we can see the point colors are similar and for some reasons. We go firstly before them. Let's bring our textures. We go toward the open, search for the folder with references, s with textures, and bring the texture. Let's go number one. Great. Let's try to connect a bump normal with normal? Allow right here and color with height, which is very important with height. Something interesting already appeared. Nice. But what if I'll try to bring the normal map in between of these two? The result is different. You can see the scratches, but it's not so deep in comparison to how it was. My explanation for this one. When you connect the texture image with bump without normal map, you're telling to your object to the blender that you want your object to be covered completely with the texture, displaying this one in the three D format, which mean we have the gaps, we have the bumps, and already as the real object. But when you bring the normal map, it work with the colors of your texture, which means we have black and white. In our case, he don't read the black color. The black color is read it as a surface. Meanwhile, he use only the white one, which he apply over our object. That's why we can see only the scratches. Meanwhile, when we connected without the normal map, it was completely covered with a textur. So I hope this explanation was more than enough. If you didn't understood, display without and with and you already can see that big difference. Then, what is also important to do? To color space, to choose the non color, in that case, it is displayed much better. Also, there is the thing like invert. So let me diconnect. How I cut is I hold control and right click, that's how you can cut the connection. And bring the color toward the height. If I'm going to invert, that means that everything is above, the surface is going to go in and every what is going to go above, which means the vice versa? Take a look. Bam and bam. Great. I'm going to keep this one on invert, and strength is something that you can decrease the influence or you can increase the influence. I hope it does make sense. Very important thing like disclaimer to say, my memory ain't perfect. That by time to time, I'm going to look at my previous project to see the data settings. Use texture number one, Let's work with the scale. But before we work with the scale of our thing, I want to reconnect first. We have to UV unwrap our object. Because how we can see the texture coordinate UV is connected. What is UV unwrapping? Let me go here. Let's go to the UV editor. You turn your three into two D. You turn your three D object into two D image, and you bring the data, the information from the three D to the two D. First, let me bring the overlay, our object. Let's go to the edit mode, press U, and I select Smart TV projection and you probably will have 30 or 33, bring the 66. Now, that what we have. We have a map of our object where we can display the information from our texture. Now, come back to the shader editor, and let's start. The scale 4.2, Meanwhile here is 3.5 and 3.5. Another thing that is very important. You have always to apply the scale rotation and everything from when you make our object bigger or lower, you stretch it. We have to apply the scale location and rotation, you press Control A and choose all transforms. The result again going to be displayed, especially if you work with a particle system to create hair or few. This is very important. Always remember that golden rule. Let me go forward and let's check what I got also. It was connected toward the normal map. Here, the strength is 0.6. And that's all great, let's go here and how the strength 0.6. Now because we have the normal map, connected. I just want to have a few scratches over our object as in the real life. Does it make sense? I hope yes. Here you have also the texture a few settings. You can make it the projection like flat box, sphere. I think the sphere going to be the better one considering the shape of our gun. But for some reason, I don't like the final rest. What I've got here. I keep it on flat. In that case, I don't want to waste too much of our time. You can, of course, to play around. No one is telling you no, especially me. Let's go forward. There is the thing. With that, I explained, I hope everything here is clear. I hope you're satisfied with the way how I'm telling you about all of that. Again, remember, bump is something that help your object to turn into something more realistic to display the texture more detailed. I'd like to decrease personally toward 45. What if I'd like to switch the rotation on the z axis on a 45? Create and on the ric one toward 25. It's just the rotation of the texture around the object. Now it's good and now I'm going to increase this one, what if I'm going to invert. Now, all of these bumps are going inside, which is cool, but I want scratches, I'm going to keep this one a back toward 0.6. Great. How I say, I hope everything is clear. Now let's go forward, we go toward the subsurface, and Here, there's the thing like wait. Let's go toward the Google and let's ask him, what is subsurface scattering, which is this one. Simulates semi translucent objects in which light rays enter bounce around blah, blah, blah. Very hard. If you like all of these hard words, no problem. For me, when you increase the weight, it interact better with lighting, which make your object even more realistic than it was before. Does it is it simple? Yes. I'm going to keep this one on 0.45. Now, the result probably, but actually, you can see the difference, small but difference. H. Let's go forward. That was one side. Great. But there is two more things that I'm going to tell you show you and let's do them together. Firstly, the base color, I want to make it more interesting one flat color and for us. We have to make it stylized, so I want to create a gradient. How we can do this one? Shift A, gradient texture one. Then we need color ramp in order to set the colors, and then here you press control T for the Mapian texture coordinate. Connect the color with a factor. For this what is this color? White? I forgot. White. Color picker, choose this yellow. I say our yellow, and for the black, we the reference, here the reference black and choose this orange one. Let's say this one. Great, come back toward our gun. Here you are. Let's connect color toward the base color. Nice, is it? Honestly, I'll already like it, but of course, let's play around. What was my settings here spherical, Firstly, let's switch them. Let's go like that. Then let's choose instead of linear. There is a few ways how we can display it. We're going to choose spherical one, and we have to play around. Probably I'm going to keep the different settings. I want the why you want to be more here and the yellow more here. Let's play around with the rotation. I played around a little bit in order to not waste our time. There is nothing car you don't need to be advanced. You just have to found the right location, right rotation. My advice for a future, when you work, for example, with a color ramp, let me shift the duplicate and here, for example, choose black. And let's say white, two, very contrastical colors. In that case, you're going to be much easier, for example, to see the difference, how the light is applied, and many and the other things too. It's easier when you have two very different colors. That way, let me come back, let me delete you. Let me go toward with the orange one more closer, yellow one. There are my settings. You can put this tutorial on pose, copy them, or of course, you can bring your own creativity and bring your own. Because my purpose right here and to give you the step this step. I want to give you a comprehensive explanation of how you alone can create a stylized texture, and we have one more control S. One more thing to do is to work with the roughness. Roughness, if you remember, it's all about how the object reflect the lighting, but we can make it even more interesting. How? Let's copy the color Rump Shave D. Let's go with the texture imaging, Shave D, and control T. Then we go Here, actually delete that color rump and let's create another one, just color rump with a shift A cord. Take a look. From here, connect color toward the roughness and texture one toward the factor. Instead of texture one, let's choose the texture three. Color space, choose non color, and what Let's go with colors here. Let's bring it more closer to each other. So once again, it use the information from your texture having the colors of you see of this white, gray, black, and it start randomly to display all over your object how. So how you can see, we have this type of spots let me show you without to make it much better. So we just have a simple color of yellow and orange. Yes, what we got before. And I'll pay attention. Let me hide the overlay. Pay attention to our color now roughness, and we have our spots from our texture, you see, there is more lighter, there is more darker. This is the number one. Th number two, you can see is very reflective. We have to decrease the black one in sorry, not to decrease to increase more toward gray in order to not make that so shiny because I personally don't want to keep it so shiny like that. Even more more more experiment. Like that. Also, let's increase the scale of our texture. It's going to be 2.9, 2.9, 2.9, and 2.9. Remember the texture coordinate here, you have to get UV connected with a vector. Now let's take a look more closer, what we got. Ctrl S. Let me check. M, we have a lot of spots which randomize our color, considering also our scratch, considering also the color, the gradient texture, and take a look of what we got before. Let me go with wait a second. Let me show you. So let me cut Before we just have one simple yellow color, which is okay for a Q three illustration nice and take a look what we have right now when we have here, here, and here. The difference is day night, and I hope you are very satisfied what you I'm not My main focus is not like being very satisfied. I want you to acquire new knowledge to feel the difference in your skills before that class and after that class. So take a look. This is the reflection, so these points they all steam from that no chain. Great. I think I explained everything that I wanted. We'll have some different things, but that is our result. That was my explanation of how to create stylized texture for our object. Thank you so much that lesson was big. I don't I don't try to sound smart. I try to sound simple with all of my explanations. Thank you, and I'm going to see you in our next lesson. 10. 3.2 Metal and Scratches: Part two. Actually, the information that I gave you before was more than enough in order to leave you alone and create everything rest. But I've decided, let's go together with this one because I have a few more tips and tricks that you can use. So let's start with that gray part with this tube pipe. Go here, material new. Let's go two point tube. Then where our reference show overlay, let's color picker, the gray one. And let's start. Let's start. First of all, let's increase the metallic toward 0.7, roughness, I'm going to keep like that. Subsurface will touch a little bit later. There is one more interesting thing that we didn't apply on this one because we didn't have the necessity for, but it's going to be useful with that one. It's going to be the ambient occlusion. We go with the shift A, ambient occlusion. We go with the color rump. We go with the mouth. Bring it here. Yes, va la va, and we need a mixed shader. Right here. B the mix shade right there, and then we go the color toward value above. Then value with factor, color with factor. Now we have to change the so. What is the ambient eclion? Actually I should just start with that one. In my opinion, in my interpretation, ambient clusion, work with shadows of the object and help it to make it more realistic. I found a good explanation when you Google it. In graphics, ambient clion is a shadowing technique used to make three D objects look more realistic. Actually what I said. Be simulating the soft shadows that should naturally occur when indirect or ambient lighting in cast. Out onto your scene. There's the thing of how the ambient clusion work. You can take this website. For example, without, you can see the shadows are more pronounced, and that helped, for example, to make the colors more emphasized, once again, with no ambient with ambient. We're going to do the same right here. Let's pitch the colors. And let's go more closer, take a closer look. You can see here it's more emphasized. When you take a look right there, if I'm going to bring the darker more closer to the white, take a look here and take a look now, it's more darker. Samples let's increase to two in order to make it more emphasized. Let's play around. Let's bring this one here, this one more a little bit closer. Not really, because in that case, the shadow here is very pronounced. Go toward the subsurface, weight increase toward 0.4. How I say once again, ember inclusion is just an opportunity to make your object more realistic for more deeper explanation. You can go on that website, take a look and read it great, great. Then I'd like to add the bump. Modifier without normal map. Then we go the image texture, and then we go with the control team. I want to be sincere, I four t one very important thing. We have to unwrap. We go the A, U smart. Now the result going to be different when you're going to connect the bump toward the radius, the color toward the height. Let's go with open, choose the texture number one. And let's take a look of what we have. Let's also make sure that steam from the UV. Let's increase five, five, and five. I couldn't understand why I don't see the results and I didn't notize that the connected normal toward the radius. Sorry, connected normal toward the normal. Now we can see the results. It's 555. The strength decrease toward 0.24 and invert contra. Let me take a look. Now, our object, our tube is covered with these small things, which make it more interesting. You can add the normal map to see the other result that you can also achieve, but I personally just don't want it I like in the way how it is displayed only with a bump modifier. Then we can go toward the color. I'd like to make it a little bit more brighter. Like that. Great the roughness toward 0.47. And that's what we got for our tip. If I will make a lesson apart for each object, it will be we will spend a lot of time. So let's create also the texture for the black one. How? Emphasize the black part from that one, go with the shift left click on the tube, press Control L, and link materials. Now they share the same materials. Then go toward that black part, go toward the materials and duplicate it right here. Then press three point black black underlying object. I don't know how to call this one. Now we have all of these nodes which save our time in order to bring them always. What we can do is firstly to switch the color to make it more darker like that. Let me hide the overlay. Let me take a look on the surface grade. Here we can increase the strength just a little bit toward 0.3, and decrease the scale toward 2.32 0.3, 2.3. Nice. Let me take a look. Hh Also, of course, of course, my memory. We can go we have to apply our subdivision surface modifier apply, then one more time, A U Smart TV Project C. Now the result is different, and there's one more thing. I'd like here the time to add the normal map. So I'm going with the normal map, bring it here. Now only the white party displayed from the texture over our black. Great. Is it? Yes. What we can do also, and let's go with this what is the name of the thing If Bolts? Let's call them like that. Also emphasize them. Shift left click over the tube Control L link materials. But of course, what did I forgot is to go in the edit mode. The subdivision is enough. We don't need to apply U, Smart. Let me show you, don't do this one. Let me show you why it's so important. Take a look of how texture is displayed at the moment right now. Let me decrease this one to, for example, two, two, and two. Okay. That one thing. Now let me go to the edit mode. U, smart TV projection, k, You see, that's why it's so important to keep to have the AV projection. Now you can increase the scale. You think that the result before was better, but actually no, that result is better because now it's more deeper the way how the texture influence over the object. Meanwhile, with the previous one, it wasn't. So now let's increase 15.55 0.55 0.5. And also I want normal map. Let me bring it here. I want instead of this texture number one that we used more than enough, to use, for example, texture number three, why not? Let me increase the strength toward 0.4. Let's take a look of what we have. We can see a small scratches. Remember that from when you're going to zoom out, we will not see all of these details. Don't overwhelm your head. Probably I'm going to keep this one toward 5.2 s 4.2, 4.2, 4.2, a little bit more. Also, when I start to work, I love the process. Let's actually create a sm gradient for For our bolts. Let me go here, connect the color ramp toward the base color and let me check, make one very black, and another one, make it white. Cration toward zero. Now let's play around. I definitely don't like it. But that one is k. Here, instead of generated, we have to connect U V toward the vector, alla. Now let me keep this one on zero, zero, zero. But greek going to be on minus 05. What about? No, you're going to be on zero, one. What about nothing, and x. X also keep on zero. Then we can go toward what if I'm going to keep the quadratic sphere. Now keep it on spherical. Also, we can make it bs plant, which means the gradient in between of them going to be more soft. I'm going to keep this one more here and here. Now let's switch the colors. Let's make this one more toward gray, and the black one more, for example, ops, I didn't choose the right one. I told about you. I want you to make it a little bit more brighter, and you, for example, to make it a little bit more brighter also. Let me switch them. P. Let me bring the colors a little bit more closer to each other. Let me take a look. Okay. Small difference, small things. But when insmmation, in total, they always bring a much better result. Probably probably the metallic one. I want to increase to 08. Now I'm good. Let's take a look of what we have. Great. One more lesson is done Control as to say. Thank you so much for your attention. We actually can see the gradient. This part is more lighter, this one is more darker. The tube is very cute, this one is very good. Let's go forward toward our next lesson. See you there. 11. 3.3 Ambient Occlusion: Lesson number three, I suppose, and take a look at the results. I really like it. Sometimes I like that work even more than the previous one that I do before the class. However, I hope the most important U are satisfied, be your own result, and of course, be how I teach. Let's go toward the orange part. Yes. Let's in that case, choose this one overlay on. Shift left click on the yellow part, and then we go the Control L and link materials. Then go toward this one, go toward the materials and duplicate. Let's call this 14 point, orange grate. From here, of course, let's go toward the edit mode. I think we can apply apply the Bevel first, and then apply the subdivision second, and then we go to edit mode, U, Smart TV project. Now come back. From here, cut with Controller right click, then we go toward the color picker and choose the orange one. Nice, the metallic, I'm going to keep it on 0.1. Meanwhile, the roughness, let me. Let me see what we have. Firstly, firstly, let's go to the texture, right here. Let's choose into texture number one, texture. Let's try texture number five. Why not? Instead of SRGB, go to the non color and let's check. We have some scratches right here, but I think which aren't bad, but what if I'm going to cut the normal map color to the height of the bump? Let's take a look. Okay. Firstly rotation, zero, zero. Here, let me go to six, six and six. Let me make it more smaller. In case if you don't understand how for example, the scale work, when you have the lower value, you extend your texture over your object and when you have the smaller one, like you increase the value. In that case, you decrease the scale of your texture and it displayed more often and more detailed. I think this one is too much. I'm going to keep this 1.2. Probably, I'm going to keep the normal map in between. What if I'm going to not invert, check off? Let me take a look. It Let me try another texture. Let me try the third one which I like. Let me increase toward 0.3. Let me check. Let me decrease the scale to 4.4 0.8, 4.8, 4.8 Is it good? I've decided to keep this one on 2.2, and here I have the normal map 0.3, and no big difference, but however it is. Then we connect color toward the roughness. Let's check what we have right here. Instead of texture number three. I'm going to keep the texture number one. Let's take a look more closer. L et me bring the white a little bit more farther. This one more closer, and a little bit more darker juice a little bit more in order to make it more reflective. Here I'm going to keep this one on 1.7, 1.7, 1.7. Great. Not a big before and after, but however, we have some small things, for example, that cover that part. We can see already the small details. You can see the small scratches. Right here, right there, this is this stem from the reflection and this stem from the bump. Great. Now I can see the re. Now I'm good. Well, what we have more, we have that part. Let me bring the overlay on control S. From here, copy, go toward the orange one, control L, link material, then we go toward the materials, duplicate, let's call this 15 point. Bach. Then let's copy the color of that Bag one. Nice. I'm not sure if I want here, probably I'm going to decrease because the patch is very simple, I'm going to keep this one on 02. Then let me bring it more closer. Let's see what we have. I'm going to increase the scale to 3.5, 3.5 and 3.5 grade more than enough for me. Actually, we have to Smart TV projection. Now, everything is on point. And except actually no, decrease the metallic one toward zero because the patch metallic. This is very important to keep and also decrease the weight toward actually zero, zero, five. We don't need to keep it heavy. Then let's go toward this one, choose this shift left click, and the last one shift left click, the tube control L link materials. Then we go here and let's go duplicate. I suppose it's six point I'm going to call them circles. With all my respect, I don't know what type of other name. Here also shift left click Choose circles. Nice. Here then we go toward subdivision apply here. Make sure that it is applied on both, one time control two here, one time control two for an additional subdivision. Then we go toward the edit mode, Smart TV projection, and the same for this one, Smart TV projection. Nice. Now let's go toward the ambient delusion. I want to keep this one more darker a little bit. Too much. I suppose we have to change them with our colors or not probably. Let's play around. Let's play around. Firstly, the colors, I want to keep them a little bit more brighter. I'm going to keep this one where you are. I'm going to keep this one more blue, No blue, but white. This one more toward the darker one, or, bring them more on the left. You have the gradient texture here. I think This one. I remember when we did the color gradient for bolts. For some reason, probably, I didn't date, yes, I didn't duplicate. Now they share the same material, and that's why our tube also have the gradient. But you know what? I actually like it. That's sometimes you can make that type of random stuff. Or what if I will control, right click and let me keep it with one color. Meanwhile, here the bolts duplicate. Let's call this 17 point bolts. Let's go to the color for the base color. Now it's all good. Back to our circles. Probably, I'm going to keep it instead of spherical diagonal one. Yeah. Let me check. Very nice. Let me make this one a little bit more brighter. And this one is a little bit more darker, like that. Great. Then let's go toward the texture. Here I want to keep the texture number one. Scale. We're going to keep it on 555. Let's go toward the bum strength toward 0.5, and let's take a look what we have. I can see the scratches, here, nice. We can bring the reflection part also, not the reflection but the roughness. Here is all good. Yes. Probably I'm going to decrease the scale toward 3.5, 3.5, 3.5. Then from here, go toward the orange part. This one that we no chain that we used for Roughness, go here, V. Copy that one. Once again, copy this control C, control, V now is good and connect the color toward the roughness. Great, great, but I'd like to extend 1.2, 1.2, and 1.2. Let me take a look. One more thing, Let's increase this one to not make it so emphasized. Let me keep this one a little bit more farther from each other. Control C. Let's make one more thing. Let's make this panel. Once again, I remember that you don't have to copy me completely. I bring you the knowledge, I bring you the material. You can work even without me. But let's go forward toward that part. Let me copy shift left click, the circle Control L link materials. Then we go toward the materials. Having this one emphasized, duplicate. I suppose it's eight point panel, and then let's go toward the colors. Here, I don't need a gradient. I don't want it. Just one flat color, go here, color picker and choose this gray one. Then don't forget to apply the subdivision. Apply one more time Control two edit mode, U, Smart TV projection. Great normal map is. What I'd like to do is to decrease this one toward 0.25. Then I also would like here to keep it on one, one, one for the roughness and to keep that white more closer to this one. Meanwhile, that to make it even a little bit more brighter. Let's take a look. What if I'm going to keep this one more further. Now it's not so emphasized. That what we have for, I suppose, lesson number three, antral S to save. Thank you so much for your attention. We are very close to finish it. I hope you're satisfied and let's go forward. 12. 3.4 Gradient Texture: We are very close. Take this one. Let's do in this less and, that, that and that, and in the last one, this one. Great. Let's go here. Shift left quick on the black part, Control L link materials. Then choose this one, the holder. Yes, C in the materials, duplicate. I say duplicate, please, and then we go to nine point holder. Oops. My PC starts legging. Probably he is tired and it's too heavy, but it is what it is. Let's finish the work. Go to the color picker and choose the color. Nice. I think one of the reason that one of the reason that can make your PC tart is also the subsurface, so the weight is going to be here on zero because this is the plastic one and also decrease the metallic toward probably 0.03, we don't need it anymore, and the roughness increase toward 55. Then in the rest. Of course, we have to let's check the topology is nice. Let's apply the mirror first and don't touch the subdivision, then go in the edit mode. I say edit mode, A, to choose everything and Smart TV projection, then press. Now everything is displayed better than it was. Then we can go toward the mapping. I'm going to increase this one to three, and three, and three. Instead, the texture number one, I'm going to choose the texture. I'd like to choose the texture number three. Yeah. Create The same goes for our button, Let's take the button. Let's check subdivision apply. Then we go toward the edit mode, H everything Smart projection. Then emphasize the holder, you press Control L link materials. Then we go toward the button, which check the material, duplicate this one, and let's call this 110 point. Button great. Of course, the color have to be red. Then let's cut the ambient inclusion because we don't need it right here. Let's actually delete it. We don't need it. My PC is lagging. Well, it is what it is. We have to be patient, then connect the BSDF with the surface nice. I'd like to increase a little bit the color of the tread because it's too dark. We don't need it to keep it very dark, so just make it brighter like that nice. Take a look. Great job. Then here on that button, we will use the ambient inclusion. Take that button, go toward the circle, or actually go toward the tip. No the circle but the tube. Then we go toward control L link materials. Then go toward the red button, duplicate the material. Then let's call this 111 red button underline above. Great. Then of course, let's check the topology. Let's apply the bevel. Let's apply the subdivision, and then we go toward the edit mode A, smart TV projection. Then we go toward the principal BS dF. Of course, let che the color picker and lets choose this red. Now we have to work a little bit with the ambient clusion. Let's go here, the metallic part is too strong. I don't like it. Let's decrease the metallic toward 0.02. It is too much. The roughness is enough. The color ump, what if I'm going to move the black a little bit more in? Let's here also decrease the value toward 0.1. To. Now, the shadows are a little bit more emphasized. Let's bring the black a little bit ab. You can see the difference even through that poor quality. Let's move white a little bit more farther in order to make it a little bit more soft. Let me take a look right now. Okay. Now the shadows are more pronounced. Then we go toward here. Let's check the strength. I'm going to decrease todo 0.25 texture, I'm going to switch on the texture number one. Yeah. In order to add some scratches, and that's what we have. Probably in the mapping, I'm going to keep it on four, four, and four. And we finish with this one, how we can see my PC for some reason, and very happy with what we do, but let's finish with that lesson. What can be a solution in case if your PC is dying to is just to hide something with what we don't work. This one and this one great. Now we have on that one now is better. Let me. Take the circle and hide it. With this one, we have to play around a little bit here, so take a look, or what if I'm going to keep this one for the next lesson in order to make it a little bit more easier? Probably that's going to be a better solution. I'm going to see you in the next lesson, where we're going to create this one, and probably this one, see there. 13. 3.5 Two Materials in one: Hello. So we are very, very close to finish this one. In case if we have some noise on the background, I'm sorry but the rain started. This is the weather that I got today. But it will not hinder us to finish our class. Choose the panel. Go here, control L link materials. Then here we have things to do. First, we have to duplicate, let's call this 112 panel, and then firstly, we don't need an ambient inclusion rate here, so choose it and delete it. Great. Then connect the principal SDF with the surface. Also, I would like to cut these two. We don't need them at the moment right now, Let's go like always and apply our subdivision surface modifier then added mode, added mode, I say, As everything, Smart TV projection. Great. Then, in case you've never created two materials on one object, take a look base color. Let me make it a little bit more brighter. The scratches are kind a nice, but I want the texture number three, and I want to decrease the strength toward 0.2. Great. Now it's good. Very easy. We go toward the simple viewport. We go in the edit mode, choose these vertices inside. Then we go with the control plus on the NPAT still here. Great, and then you press plus. Make sure that you are still in the edit mode, you press U, then let's give it a name 13 arrow, and a sin now come back in the render. Take a look. You have two materials over one object. Simple, Yes. Go with the shift A image. Search for image Textor, bring it here, connect color toward the base color, and in the folder under this class, in the texture, you can found an image, which name is ero scale. Great. Then open the third window horizontal split, move this one above. Here search for UV editor Valla. Then make sure that go in the edit mode. Keep it, keep that one. Ow important thing to do, having this one emphasized, you press U and unwrap. Then we have to align our image over our topology. How we can see the image is repeated, and what we have to do is to go in the repeat, bring the extent nice. Then having our topology emphasized press Z 45. Or r -90. Grate r -45. Very close, s minus ten. R three, just align it s minus one. Then we go the Sp scale, make it a little bit more smaller. Not good enough. We have to go with a G, G greg lower, like that, then one more air rotated, nice and a little bit to scale more inside. Create. Did you move this one G x on the right? Great. Let me take a look. Mm. Okay. Let me let me work a little bit more. Spend your own time trying to align the image. Let me check right now. A little bit more on the left. Great. Now it's good that how, you can easily bring the image or two materials over one object. And let's finish our lesson from that block with that part only in the next one. Thank you so much for your attention. We're going to bring some new things, and I'm going to see you 14. 3.6 Glass Material: Hello, e one and welcome in our last lesson, where we're going to texture this bluetooth. So turn on the yellow sphere. It looks very cool. So emphasize it, edit mode. Then from here, we have to do one thing before we unwrap. We have to create a seam. So you go to the H mood. You choose a random Sam in the sinter. Let's say this one out left click. No. Yes, so make sure that one is here and one going to be here. Let me choose another one. Go above seven to take a look above. We have that plane. Let's hide the studio, and let me check. Okay. Okay. In that case, I'll shift left click on this one, and then let's connect it. B shift left click, here, here, here, here. Here and here. We need one line that is moving throughout the entire tip. Then we press right click. Mark Sm, create. That line have to turn red. A to just everything and unwrap. Nice. Then come back to the render mood, then turn the studio on one, and let's start. Good. Go in the materials and create an EU one. Let's call this 113 blue tube. Great. From here, principal BS DF, move a little bit more far. We need shift A, glass BS DF. And also mix shader, which have to be green. Bring it here and glass connect to the shader below. Nice. Where is our reference? Yep, it's here. Those the principal BS DF, color picker, and choose this blue. Good. Let me check. Nice. In case if you don't know, how does it work? When you drag the factor on the left, you tell to the blender that you want the node above to influence or say only to be emphasized, and the vice versa, if you drag the factor on the right, you mean that the shade below have to be emphasized and only. In our case, it's going to be 0.80 like that. Let's go forward and let's increase the metallic part toward 0.1 roughness toward 0.45. Then I always bump modifier normal map. Image, texture and control T for the mapping and texture coordinate. Connect bump toward the normal here toward the height and color toward the color. Let's go to open, and let's search for always texture number one. Great, from here, I'm going to the scale. I'm going to increase on the x13 0.2, and gris going to be 1.6 and 1.6. Let me check. Let me turn the overlays off. Nice, the result is nice. Let's go with invert the first, and then the strength going to be 0.45. Also, go, here the color, perfect. This is how it look with normal map without, let's take a look quickly. I always. It's interesting. It's remind me the window in winter when it's covered with the snow, when it's very cold, so it's similar to that effect. But I don't want it, so keep the normal map in between of the two. We also can direct the shade a little bit more toward 0.7 like that. Let me just see. It's not bad, but probably I will still keep it on 0.78. Great. Then we have one more thing is color Rump. And copy the image with texture coordinate, Shift D move this one above. Then we go with the color toward the factor, and from here we go color toward guess what, roughness, nice. Let's play around with our texture. Here, I also like to increase the scale toward four, four and four of. Then let's Let's firstly drag the factor straight toward the right, just to see the effect of the roughness. Also, we can cut for a moment, control, right, click the pump, just to see the effect of the roughness. Too much. What if I'm going to switch the colors? Mm hmm. So if I'm going to make the black more lighter, I'm going to turn it more into the plastic like that you see, and vice versa. I'm going to keep it on the gray on the dark gray. The effect is small, but the effect is, so you can see some spots here, a spot here, some small things here and there. Nice. Then let's come back the bump toward the normal. Let's drag the factor to 0.77. And this is what we have at the moment right now. We finished. I suppose that was the shortest lesson from the entire class. Let's check everything. Bring the collection. Boom. Tube bolt patch button holder create. If you didn't know, you can press control space bar and bring it to the entire window. Let's take a look. Look very interesting. I really like the final result, except the red button because the ambient declusion is too hard, so I'll decrease it. But in rest, take a look at the scratches, take a look here, take a look here. I hope you're very satisfied with your final result. If not, take your time and do your best. But my main goal was to show you how we can easily create and blender from nothing, something like that. See in the next lesson, where are we going to render it. Thank you so much for your attention. 15. Final Render : Could you say that we are at our final lesson, like the real one, like the final final, where we're going to render it. This is our final result. I enjoyed how I say before, control space bar and come back. Let's establish the camera show overlays. We have the camera here in case if we delete it at the start, just bring shift A and series for camera, and then a very easy way how we can establish it. We don't need you anymore like that. The very easy way is control. I don't have the screen cast great. Control Alt plus on the pd. That's how you can establish it. Then we go n for the site menu view and check in on the camera view. The border is red, that means that you can move being in the camera. I would like to choose that angle. Check. Great. Search for your own angle that you like. Then when you finished, just check off from here. Good. From there, we go in the render mode, and let's check two things. We have color management, and this is how we look with the AG X, and that how it will look with the film. The difference is in the exposure, so choose which one you like more. Less time I render it with AGX, or no, less time I render it with film, this time I'd like to render with HG X. Then the exposure I will increase to 0.03. From here, go up, and the very mortan part is the amount of samples. The more samples you have, the more better will be the final result. So if your PC is weak, you can keep it for for a few hundreds. In our case, I would like to keep it on 2000. It will be more than enough for me. Then let's check if we don't have Anything to hide. Make sure that the eye and camera they both are or on or off. In case with the reference, hide it completely, and rest, everything is good. Let's make a test render quickly. For that one, decrease the amount of samples toward three. Quickly go here, render image. Let's see what we have. All good. There is nothing Probably the one thing that I would like to zoom in a little bit more. Great, that what we do the test renders. N camera to view one zoom in. Probably one zoom out. Increase toward the amount of a sample that you want, and that actually all of my settings for the render. Then you go here, render render image. See you after my render, going to be done. My render is done, and this is my final result. After yours done, you go to the image, S S, folder. Let's call this one styzed ops, stylzed. Gun render one. Save as image. You can also try from different angles to render this gun and to ring a result here. Thank you so much for your attention. In the next lesson, like s, I'm going to tell you what going to be your homework S there. 16. Congratulation and Homework: Hello. So how I say for the homework that we have to do. Firstly, I hope you acquire it more than you expected. I hope you feel that you jump on a new level because we for real learn a lot of useful skills that could be applicable not only for your project that we did throughout our class right here, but for your personal ideas too. So the homework is two options. The first one to create this type of gun, using the reference, and using all of the lessons that we got in that class, or you can go in the pinterest, search for stylized illustrations of guns. Wherever you like, and using the Tips and trick that we learn throughout our class, create your own three d version of that class and upload it. So how I say before. Thank you so much. Happy that you did it till the end. We'll be happy if you really enjoy it, and see ya. Goodbye.